Our columnist’s musings on honey bring him back to a forgotten little guitar company in Japanese history that didn’t last very long, but produced some interesting models.
One of the guys I work with is such an interesting fella. Dylan has an opinion on literally every topic, and I take amusement by asking him all sorts of probing questions.
For instance, he only wears t-shirts made from a certain blend (I’ll wear anything), and he likes smoke-infused whiskey (I drink mine straight), and he can go into great detail about an array of things like infusers, griddles, recording software, artificial intelligence, and the list just goes on and on. It seems like I, on the other hand, only have a certain amount of brain bandwidth and I don’t really ponder things of the material world, unless it’s guitar-related.
Recently, he was telling me about the rise of hot honey! He’s always telling me about recipes and how he uses it, but I have to say, anything that’s hot always turns me off. I used to love heat and spice and I could really eat anything. Yours truly even won a chicken-wing-eating contest (101 wings, baby!) with scorching hot sauce. I can even remember working at a restaurant back in the day, and the cooks were always challenging me with hot-sauce concoctions. Even the Jamaican dudes there couldn’t believe how I could inhale heat without a tear. Alas, all the years of trashing my body eventually caught up with me, and now if I eat anything that’s spicy, my belly and bowels just give up the ghost.
So, all this talk with Dylan about hot sauces and hot honey got me thinking about the old guitar brand, Honey. Looking back, I can’t believe I’ve never written about the little company before, but it was just a blip in guitar history—albeit a cool blip.
The story goes that in 1965 the Japanese guitar company Kawai had purchased the Teisco company. Teisco had its headquarters in Tokyo and made mostly electronics there. The wood production was done at a plant called Teisco Gen Gakki, which was located near Matsumoto City. Within a year or so, Kawai brought all-wood production to its own plant and Teisco Gen Gakki went idle.
Some former Teisco employees, who had mostly lost their jobs in this production shift, decided to make a go of their own at the guitar business. From this time, we see the brands Firstman, Idol, and Honey. The Honey Company made all sorts of products, including amps and guitars, and the company only sold in the Japanese market. Honey had a few wild designs, but mostly the guitars were copies of Rickenbacker, Gibson, and Höfner. But then there were these crazy one-off models, like this Honey Happening guitar from 1968. I’ve never seen another one and the only photos I can find online are all of this same guitar! One of my good Japanese friends gifted this to me.
The Happening takes its name from common terminology of the time, like, “It’s what’s happening,” meaning “hip” or “cool,” but this one is one of the coolest, with that elongated upper bout contrasting a super-short lower one. It has a Bigsby copy resting on the beveled-out section at the butt, which is another detail that’s rarely seen. If you check out the pickguard, there’s a cute little bumblebee there with “happening” written across in an old typeface. The headstock design is also noteworthy, featuring an extra-large truss-rod cover with two little diamond-shaped accents.
This solidbody is powered by two sizzling pickups that are Mosrite copies. It has a stinging sound—sorry—and sets up well with the adjustable bridge. Electronics round out with simple volume/tone knobs and a 3-way pickup selector switch. The only part I personally dislike on this guitar is the tuners, which can be finicky. But the guitar itself is surprisingly well-balanced and is a joy to play.
The Honey Company started business in early 1967 but was bankrupt in March of 1969. All Honey guitars and amps are extremely hard to find today, and if you have a good example, consider yourself one of the lucky ones. So instead of hot honey, let’s give a little props to a cool Honey.
1968 Honey Happening Guitar Demo
Frank’s friend Mike Dugan demos the Honey Happening 6-string.
- Last Call: Big in Japan ›
- Transistor-Saurus Rex: Vintage Guitars with Onboard Amps ›
- Weird Guitars: Vintage Freak Show ›
- Vintage Tone Revolution: Zashabuti Unveils ZAMP Pedal - Premier Guitar ›
Mooer's Ocean Machine II is designed to bring superior delay and reverb algorithms, nine distinct delay types, nine hi-fidelity reverb types, tap tempo functionality, a new and improved looper, customizable effect chains, MIDI connectivity, expression pedal support, and durable construction.
Similarly to the original, the Ocean Machine II offers two independent delay modules, each with nine different delay types of up to two seconds, including household names such as digital, tape, and echo delays, as well as more abstract options, such as galaxy, crystal, and rainbow. A high-fidelity reverb module complements these delays with nine reverb types, as well as a shimmer effect. Each delay and reverb effect can also be ‘frozen,’ creating static ambient drones, an effect that sounds particularly impressive considering the pedal’s DSP upgrades.
While the original Ocean Machine’s looping capabilities provided just 44 seconds of loop storage, the new addition features an impressive 120 seconds. To experiment with this feature, along with OceanMachine II’s other sonic capabilities, users can use an intuitive LCD screen along with 12 knobs (four for each delay and reverb module) to easily adjust parameters within the device’s ‘Play Mode.’ Three footswitches are also provided to facilitate independent effect toggling, tap tempo control, looper interfacing, and a preset selector.
Once the guitarist has crafted an interesting effect chain, they can save their work as a preset and enter ‘Patch Mode,’ in which they can toggle between saved settings with each of the three footswitches. In total, the Ocean Machine II provides eight preset storage banks, each of which supports up to threepresets, resulting in a total of 24 save slots.
The pedal’s versatility is further enhanced by its programmable parallel and serial effect chain hybrid, a signature element of Devin Townsend’s tone creation. This feature allows users to customize the order of effects, providing endless creative possibilities. Further programming options can be accessed through the LED screen, which impressively includes synchronizable MIDI connectivity, a feature that was absent in the original Ocean Machine.
In addition to MIDI, the pedal supports various external control systems, including expression pedal input through a TRS cable. Furthermore, the pedal is compatible with MOOER's F4 wireless footswitch, allowing for extended capabilities for mapping presets and other features. A USB-C port is also available for firmware updates, ensuring that the pedal remains up-to-date with the latest features and improvements.
Considering the experimental nature of Devin Townsend’s performances, MOOER has also gone above and beyond to facilitate the seamless integration of Ocean Machine II into any audio setup. The device features full stereo inputs and outputs, as well as adjustable global EQ settings, letting users tailor their sound to suit different environments. Guitarists can also customize their effect chains to be used with true bypass or DSP (buffered) bypass, depending on their preferences and specific use cases.
Overall, Ocean Machine II brings higher-quality delay and reverb algorithms, augmented looping support, and various updated connections to Devin Townsend’s original device. As per MOOER’s typical standard, the pedal is engineered to withstand the rigors of touring and frequent use, allowing guitars to bring their special creations and atmospheric drones to the stage.
Key Features
- Improved DSP algorithms for superior delay and reverb quality
- Nine distinct delay types that support up to 2 seconds of delay time: digital, analog, tape, echo,liquid, rainbow, crystal, low-bit, and fuzzy delays
- Nine hi-fidelity reverb types: room, hall, plate, distorted reverb, flanger reverb, filter reverb,reverse, spring, and modulated reverb
- Freeze feedback feature, supported for both delay and reverb effects
- Tap tempo footswitch functionality
- New and improved looper supporting up to 120 seconds of recording time, along withoverdubbing capabilities, half-speed, and reverse effects.
- Customizable order of effects in parallel or series chains
- Flexible bypass options supporting both true bypass and DSP bypass
- Large LCD screen, controllable through twelve easy-to-use physical knobs for real-time parameter adjustments.
- Adjustable Global EQ Settings
- Full stereo inputs and outputs
- Synchronizable and mappable MIDI In and Thru support
- USB-C port for firmware updates
- External expression pedal support via TRS cable
- Support for the MOOER F4 wireless footswitch (sold separately)
- Designed for durability and reliability in both studio and live environments.
The Ocean Machine will be available from official MOOER dealers and distributors worldwide on September 10, 2024.
For more information, please visit mooeraudio.com.
MOOER Ocean Machine II Official Demo Video - YouTube
Some of us love drum machines and synths, and others don’t, but we all love Billy.
Billy Gibbons is an undisputable guitar force whose feel, tone, and all-around vibe make him the highest level of hero. But that’s not to say he hasn’t made some odd choices in his career, like when ZZ Top re-recorded parts of their classic albums for CD release. And fans will argue which era of the band’s career is best. Some of us love drum machines and synths and others don’t, but we all love Billy.
This episode is sponsored by Magnatone
An '80s-era cult favorite is back.
Originally released in the 1980s, the Victory has long been a cult favorite among guitarists for its distinctive double cutaway design and excellent upper-fret access. These new models feature flexible electronics, enhanced body contours, improved weight and balance, and an Explorer headstock shape.
A Cult Classic Made Modern
The new Victory features refined body contours, improved weight and balance, and an updated headstock shape based on the popular Gibson Explorer.
Effortless Playing
With a fast-playing SlimTaper neck profile and ebony fretboard with a compound radius, the Victory delivers low action without fret buzz everywhere on the fretboard.
Flexible Electronics
The two 80s Tribute humbucker pickups are wired to push/pull master volume and tone controls for coil splitting and inner/outer coil selection when the coils are split.
For more information, please visit gibson.com.
Gibson Victory Figured Top Electric Guitar - Iguana Burst
Victory Figured Top Iguana BurstThe SDE-3 fuses the vintage digital character of the legendary Roland SDE-3000 rackmount delay into a pedalboard-friendly stompbox with a host of modern features.
Released in 1983, the Roland SDE-3000 rackmount delay was a staple for pro players of the era and remains revered for its rich analog/digital hybrid sound and distinctive modulation. BOSS reimagined this retro classic in 2023 with the acclaimed SDE-3000D and SDE-3000EVH, two wide-format pedals with stereo sound, advanced features, and expanded connectivity. The SDE-3 brings the authentic SDE-3000 vibe to a streamlined BOSS compact, enhanced with innovative creative tools for every musical style. The SDE-3 delivers evocative delay sounds that drip with warmth and musicality. The efficient panel provides the primary controls of its vintage benchmark—including delay time, feedback, and independent rate and depth knobs for the modulation—plus additional knobs for expanded sonic potential.
A wide range of tones are available, from basic mono delays and ’80s-style mod/delay combos to moody textures for ambient, chill, and lo-fi music. Along with reproducing the SDE-3000's original mono sound, the SDE-3 includes a powerful Offset knob to create interesting tones with two simultaneous delays. With one simple control, the user can instantly add a second delay to the primary delay. This provides a wealth of mono and stereo colors not available with other delay pedals, including unique doubled sounds and timed dual delays with tap tempo control. The versatile SDE-3 provides output configurations to suit any stage or studio scenario.
Two stereo modes include discrete left/right delays and a panning option for ultra-wide sounds that move across the stereo field. Dry and effect-only signals can be sent to two amps for wet/dry setups, and the direct sound can be muted for studio mixing and parallel effect rigs. The SDE-3 offers numerous control options to enhance live and studio performances. Tap tempo mode is available with a press and hold of the pedal switch, while the TRS MIDI input can be used to sync the delay time with clock signals from DAWs, pedals, and drum machines. Optional external footswitches provide on-demand access to tap tempo and a hold function for on-the-fly looping. Alternately, an expression pedal can be used to control the Level, Feedback, and Time knobs for delay mix adjustment, wild pitch effects, and dramatic self-oscillation.
The new BOSS SDE-3 Dual Delay Pedal will be available for purchase at authorized U.S. BOSS retailers in October for $219.99. To learn more, visit www.boss.info.