# A Foot in Coldwater



## Beatles (Feb 7, 2006)

I'm struggling to identify the guitar effects being used for the lead solos for the Foot in Coldwater song Make Me Do Anything You Want. https://m.youtube.com/watch?v=ek_Xf2HTsZo I think it's a Phase pedal with some distortion? Any suggestions would be very helpful.


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## davetcan (Feb 27, 2006)

Can't help you from work but love the band and that song


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## Cups (Jan 5, 2010)

Sounds like a rotating speaker to me.


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## mhammer (Nov 30, 2007)

It's a Leslie speaker. 

The thing about Leslies, and all other physical variants of rotating speakers is that they are essentially "post-production" effects. That is, the doppler effect produced by the slowly rotating rotor/horn, comes at the very tail end of the signal chain. What you here is what happens to the sound _after_ it has gone through the pedals, amp, and speaker. And that's what adds such richness to it. The various rotating speaker emulators try and nail the sound of an amp grinding, and a speaker breaking up...to lesser and greater degrees.

Most of the many "home console organs" that you will often see listed as "free to a good home" in Kijiji or Craigslist will have a single rotating speaker inside them, that can be easily removed and installed in a different cab, to be driven with its own amplifier. They will do the slow swirl you referred to, as well as the more bubbly-sounding faster speed. Not quite as majestic sounding as the full dual-rotor Leslie, but a very nice and inexpensive approximation. Note that the speakers included in those organ units are usually not good for more than about 15W or so, so you are limited in that respect. I drive mine with my little tweed Princeton. Kicks the ass of any chorus, flanger, or phaser, if you're aiming for "that" sound.


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## Beatles (Feb 7, 2006)

Thanks for the input. We are recording a cover of the song, and now I have a better idea. The thought of using an old rotating speaker from a used organ is definitely intriguing. I'll have to look closer into that. Can certainly be done on the cheap.


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## Adcandour (Apr 21, 2013)

I would try a distortion, phaser, with a low level tremolo or leslie simulator (it's very subtle)


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## allthumbs56 (Jul 24, 2006)

One of my favourite solos of all time. Very rich and melodic with just the right amount of comfortable laziness. I've gotten an acceptable live tone using overdrive and any one of chorus/phaser/flanger that happens to be on my board. The most important ingredient in that solo is the touch and taste you employ.


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## mhammer (Nov 30, 2007)

If you are just using it to record a cover, and not planning to do anything beyond that, try renting one of the electronic Leslie emulators. I have a Line 6 Roto Machine that does a nice emulation, though others may do a better job. There's a Tech 21 pedal too. Behringer makes a clone of the Roto-Machine with all the same features, that can probably be had for peanuts: http://www.behringer.com/EN/Products/RM600.aspx and most of the digital multi-FX floor units include a rotary emulation these days.

One thing I can't emphasize strongly enough, though: If you are going to use an electronic emulator, _it needs to be used in stereo_. The spatial swirl of a leslie is a big part of what feeds into one's phrasing. I'm certain that the luscious lazy feel of the original solo was prompted by the way it sounded to the guitarist when he held a note just a little longer and heard the sound move all around him. Mono just does NOT cut it for these effects.


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## GTmaker (Apr 24, 2006)

I allways thought that effect was mainly a flanger.
HAving used a leslie for many years, I just dont hear a leslie effect in that solo.

Just my opinion, I dont have any other insight or knowledge of what was actualy used.

G.


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## mhammer (Nov 30, 2007)

It's certainly not on fast speed, so the "bubbly" thing is not going to be there. But the grindgrind is there, as is the slightly lopped top-end that comes of having the speaker sitting inside a cab rather than mounted to an outward-facing baffle.


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## Milkman (Feb 2, 2006)

It's a Leslie.

I saw them play it live. That and another show around the same time (Copper Penny) are the main reasons I'm so hooked on the sound of a real Leslie.


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## mhammer (Nov 30, 2007)

Thank you.


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## davetcan (Feb 27, 2006)

Holy crap, I used to love Copper Penny, they were a regular here in London at the old Bavarian Tavern, as was I 



Milkman said:


> It's a Leslie.
> 
> I saw them play it live. That and another show around the same time (Copper Penny) are the main reasons I'm so hooked on the sound of a real Leslie.


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## Milkman (Feb 2, 2006)

davetcan said:


> Holy crap, I used to love Copper Penny, they were a regular here in London at the old Bavarian Tavern, as was I



Seeing Copper Penny in my early teens was a big factor for me in spending what was (for me) big bucks on the Gold top I bought in 2013.

It was just the right band at the right time of my life.

I saw them in the Lord Beaverbrook Arena in Newcastle, NB (now a part of Miramichi). I'm guessing I was around 14 so....1975?


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## davetcan (Feb 27, 2006)

Could be. I was seeing them in the early 70's, and I thought they came down from Toronto. This was a couple of years before "Sitting on a Poor Mans Throne" came out. Killer band to see in a club.

edit - some good info

http://www.garylessard.com/copperpenny/



Milkman said:


> Seeing Copper Penny in my early teens was a big factor for me in spending what was (for me) big bucks on the Gold top I bought in 2013.
> 
> It was just the right band at the right time of my life.
> 
> I saw them in the Lord Beaverbrook Arena in Newcastle, NB (now a part of Miramichi). I'm guessing I was around 14 so....1975?


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## Milkman (Feb 2, 2006)

davetcan said:


> Could be. I was seeing them in the early 70's, and I thought they came down from Toronto. This was a couple of years before "Sitting on a Poor Mans Throne" came out. Killer band to see in a club.
> 
> edit - some good info
> 
> http://www.garylessard.com/copperpenny/


Thanks Dave,

Great link.


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## Beatles (Feb 7, 2006)

The definitive answer:

From Ron Bain's old Foot site :

question 6 - Submitted by Anthony Keating for Paul Naumann. I've always been much enamoured with the sweeping, multi-dimensional sound you achieved on guitar with AFIC - particularly in your lead solos in ballads like "Make Me Do Anything You Want" and "Isn't Love Unkind". Over the years I've often tried to mimic that distinctive sound with only marginal success. I realize that equipment and electronic effects are only part of the equation: talent, aesthetic sensitivity and the unique personality of the artist are the true source of any particular sound or style, however, I'm curious to know precisely the electronic formula for achieving your "sound" including specific settings on your guiytar, special effects boxes, speaker systems etc?

Dear Mr.Keating....... Thanx for the query, it's an often asked one but I am happy to answer. Here goes....... The sounds I used on stage were rather different than my studio approach. In the studio, I used a 122 Leslie speaker cabinet + a four/ twelve Marshall 100 watt, overdriven with an amp similar to a Fender Twin (65 Watts) as the internal leslie amp can't be hit too hard. The top spinning horn was a double horn, microphones at two sides, not opposite. On stage I preferred, and still do, the Boss Chorus pedal (stereo out- and AC powered.) No, and I mean no, 9-volt appliances. Most suck and still do. Noise! I hope this answers you, and through Mr. Bain, I would be glad to answer any and all questions. Sincerely..........Paul Naumann


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## GTmaker (Apr 24, 2006)

Beatles said:


> The definitive answer:
> From Ron Bain's old Foot site :
> question 6 - Submitted by Anthony Keating for Paul Naumann. I've always been much enamoured with the sweeping, multi-dimensional sound you achieved on guitar with AFIC - particularly in your lead solos in ballads like "Make Me Do Anything You Want" and "Isn't Love Unkind". Over the years I've often tried to mimic that distinctive sound with only marginal success. I realize that equipment and electronic effects are only part of the equation: talent, aesthetic sensitivity and the unique personality of the artist are the true source of any particular sound or style, however, I'm curious to know precisely the electronic formula for achieving your "sound" including specific settings on your guiytar, special effects boxes, speaker systems etc?
> 
> Dear Mr.Keating....... Thanx for the query, it's an often asked one but I am happy to answer. Here goes....... The sounds I used on stage were rather different than my studio approach. In the studio, I used a 122 Leslie speaker cabinet + a four/ twelve Marshall 100 watt, overdriven with an amp similar to a Fender Twin (65 Watts) as the internal leslie amp can't be hit too hard. The top spinning horn was a double horn, microphones at two sides, not opposite. On stage I preferred, and still do, the Boss Chorus pedal (stereo out- and AC powered.) No, and I mean no, 9-volt appliances. Most suck and still do. Noise! I hope this answers you, and through Mr. Bain, I would be glad to answer any and all questions. Sincerely..........Paul Naumann


First I have to say thats a great reply....congrats on finding it.

My interest in the reply goes towards that Leslie horn bieng open on both ends...thats very strange.
One thing that it would do is to cut the Leslie effect in half, making it sound very different then a normal Leslie.
I'll have to assume that someone bore a hole into the pluged horn as I dont think anyone ever made them with both sides open.
learn something new every day...

G.


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## mhammer (Nov 30, 2007)

The topic of rotating speakers, and their emulation, came up yet again on the DIY Stompbox forum, much as it does every year. A very nice example of someone doing a "cheesewheel transplant" is illustrated there.

http://www.diystompboxes.com/smfforum/index.php?topic=110062.0


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