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so this is super exciting I have got a
dirty dirty list of pieces of vintage
equipment I would love to get hold of
for videos and this has been on that
list for years and thanks to masak
analogia I've finally got a hold of one
this is Roland's rarest face shifter
let's take a look Roland's relationship
with effects goes back to the Inception
of the company in the first couple of
years they put out some compact effects
with brilliant names like the bbar fuzz
and the funny cat and the double beat
and they also got involved with tape
Echoes and spring reverbs with the re201
combination proving The Sweet Spot
becoming an industry standard and an
all-time classic 1974 Mr K found the
boss corporation which was primarily
used to Market compact effects like
guitar pedals and that's gone on to
become an entire universe unto itself
meanwhile the Roland brand was used to
Market higher-end Studio Effects and in
1979 Roland put out a series of rack
effects called the Roland rack which if
you're British conjures up images of
this guy these are pretty wellknown
particularly the sdd 320 Dimension D and
the S SPF 325 stereo flanger and the SVC
350 Voda but it transpires that these
were not the first rack mount effects
that Roland made
no it turned out there was a deeper
earlier magic that the talking lion knew
about but the White Witch of naria did
not a year earlier in 19 zey AR
19 Ze cop I know it's just not as fun to
say in 19 Ze AR Roland put out the
Roland Studio system this comprised the
Roland system 100m four rack mount
effects and slightly later a
microprocessor controlled mixer with
Associated VCA bank and a little twist
there was one more RSS unit that is not
mentioned in any of Roland's literature
anywhere but a few units seem to have
made it out into the wild this is the PJ
890 patch Bay if you want to hear more
about that check out this video by
keyboard Kingpin the rack mount effects
included the RV 800 stereo spring reverb
with built-in compressor the GE 810 and
820 graphic equalizers the latter of
which is stereo the former of which is
mono and look at the state of that thing
for you and last but not least came the
pH 830 voltage controlled stereo face
shifter
go
so now would be as good a moment as any
to explain what a phase shifter actually
is and also what the difference between
a phaser and a flanger is cuz this is
understandably often confused now if you
saw my video on the even tide instant
flanger and David Boe you might recall
that I explained that the origin of both
of these effects was a mechanical one it
was a technique achieved with with tape
machines and at the time phasing and
flanging meant the same thing it was
just different names of that same tape
technique later when manufacturers
looked to find ways to mimic that tape
trick electronically that is when there
became a distinction between phasing and
flanging and that distinction has stuck
to this very day so basically there are
different ways of trying to mimic the
tape effect that have a different
outcome so I'm going to use this module
for this demonstration cuz it's got a
face shifter and an audio delay which we
can use for flanging so start with
flanging you take a signal you duplicate
it and then you delay the duplicated
version typically with a Bucket Brigade
device mix the delayed version back in
with the original and the two signals
interfere with one another let's do
that I'm changing the delay
time you get that classic metallicy
flanging
sound you get loads of notches and nulls
in the frequency spectrum they're evenly
spaced and they resemble the teeth of a
comb hence this has been nicknamed comb
filtering so there's your flunge let's
mix uh over to the phaser now so you
take the signal again you duplicate it
but you do not run it through a delay no
you run it through a series of all pass
filters and the number of all pass
filters is usually referred to as stages
which is why you hear about six stage
phases or 12 Stage phases
uh and all pass filters as the name
suggests allow all frequencies to pass
through so you think what so it does
nothing well they do do something they
cause um shift in the phase relationship
of the signal so you then take that
phase shifted version of the signal not
time delayed and you mix it back in with
the original let's do
it put some resonance in
there and again the two sign interfere
with one
another and you get notches and nulls
you get reinforcements but you don't get
as many they're not evenly spaced they
don't follow the same pattern uh and
that is because you've not got a uniform
version of the signal that's time
delayed you've got a version of the
signal that's in time with the original
but that has phase shifts throughout it
and you'll notice I'm not shifting a
delay time I'm shifting a shift
frequency which you can use mathematics
if you're clever to work out what that
would be depending on the number of all
past filters in play um but I'm not very
mathemat mathematical so I would just
describe it as the frequency around
which the effect is most prominent so
there's your phaser back to the
flanger can you hear the subtle
difference we're talking about tonal
quality or tambra that is exactly what
tambra means quality of sound so one in
one ear one in the other let's introduce
some modulation
and there you go that's the difference
between electronic phase shifting and
electronic
flanging just a moment I may be able to
see more let me slip into a deeper
trance
I so let's look at how the RSS pH 830
actually works so we've got two mono
face shifters which give us a stereo
face shifter they are discreet uh I have
duplicated a signal and run it into both
of them we're just listening to One at
the moment let's turn on the facee shift
and play with the shift
frequency isn't that nice and subtle
very very smooth let's bring up the
resonance which is feedback which
exaggerates it so
halfway starting to hear it more but
it's still very subtle isn't
it let's go all the way up on the
resonance
isn't that delicious we've then got
modulation from an onboard
LFO this can go pretty fast couple of
different wave
shapes and you can go crazy slow on this
I think it's like a minute per cycle or
something on the lowest
setting you can find a balance where
it's sweeping away we can then bring in
the other one let's plug that
in oh now we got two so let's put the
face shift on that
one and you can see there's an inverter
here so let's put that on so it shares
this one LFO but you can invert the
modulation
oh my
goodness
oh it's just so tasty isn't it it's very
Rolland that sweet spot thing just like
like bit like a Juno just you can't
really go wrong it's not going to bite
you but what a sound hey gorgeous
gorgeous now that's the onboard LFO
which is shared but there is a CV input
for each Channel if you want so you can
sequence them
another thing to try is because it's a
stereo unit you can run an entire mix
through it and go all
psychedelic
likeing no
so this is vintage Effects by Matas fuks
this isn't sponsored content I bought
this with my own money a while back it's
a wonderful book that goes through the
history of various classic effects who
built them and how and when and what
they were used on and it's got a section
on the pH 830 and it makes the claim
that it's viewed as a reference phaser
because it's so controlled and so
elegantly done that it's kind of become
a benchmark for precision phase shifting
it also goes into the technical details
of How It's achieved and the all pass
filtering is done with low Distortion
vectal and opto couplers and
interestingly masaka analogia who
sourced the unit for me discovered that
it uses the same type of optocoupler as
the resonator section of the corg ps31
and 3300 so it's got a little bit of
that Vibe about it and by the way a
little plug MC has done a wonderful
album with solo ps31 and 3300 called
1977 which you should definitely check
out so 1978 this appears in the Roland
brochures 1979 it's there again along
with the new Roland rack effects 1980
gone deleted never to be seen again so
Not only was it produced for a short
period maybe 18 months or something but
it was also produced at a time when
things were handmade at a slow pace so I
I have no idea how many of these they
made but I wouldn't be surprised if it's
only in the hundreds or maybe the low
thousands at best which is why you never
see them um so I am over the moon to get
hold of one and if you like the sound of
it I have made some samples
as ever those are available on the top
tier of my patreon huge thank you to my
patrons for their ongoing support thank
you to you for
watching o
e
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