Tremolo Probe Hand Painted by Myrold New Old Stock
Tremolo Probe Hand Painted by Myrold New Old Stock
Regular price
$ 369.00 USD
Regular price
$ 369.00 USD
Sale price
$ 369.00 USD
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Here is a BRAND NEW Myrold hand painted Zvex Pedal from 2007, opened only to photograph and 9V battery removal.
About the Artist:
During his lunch break between classes in the Spring of 1997, an art student attending the Minneapolis College of Art and Design made a phone call in response to an ad in the schools bi-weekly job postings.
The phone conversation that ensued not only addressed the nature of the freelance work involved- applying artwork to small aluminum boxes with Testorﾒs hobby enamel paints, but soon became a three hour discussion about the conceptual influences of beat writers like William S. Burroughs and pop artists such as Andy Warhol on American culture.
The art student, who missed the rest of his classes that afternoon, was Jason Myrold, and the ad he answered was placed by Zachary Vex, the owner of Z.Vex Effects, a budding boutique guitar effects pedal company.
Out of this initial conversation between Vex and Myrold about art, culture, language, and ﾓword viruses,ﾔ formed a friendship and working relationship which would propel the world of boutique guitar effects pedals forward and consequently inspire countless numbers of guitarists and electronica junkies, both famous and unsung, in their quests for defining their own creative worlds.
For the better part of the decade that followed, from 1997 to 2007, Myrold was the exclusive painter for Z. Vex Effects and applied his distinct and colorful artwork to some 12,500 pieces. In addition to painting, Myroldﾒs responsibilities for preparing the aluminum enclosures that would be home to Z. Vex circuits included everything from drilling holes to applying the final ﾓlozengyﾔ clearcoat. (ﾓLozengyﾔ was the term used by Vex in describing to Myrold how he wanted the final finish to make his pedals look- like a shiny piece of candy, or rather, like a cough drop that had just been in someoneﾒs mouth.)
The success and rapid growth of Z.Vex Effects required Myrold to continuously adapt and innovate new ways to paint and manufacture by hand. Since Myrold didnﾒt work from stencils but executed each of what he called ﾓmovementsﾔ from physical memory, streamlining the application of artwork and creating simple colorful designs became both a necessity and trademark style of his painting process and would come to define the unique look of Z.Vex products.
Since his work with Z. Vex Effects, Myrold has focused on creating large scale paintings and has continued to take on commissioned projects, including the occasional custom guitar and effects pedal. His most recent work with guitar pedals is quite a departure from the days at Z. Vex, and presents a very instinctive, even violent surface. While his recent large scale work- massive paintings of flowers- is very reminiscent of his past work with Z. Vex, and explores achieving visual impact by working with a limited palette of finely tuned color fields.
About the Artist:
During his lunch break between classes in the Spring of 1997, an art student attending the Minneapolis College of Art and Design made a phone call in response to an ad in the schools bi-weekly job postings.
The phone conversation that ensued not only addressed the nature of the freelance work involved- applying artwork to small aluminum boxes with Testorﾒs hobby enamel paints, but soon became a three hour discussion about the conceptual influences of beat writers like William S. Burroughs and pop artists such as Andy Warhol on American culture.
The art student, who missed the rest of his classes that afternoon, was Jason Myrold, and the ad he answered was placed by Zachary Vex, the owner of Z.Vex Effects, a budding boutique guitar effects pedal company.
Out of this initial conversation between Vex and Myrold about art, culture, language, and ﾓword viruses,ﾔ formed a friendship and working relationship which would propel the world of boutique guitar effects pedals forward and consequently inspire countless numbers of guitarists and electronica junkies, both famous and unsung, in their quests for defining their own creative worlds.
For the better part of the decade that followed, from 1997 to 2007, Myrold was the exclusive painter for Z. Vex Effects and applied his distinct and colorful artwork to some 12,500 pieces. In addition to painting, Myroldﾒs responsibilities for preparing the aluminum enclosures that would be home to Z. Vex circuits included everything from drilling holes to applying the final ﾓlozengyﾔ clearcoat. (ﾓLozengyﾔ was the term used by Vex in describing to Myrold how he wanted the final finish to make his pedals look- like a shiny piece of candy, or rather, like a cough drop that had just been in someoneﾒs mouth.)
The success and rapid growth of Z.Vex Effects required Myrold to continuously adapt and innovate new ways to paint and manufacture by hand. Since Myrold didnﾒt work from stencils but executed each of what he called ﾓmovementsﾔ from physical memory, streamlining the application of artwork and creating simple colorful designs became both a necessity and trademark style of his painting process and would come to define the unique look of Z.Vex products.
Since his work with Z. Vex Effects, Myrold has focused on creating large scale paintings and has continued to take on commissioned projects, including the occasional custom guitar and effects pedal. His most recent work with guitar pedals is quite a departure from the days at Z. Vex, and presents a very instinctive, even violent surface. While his recent large scale work- massive paintings of flowers- is very reminiscent of his past work with Z. Vex, and explores achieving visual impact by working with a limited palette of finely tuned color fields.
