...many things, we can assume--but making records with Red Panda pedals is one thing we know for certain.
We think about our work designing pedals the way any toolmaker thinks about their craft: we usually have an idea in mind for how a product could be useful to someone, but there is never any guarantee that others will see it or use it the way we intended. This is one of the most exciting elements of creating tools for artists, specifically—creativity is at the heart of their work, so we do our best to make tools that allow for the widest possible range of expression. Each time we develop a new product, our goal is to keep the concept as clear as possible and the controls intuitive, leaving enough space for experimentation and play that will allow someone to approach the tools in their own way, and create their own sounds in as many ways as possible. This could be one small reason our pedals have continued finding their way into the hands of musicians who practice in such seemingly different styles all around the world.
The last couple of years have presented an especially unique series of challenges for artists trying to create, perform, and release new music. There have been countless setbacks, cancellations, and readjustments. Despite this unforeseen obstacle course, some great music is still being made, and we've been grateful to hear it. In light of that, we wanted to share a few recent releases from some of the artists who have made creative use of Red Panda pedals in their work.
Allison Russell, Outside Child.
Producer and guitarist Dan Knobler recounts, “Most of the Tensor stuff on Outside Child is more textural and cloudy, but it's definitely there on 'Hy-Brasil,' the outro of 'The Hunters,' and 'Little Rebirth.'” This album was nominated for several Grammys in 2021.
Andy Summers, Harmonics of the Night.
The Particle is mentioned among the pedals used in the making of this album, which is rife with melodic pitch-shifted moments, particularly in "Fantoccini," "A Certain Strangeness," and "Aeromancer."
Best Coast, Always Tomorrow.
According to Bobb Bruno, “I used the Tensor on the song 'Used To Be' for some random modulation on a guitar track and also on some of the synthesizer tracks. I've also added the Context 2 to my touring board. I love the ability to switch from my standard Plate setting to the Spring algorithm instantly and also employ the sustained reverb setting for some ambience.”
Buffalo Daughter, We Are The Times.
suGar Yoshinaga shapes her guitar sound using the Tensor during live shows and in several tracks on this record–the reverse delay can be heard in "Times," and it was used for its stuttering effect in the intro of "ET (Densha)."
Emile Parisien/Tim Lefebvre/Christian Lillinger/Michael Wollny, XXXX.
Bassist Tim Lefebvre recalls that bits of Tensor-warped solos were “sprinkled across the tracks for interesting ear candy” in the making of this record, noted in several places this year among the best jazz records of 2021.
IDLES, CRAWLER.
Guitarist Mark Bowen uses a Particle and Raster. In a recent interview with Premier Guitar, Mark notes that the guitar parts in the song "Progress" were written based on a setting he made with the Particle 2. The pedal was also used to modulate the guitar tones throughout "MTT 420 RR."
Low, HEY WHAT.
Alan Sparhawk has been known to make frequent use of the Particle over the years, and has recently added a Tensor to his kit. Both can be heard throughout this latest album. Says Alan, “On the sessions for recording HEY WHAT, I was using a guitar synth to generate a lot of the sounds. The Tensor proved to be very intuitive and useful for shaping the sounds as they came off the synth. I also use the Particle and Tensor in my live guitar setup.” Listen for them especially in "Hey," "The Price You Pay," and "Days Like These."
Mark Guiliana, Music For Doing.
A Bitmap 2 can distinctly be heard injecting bursts of crushed modulation in "Song for Making Things Right."
Rachel Eckroth, The Garden.
Another 2021 Grammy nominee, this record features a Tensor droning under the bass part on "Dried Up Roots," and subtle bits of modulation are scattered through "Under A Fig Tree."
It's been a continual source of delight to hear from these and so many other artists we admire. We're looking forward to hearing more great music in 2022.