We’re going to attempt to provide a quick check out the major kinds of guitar effects pedals. Within part 1 we’ll cover the basics.
We all know that there are one million sites offering insight to the topic, however its been our experience that they’re authored by engineers, not musicians… they read like microwave manuals instead of a helpful resource… Anyway… off we go.
I can’t really milk more than a few lines out of this topic. It’s pretty cut and dry- a lift pedal will offer your signal a volume boost – or cut, depending on how you’ve got it set. Most boost pedals serve as a master volume control enabling you a fairly wide variety of use.
Exactly why do I want an increase pedal? To take your guitar volume up over all of those other band during a solo, to get your amp harder by feeding it a hotter signal, to possess a set volume change on the press of the mouse.
When most guitarists discuss overdrive, they are talking about the smooth ‘distortion’ made by their tube amps when driven to begin breaking up. Overdrive pedals are made to either replicate this tone (with limited success) or drive a tube amp into overdrive, creating those screaming tubes beyond anything they normally would be able to do without wall shaking volume.
Exactly why do I need an overdrive pedal? Overdrive pedals can be used as a boost pedal- so that you get those inherent benefits, you’ll get some good added girth to the tone through the distortion created by the pedal. Most overdrive pedals have tone control offering you wider tone shaping possibilities.
Based on our above concept of overdrive, distortion is the place where overdrive leaves off. Within the rock guitar world think Van Halen and beyond for any clear instance of distorted guitar tone. Distortion pedals often emulate high gain amps that create thick walls of sound small tube amps are certainly not capable of creating. If you’re lucky enough to have a large Marshall, Mesa Boogie, Diezel or another monster amplifier to create your distortion you may not need a distortion pedal. But throughout us mere mortals, effects for guitarists are very important to modern guitar tone.
How come I need a distortion pedal? You want to be relevant don’t you? In spite of large amps, like those mentioned above, distortion pedals play a key role in modern music. They offer flexibility that boosts and overdrives can not rival.
God bless Ike Turner and also the Kinks. Both acts achieved their landmark tones by making use of abused speaker cabinets. Ike dropped his on the street walking in to Sun Records to record Rocket 88, the Kinks cut their speakers with knives or more the legends get it. Regardless of how they got it, their tone changed the planet. Some call it distortion, some think of it fuzz, however, seeing the progression readily available damaged speakers on the fuzz boxes manufactured to emulate those tones, I believe its safest to call what Turner and Davies created/found was fuzz.
How come I would like a fuzz pedal? Ya like Hendrix, don’t ya? In all of the honesty, the fuzz pedal is seeing resurgence in popular music today. Bands like Nine Inch Nails, Marilyn Manson, Muse along with the White Stripes rely heavily on classic designs on recent releases.
The job of the compressor is to deliver a level volume output. It will make the soft parts louder, and the loud parts softer. Current country music guitar tone is driven through compression.
Why do you require a compressor? Improved sustain, increased clarity during low volume playing.
The earliest “flanger” effects were manufactured in the studio by playing 2 tape decks, both playing the identical sounds, while an engineer would decrease or speed up the playback of among the dupe signals. This is the way you can produce wooshing jet streams. The edge from the old fashioned tape reels is referred to as the flange.
So why do I would like a flanger? A flanger will offer you a new color in your tonal palette. You may live with out one, but you’ll never get some of the nuance coloring from the Van Halen’s, Pink Floyd’s, or Rush’s of the world.
The phase shifter bridges the space between Flanger and Chorus. Early phasers were designed to recreate the spinning speaker of a Leslie. Phase shifting’s over use can be heard all around the initial Van Halen albums.
Exactly why do I would like a phase shifter? See Flangers answer.
Chorus pedals split your signal into two, modulates one of these by slowing it down and detuning it, then mixes it back using the original signal. The effect should certainly sound dexspky30 several guitarists playing the same as well, resulting in a wide swelling sound, nevertheless i don’t hear it. You need to do get yourself a thicker more lush tone, nevertheless it doesn’t seem like a chorus of players to me.
Exactly why do I need a chorus? Because Andy Summers uses one, and Paul Raven says so… which should be good enough.
As a kid, have you ever play with the volume knob in the TV or even the radio manically turning it down and up? Yeah? Well you have been a tremolo effect.
So why do I need a tremolo pedal? 6 words for ya: The Smiths ‘How Soon Is Now’
A delay pedal produces a copy of an incoming signal and slightly time-delays its replay. It can be used to produce a “slap back” (single repetition) or perhaps an echo (multiple repetitions) effect. Who amongst us can’t appreciate The Sides usage of guitar pedals review delay throughout U2s career?
Why do I want a delay pedal? See Flangers answer.
A variable band-pass frequency filter… Screw everything that- you know what a wah wah is… its po-rn music! It’s Hendrix! It’s Hammett. It’s Wylde. It’s Slash.