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STAR TREK II: THE WRATH OF KHAN. I believe it's in "Battle in the Mutara Nebula." Other than Jerry's use of it in PATTON (which for me has such psychological impact, both for the character and the film), TREK II is my favourite.
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A Correction to the article on “History of Delay.” Ray Butts created a device called the EchoSonic, he had no direct involvement in the Echoplex—excepting, of course, the fact that the father of the Echoplex, Mike Battle, mimicked the basic concept for his trademark device.
The Echoplex uses a “sliding” Record head to vary the delay time—not tape speed. This way a higher quality was maintained—and part of what made it attractive to professionals in the recording industry.
For me, QB VII has perhaps the most heart-wrenching use of the Echoplex in “Jadwiga Relived” and “The Theme From QB VII—A Kaddish For The Six Million” (In the original recording, that is).
Goldsmith used the Echoplex in THE CASSANDRA CROSSING.
By 1982, when WRATH OF KHAN was recorded, most studios had junked their Echoplex units and moved on to inexpensive digital delays (which were also stereo devices and zero maintenence, whereas the Echoplex was mono and used tape cartridges that had to be replaced often). In fact, my community college recording studio had a rack mounted digital delay by 1983—and they were definitely on a budget!
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By 1982, when WRATH OF KHAN was recorded, most studios had junked their Echoplex units and moved on to inexpensive digital delays (which were also stereo devices and zero maintenence, whereas the Echoplex was mono and used tape cartridges that had to be replaced often). In fact, my community college recording studio had a rack mounted digital delay by 1983—and they were definitely on a budget!
This is great info! I was referring to echoplex more as a musical device, although I hadn't given it enough thought to realize that of course it wouldn't be the actual mono tape heads for WRATH OF KHAN, which was a digital recording. As an actual patented invention, it's incredible. As a musical device, "echoplex" used generically, it's indelible.
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I suppose the PATTON main title should be mentioned before we get to page 2 of this thread.
Perhaps the quintessential echoplex score, I'd say.
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If Leigh Phillips is going to reconstruct the score for "In Harm's Way" as Tadlow's next Goldsmith World Premiere Recording, it's going to be a challenge to find a Hammond Novachord in perfect working order (as well as finding an Echoplex) and even more challenging to recreate those sounds.
It wouldn't be that difficult because there are at least two very good Novachord sample instruments available, and a Solovox sample instrument - I have one of each and can get quite authentic vintage Goldsmith electro sounds from them. Likewise tape delay/Echoplex recreations - plenty of them out there in Midi-land, many indistinguishable from the real thing.
BTW I think the Solovox was the primary instrument used for the characteristic Satan Bug riff and In Harm's Way.
Specifically, which Novachord/Solovox/Echoplex samplers are you referring to? I know there are several Echoplex devices that guitarists use alongside amps.
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My favorite is the ARP 2600 bass line fed through the echoplex in the main and end title for Damien: Omen II. I didn't even know the echoplex was used until someone was kind enough to look at the original sketches for me at AMPAS a few years ago. It's one of the reasons I prefer the original recordings to the re-recording. It's such a mischievous and sinister sound.
You reminded me that JG used it in QB VII; I think the cue was "The Holocaust."
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Hey, hey! STAR TRACK TMP, "The Meld"!
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And there's some in THE PHANTOM TOLLBOOTH (1970), when the big gift box appears.
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Billy Goldenberg.was a master if the echoplex.
Early COLUMBO has many.fine examples.
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