In message
<015F67629E7F4B43B44B71B1C932877E022015F4@muexch01.Explc.net>, Jasen
Emmons <JasenE@emplive.org> writes
>Hi Roger,
>Thank you for your voice message and this email. We appreciate you
>taking the time to set the record straight. My friend and colleague,
>Jacob McMurray, said he had a good conversation with you, and we'll work
>to see that Dunlop doesn't misrepresent their new pedal. It's very
>important to us that we present an accurate historical perspective.
>
>Best,
>Jasen
>
>-----Original Message-----
>From: Roger Mayer [mailto:Roger@roger-mayer.demon.co.uk]
>Sent: Friday, January 19, 2007 4:09 AM
>To: Jasen Emmons
>Subject: Roger Mayer Octavio/Octavia Pedal Exhibit
>
>Dear Jasen,
>
>This letter is in regards to an exhibit that you have at the EMP museum:
>the Octavio / Octavia Guitar Pedal built and designed by me. By the way
>I never wrote on any boxes myself hence the confusion between Octavio
>and Octavia.
>It has come to my notice that Dunlop manufacturing is now releasing a
>clone of the Octavio pedal in your collection and making false claims as
>to provenance and use on the "Purple Haze" and "Fire" recordings. Please
>follow this link:
>
http://namm.harmony-central.com/WNAMM07/Content/Dunlop/PR/Hendrix-Octavi>o
>.html
>
>I would like to take this opportunity to set history straight.
>1.The Octavia / Octavio sound was first heard on record in the solo of
>"Purple Haze" and this solo was recorded on Feb 3rd 1967. I first met
>Jimi on Jan 11th 1967.
>2. The actual Octavia used did not have the same circuit, type of
>transformer or enclosure as your wedge shaped example, which was
>manufactured at least 20 months later. It did however use elements of an
>electronic configuration that could be considered pivotal. This first
>unit can be considered as Octavia Evo1.
>3. This Evo1 unit used germanium transistors and a ferrite transformer
>and also had limited drive capabilities. It was used in the recording of
>Purple Haze and Fire with another custom driver in a separate enclosure
>that also used germanium transistors. This driver was placed in front of
>Evo1 to give enough drive to satisfy Jimi.
>4. After the recordings Evo 1 was never used again in it's original form
>and consigned to the trash bin.
>5. It became obvious that both the driver section and the Octavia
>section should be combined into one box.
>6. The path of development and understanding through experimentation was
>continuous and fast like in motor racing and in the space of less than a
>year at least 15 variations and evolutions had been produced.
>7. These units were used by Jimi and not housed in a wedge shaped box.
>Some only had a life of a week or so as we both learned and experimented
>and moved on. It can be thought of as racecar development throughout a
>season. Maybe the same chassis configuration but lots of component
>changes.
>8. Later that year we began recording "Axis Bold as Love" which used
>the latest evo of Octavia on several tracks and if you listen carefully
>the clarity and detail of the Octavia effect was much more defined. Of
>course at the same time I was updating, building and customising the
>distortion units to compliment the latest evo of Octavia.
>9. At the end of 1967 I designed the wedge shaped enclosure that was
>manufactured by my father's electronic company and only 5 or so examples
>were made.
>10. The latest evo of the Octavia were housed in these new enclosures
>and still used germanium transistors and ferrite transformers. They
>however had a DPDT foot switch which the previous versions did not have
>which were primarily designed for studio work and not suited for
>touring.
>11. These first boxed used different knobs than the example you have and
>did not have a moulded in shoulder to cover the mounting nut. They were
>a tapered conical shape and made in silver plastic.
>12. I went on tour to the USA with Jimi from Jan 30th 1968 until April
>19th 1968 where the Octavia was used on a few special gigs. We did not
>use it everyday owing to fact they custom made and could not be replaced
>as I was on tour as well. Having gear stolen from the stage was a real
>problem every night. We never lost an Octavia though. Jimi and I kept
>the Octavias save with us at all times.
>13. After the winter 68 tour in the USA I returned to work at Olympic
>Studios having left the Admiralty Research Laboratories to start a new
>career designing and manufacturing recording studio consoles and
>associated outboard equipment. I of course still kept in close contact
>with Jimi and the Octavia development continued on. I was also meeting
>lots of other famous musicians and bands that came to the studio and
>also expressed a desire to have an Octavia example.
>14. It became obvious that a more rugged type of Octavia using silicon
>transistors and iron type audio transformer would be needed for rugged
>stage use. The use of low noise silicon transistors was an improvement
>in temperature stability over the germanium type. The iron laminations
>of the audio transformer did not have the detail of ferrite but overall
>was more rugged and not subject to breakage from dropping. Ferrite cores
>can be damaged more easily than iron laminations.
>15. At the end of 1968 I decided to build a limited run of 5 or so
>Octavias and 5 Distortion Pedals all housed in the wedge enclosure.
>16. The Octavia configuration used for the driver comprised of
>complimentary NPN PNP low noise silicon transistors driving a
>commercially obtained iron audio driver transformer. The biasing for
>these units were also varied to operate from 24V for studio work to an
>optimised version using an internal 9 Volt battery. This series of
>pedals used the type of knobs you have on your exhibit at EMP.
>17. These units were completed in early 1969 and went to guitar players
>like. Syd Barrett - Pink Floyd, Steve Marriot - Small Faces Peter
>Frampton - Small Faces. Jimi of course had some too.
>18. In May 1969 I went to live in New York City with my new married
>American wife and started Roger Mayer Electronics building and designing
>studio equipment. I also had taken a few of the remaining 10 pedals with
>me to New York. I of course was still in contact with Jimi and the
>development of the Octavia continued. The aim now was to get rid of the
>transformer altogether and Jimi and I got together at the Record Plant
>and Hit Factory to play with the latest evos.
>19. After Christmas 1969 I get a call from Jimi saying he needs an
>Octavia for his upcoming gig News Years eve at the Fillmore East as all
>his ones were gone missing. Luckily I had an Octavia and distortion left
>from the 10 I had made earlier that year and took these to rehearsal for
>the Band of Gypsys concert. The results can be heard on Machine Gun etc.
>20. 1970 saw Jimi real busy but I still caught up with him in the studio
>and showed him the latest version of the Octavia.
>21. In October whist working with Stevie Wonder at Media Studios I hear
>of Jimi's death. The session was called and everybody was very sad.
>22. The Rocket version of the Octavia is the latest version connected
>with Jimi and does not use a transformer but represents the last of the
>development directly inspired by Jimi.
>23. This is the reason I have never myself made a replica wedge box or
>indeed ever claimed that the Rocket Box was used was on "Purple Haze"
>or "Fire". The wedge box you have was never used on these records and
>was made at least 20 months after the fact. You indeed do have a piece
>of music history that may have been owned and used by Jimi but not on
>those tracks or "Axis Bold as Love".
>24. I could of course have lied years ago and made false claims about
>making the exact same box that was used on Purple Haze but I have not
>nor do I. I am totally against anybody else getting away with such lies.
>25. The spirit of the Octavia sound lives on and the latest version the
>Vision Octavia is an evolution Jimi would have loved.
>26. I would really appreciate your help in setting the facts straight as
>history should be correct and I don't feel that anyone at EMP can afford
>to be associated with helping pervert the truth. I contacted you as soon
>as I knew of this cynical attempt to commercialise your exhibit. Now you
>have the facts I feel confident you will take necessary, swift and
>appropriate action with the parties involved to set Jimi's history back
>on the correct path. My fortunate involvement with Jimi and being part
>of music history is payment enough and I know Paul Allen has a deep love
>of music too and an interest in keeping the spirit of music alive.
>27. Jacob McMurray your associate suggested that I take a look at your
>text surrounding this exhibit and offer my comments as to make it's
>place in history correct and I of course will be delighted to help EMP
>in any way I can.
>
--
Kindest regards,
Roger Mayer
www.roger-mayer.co.uk"experience the difference"
