Musicians of all varieties use Origin Effects pedals; we’ve been contacted by electric and acoustic guitarists, bassists, lap steel players, singer, sound engineers, producers, and even the composer of the DOOM video game soundtrack. We can now add Music Supervisor to our talent pool following this email we received from the esteemed, Mr Matt Biffa:
“I had to drop you a note to say I got my RevivalDRIVE last week, and it is just mind-blowingly amazing. As someone who suffers from option paralysis I was slightly scared it was going to be a bit too complicated to get to grips with, but actually, it’s really intuitive, thanks in no small part to the incredibly comprehensive instruction manual.
“Cut a long story short, it’s bloody awesome, I’m blown away, it’s honestly the best sounding drive I’ve ever played through, and my fingers are totally shredded because I can’t stop playing…”
Mr Biffa is well known for his work on movies such as Harry Brown, Severance, and ‘Harry Potter & The Goblet Of Fire’, for which he put together a wizarding rock group consisting of Jarvis Cocker from Pulp, and Jonny Greenwood and Philip Selway from Radiohead. Matt’s work also focusses on television shows, including a recent collaborative project with Graham Coxon of Blur fame.
“My playing and rig etc is mainly for my own pleasure, with a bit of studio work thrown in for various film or TV things, and jamming with my kids! Playing does help translate what directors and producers are asking composers or artists to do – often they spout all sorts of flowery rubbish, and really what they mean is they want a passage to have minor chords in it.
“I do often work with our mutual friend Graham Coxon, most recently on a Netflix thing called ‘The End Of The F**king World‘, which has weirdly been a massive hit and both the songs and Graham’s score have been brilliantly received. I texted him yesterday raving about the Revival Drive, and he’s keen to check that out, for sure. He does like a bit of thunderous bass, does our Graham, and the RD can certainly deliver on that front! I got my Cali76 Compact Deluxe after trying the one he was using with his acoustic rig, and I immediately ditched my SP compressor the next day. In fact, I was so impressed with it that I wrote to Jack thanking you guys, and I still marvel at how beautiful it sounds.
“Back to Graham and ‘TEOTFW’ – that was really a case of needing someone who could take a British style and give it an American slant as if Bert Jansch had been born in the Mississippi, and I basically knew that only Coxon could nail that – “Paris Essex” we called it. He did it all upstairs in his studio, which I think you’ve visited?
“So I do work with composers on film and TV stuff, but my real expertise – if you can call it that – is in working with the director to come up with songs, and that’s really a bit of instinct and a lot of hard work trying lots of different things out. I sometimes get it right first time, but mostly it’s about seeing what the parameters are, and that means throwing some wrong stuff to really know where you can go if that makes sense?”