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New03 - The Synths That Shaped The Sound Of The ’80s
For those of us who are a little nostalgic, the 1980s were truly unforgettable. That’s putting it lightly! We all remember the bright neon colors, the over-the-top fashion, the electrifying pop culture, and the surge of new technologies. But for many, this decade is defined above all by its music, especially by that distinctive synthetic sound that still influences artists across genres today. From Michael Jackson and Madonna, to Prince, Freddie Mercury and Whitney Houston, the list of iconic hits is endless. This period marked a real turning point in the use of synthesizers , many of which helped define that instantly recognizable sound. Today, we take a closer look at some of the machines that crafted the greatest classics of the 1980s. Talking about pioneering synths is impossible without going back to the origins. Released in 1979, the Fairlight CMI was the first commercial synthesizer to offer true sound sampling. For the first time, musicians could record real-world sounds and play them chromatically across the keyboard, opening up a whole new realm of creative possibilities. Users could experiment freely, visually editing waveforms and sequences, instead of being limited to scrolling through pre-programmed sound libraries. Many artists quickly embraced this technological marvel. Kate Bush famously used it extensively on her albums and her iconic track “ Running Up That Hill ” , but pioneers like Stevie Wonder, Peter Gabriel, and Paul McCartney also fell under the Fairlight’s spell. While it wasn’t the first synthesizer ever, the CMI truly revolutionized music production, paving the way for creative possibilities previously unheard of. Fun fact, some consider the very first synthesizer to be the Telharmonium (aka the Dynamophone), built sometime between 1896 and 1906. This 200-ton machine generated electrical sounds using enormous dynamos, long before analog synths existed, already hinting at the principles of additive synthesis. Another game-changer was the Roland TR-808, a drum machine that was initially misunderstood but went on to define the sound of the 1980s. Producing fully analog drum sounds, it wasn’t designed to mimic reality. On the contrary, its synthetic, futuristic timbre encouraged producers to experiment with new rhythms. They could build beats faster than ever and tweak them however they liked. By the late ’80s, the 808 had already heavily influenced pop music and helped accelerate the rise of electronic music. It continued shaping the industry in the decades to come, as hip-hop producers stretched, tuned, and saturated its analog kicks. Those tweaks gave birth to the modern 808 : a deep sub-bass used both rhythmically and melodically. The Oberheim OB-XA is another prime example of technological innovation from the decade of excess. With up to 8 voices of analog sound and 2 oscillators per voice, it made waves when it debuted in 1980. At the time, most synths were monophonic, meaning they could only play one note at a time. The OB-XA completely changed the game, allowing musicians to play up to 8 notes simultaneously and layer two sounds per note, creating richer textures and arrangements. On top of that, it offered intuitive hands-on control, with dedicated knobs and sliders for every parameter. No more digging through complex menus: musicians could shape their sound in real time, whether in the studio or on stage. The most iconic synth of the era remains undoubtedly the Yamaha DX7. Released in 1983, it sold over 100,000 units, an enormous number for the time. It represented a true technological breakthrough thanks to FM synthesis (Frequency Modulation), producing sounds radically different from anything else on the market. The DX7 was capable of metallic, crystalline, percussive, and ethereal tones that became the sonic signature of the 1980s. Ultra-versatile, it appeared on almost every production imaginable: pop, R&B, new wave, dance, even rock and jazz. You can hear it on countless hits like “ Human Nature ” by Michael Jackson, “ Purple Rain ” by Prince, “ Africa ” by Toto, “ Sweet Dreams (Are Made of This) ” by Eurythmics, or “ Don’t Stop Believin ’ ” by Journey, the list goes on. The DX7 wasn’t just an instrument; it was a revolutionary tool that redefined the sound of the ’80s and whose influence is still felt in modern music. Many other synths also left their mark on the decade, including the Korg M1, Roland Jupiter-8, Sequential Prophet-5, and Roland Juno-106, to name just a few. One thing is clear: the 1980s left an indelible mark on music history. There was a clear “before” and “after,” opening the door to emerging genres like EDM, indie, synthwave, and contemporary hip-hop. The decade served as a bridge between analog and digital, introducing tools and sounds that continue to define modern music’s sonic identity. Synths, drum machines, and samplers have evolved, but they still form the foundation of contemporary music production today. Text by: Mikaël Simard
02 - That Pedal You’ve Heard Hundreds of Times Without Even Knowing it
What do Joe Satriani, Mike Stern, and Steve Vai have in common? They’re all guitarists, of course, but more specifically, they’re musicians who love distortion. In the world of music, some instruments naturally take center stage: guitar, piano, drums, bass, or violin, to name just a few. Yet there’s also a multitude of instruments and accessories that often go unnoticed, even though they make all the difference in a sound. This is especially true for the Boss DS-1 Distortion Pedal , a pedal you’ve probably heard hundreds of times… without even realizing it! It was in 1978 that BOSS , the division of the Japanese company Roland Corporation , released its very first distortion pedal, the DS-1 Distortion Pedal. Its popularity grew quickly, thanks to its affordable price and the quality of its distortion tone. In fact, the very next year, several competing manufacturers released their own distortion pedals to rival the DS-1. Video Credit: Middle Aged Gear Junkie on Youtube When designing the pedal, BOSS engineers combined the two most common types of drive circuits at the time, transistors and operational amplifiers (op-amps), into a single hard-clipping design. Its operation is quite simple: just three controls are enough to shape the distorted sound we all love. There’s the output volume (Level), the distortion amount (Distortion), and the treble control (Tone). Once the settings are dialed in, the effect is activated with a simple footswitch, hence the name “pedal.” BOSS later released an improved version in 1987, the DS-2 Turbo Distortion , though it never gained quite the same fame as its illustrious predecessor. Countless musicians have used, and continue to use, the DS-1. As mentioned earlier, the legendary Mike Stern has been a devoted fan since the start of his career. “I’ve used the distortion, the DS-1, on every one of my own records, and on a lot of other people’s records too. I use it all the time. It just works for me, and it’s got a really nice sound to it, so I’ve been using it forever,” he said in a 2006 interview with the BOSS Users Group. Beyond the famous Joe Satriani and his former student Steve Vai, who has long since moved beyond that role, other guitar icons have also embraced the orange pedal. This includes George Lynch, who revealed in an interview with the BOSS Users Group that he’s been using it since the 1980s. Then there’s John Frusciante, guitarist for the Red Hot Chili Peppers, who described the DS-1 and DS-2 as key elements in crafting their iconic album Stadium Arcadium. It’s impossible to talk about distortion without mentioning the 1990s and the rise of grunge. Acting as ambassadors of the movement, Nirvana helped popularize distorted sounds like never before. And, as you might have guessed, Kurt Cobain was also a big fan of the famous orange pedal. He reportedly used it extensively while recording the band’s first album, Bleach . Credit Images: Kurt Cobain's BOSS DS-1 Seattle producer and musician Jack Endino remembers it well: “It’s a ’67 Twin. In fact, I still have it; it’s called the ‘Bleach Twin’ because Kurt used it on Bleach . And I can tell you Kurt was using a BOSS DS-1, the orange pedal with three knobs. That was his sound in 1989.” Later in his career, Cobain switched to the DS-2 for much of his remaining work. The Boss DS-1 Distortion Pedal has earned its place as a true industry classic. As Josh Scott of JHS Pedals points out: “It literally is the distortion pedal. When you say ‘distortion pedal,’ an orange box pops up in my head. It’s a cultural pop icon to me.” Few pedals can boast such impressive longevity. Essential since the 1970s, the DS-1 continues to captivate musicians, and its future looks brighter than ever. New models come out every year, yet fans aren’t ready to say goodbye to the famous orange box. Proof that sometimes, perfection lies in simplicity. Text by: Mikaël Simard
01 - The Early Struggles of the Fender Stratocaster
When it comes to electric guitars, one model truly captures the collective imagination: a body with flowing curves, topped with two small horns, and a white plastic pickguard partially covering the glossy wood. Being a timeless classic, the Fender Stratocaster not only revolutionized the industry but also set the standard that all electric guitar makers still refer to today. Yet, its success was far from guaranteed. The Stratocaster had a rocky start, coming close to being forgotten several times before establishing itself as the iconic instrument we know now. Let’s dive into the fascinating story of this legendary guitar, tracing back to its earliest years and first decade of existence. In 1953, Fender was still a small company of barely seven years old, ran by the inventive tinkerer Leo Fender. Despite its youth, the company had already found some success with the launch, a few years earlier, of the Telecaster and the Precision Bass. Behind this success, however, Fender had been working since 1951 on a successor to the Telecaster, dreaming of creating a guitar that could compete with the high-end models. Not being a professional musician and largely unconcerned with traditional manufacturing methods, Leo approached the instrument with fresh eyes. His goal wasn’t to revolutionize the industry, but simply to build the best guitar possible according to his own standards. By late 1952, he had already experimented with new pickups and an innovative bridge. Yet, the prototype still retained several aesthetic elements inherited from its predecessors at the dawn of 1953. It was around this time that Don Randall, Fender’s sales director, came up with an idea that would make history: to name it the Stratocaster . The origin of the name is still debated. The two most popular theories suggest that Randall either drew inspiration from the stratosphere or from the Boeing 377 Stratocruiser, symbolizing the “stratospheric heights” the instrument would reach thanks to its unprecedented technological advances. One of the first major changes to the prototype was the addition of a third single-coil pickup, designed to compete with high-end instruments, notably Gibson’s famous Les Paul. Fun fact, the very first Les Paul itself had been created in 1952 in response to Fender’s Telecaster, marking the beginning of a historic rivalry that continues in the industry to this day. A s peci al color choice was made for the prototype. By blending Dark Salem and Canary Yellow, Fender unveiled to the guitar world what would become the iconic Sunburst finish. This would become a standard and pave the way for custom colors, a domain in which Fender would later become a reference. By the summer of 1953, the first Stratocaster prototype, still far from the version we know today, was tested by guitarists and advisors of Leo. It was during these trials that decisive changes were made. For example, finding the rounded edges of the body uncomfortable, guitarist Rex Gallion suggested to Leo: “Why not get away from a body that is always digging into your ribs?” This led to the sculpted, contoured body shape, an iconic aesthetic feature later adopted by virtually every major guitar manufacturer. We can therefore say that it’s thanks to this man that this look, now considered a classic of the electric guitar, has been imprinted in our imagination.. Beyond these modifications, the Stratocaster’s greatest innovation remains its bridge with its vibrato system. The first bridge design had been a failure: Leo was not satisfied with the sound of the mechanism, which “sounded like an amplified banjo with no sustain,” according to guitarist and advisor Bill Carson. Faced with this setback, Fender and his team decided to start from scratch, completely redesigning the system. The guitar was originally planned for a late-1953 release, but the launch was postponed to perfect this crucial component. The following months were marked by intense external pressure as the team strove to balance innovation and reliability. This led them to a spring-based system that, perhaps unintentionally, would revolutionize the industry in the decades to come. The Stratocaster’s bridge relied on a “float in g” vibrato, balanced between string tension and springs at the back of the body. Operated with a removable arm, it allowed players to bend the pitch of notes by slightly rocking the bridge while maintaining tuning stability. This second system proved far superior to its original purpose. In addition to fulfilling its intended role (altering pitch), it was quickly adopted in the next decade with the rise of Rock ‘n’ Roll. The vibrato enabled swooping and dive-bombing effects that Fender had never imagined. Some even say that, almost unintentionally, Fender helped shape the sonic aesthetic and popularize the global Rock movement. The Stratocaster was finally introduced to the public in spring 1954 as Fender’s new high-end guitar. In an America discovering Rock ‘n’ Roll, one might have expected it to immediately dominate the industry, but that was not the case. Even though two models were offered, one with vibrato and one without, the Stratocaster was still seen as too different from what was common at the time. It went largely unnoticed and was regarded by the few guitarists who tried it as too experimental, almost like a “cousin” instrument, similar to a banjo for instance. Moreover, at that time, piano and saxophone were still the predominant instruments in the young Rock ‘n’ Roll scene, which was still heavily influenced by the Blues. But Leo didn’t get discouraged. By putting the Stratocaster in the hands of artists like Buddy Merrill (from Lawrence Welk’s band), Alvino Rey, Eddie Cletro, Charlie Aldrich, Al Myers, “Stash” Clements, Kenneth “Thumbs” Carllile, and Charley Raye, the model gradually gained some recognition within the industry. Yet its rise to fame remained slow. Meanwhile, Fender continued refining the instrument until 1957, the year when the Stratocaster finally adopted the shape we know today, using more durable and cost-effective materials. It was toward the end of 1957 that the Stratocaster really began to make waves, when a Texas trio, The Crickets, performed on the popular Ed Sullivan Show. Equipped with a Stratocaster and undeniable charisma, the band’s singer and guitarist, Buddy Holly, set the stage on fire. This performance brought the guitar into the big spotlight for the first time. Gradually, other artists would adopt the Stratocaster as their instrument of choice over the decade. Notably, Ike Turner was already exploiting swooping vibrato effects more than ten years before Jimi Hendrix himself. By the early 1960s, Leo thought that Telecaster players would have naturally transitioned to the Stratocaster by then, but fate had other plans. While the Telecaster enjoyed a resurgence at the start of the new decade, the Strat’s future remained uncertain. Only gradually, over the following decades, did it cement itself in the collective imagination as the classic we all know today. A testament to the fact that time works wonders, and that no matter the challenges faced in bringing a project to life, giving up should never be an option. To learn more about the history of electric guitars, check out this video on our Youtube! Text by: Mikaël Simard