We’re going in order to give a quick look at the major varieties of guitar effects pedals. Here in part 1 we’ll cover the basic principles.
We all know that there are millions of internet sites offering insight to this particular topic, nonetheless 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 work as a master volume control allowing you quite a wide range of use.
So why do I needed an enhancement pedal? To bring your guitar volume up over the remainder of the band in a solo, to drive your amp harder by feeding it a hotter signal, to have a set volume change on the press of a button.
When most guitarists talk about overdrive, they are talking about the smooth ‘distortion’ made by their tube amps when driven to the point of breaking up. Overdrive pedals are designed to either replicate this tone (with limited success) or drive a tube amp into overdrive, creating those screaming tubes beyond whatever they normally can do without wall shaking volume.
Why do I need an overdrive pedal? Overdrive pedals can be used a boost pedal- so that you get those inherent benefits, you’ll acquire some added girth to the tone through the distortion developed by the pedal. Most overdrive pedals have tone control giving you wider tone shaping possibilities.
Based upon our above concept of overdrive, distortion is when overdrive leaves off. Within the rock guitar world think Van Halen and beyond for a clear demonstration of distorted guitar tone. Distortion pedals often emulate high gain amps that produce thick walls of sound small tube amps will not be competent at creating. If you’re fortunate enough to use a large Marshall, Mesa Boogie, Diezel or another monster amplifier to create your distortion you will possibly not need a distortion pedal. But all through us mere mortals, rock guitar effects are necessary to modern guitar tone.
How come I need a distortion pedal? You need to be relevant don’t you? Despite having large amps, like those mentioned above, distortion pedals play an integral role in modern music. They have flexibility that boosts and overdrives can not rival.
God bless Ike Turner and the Kinks. Both acts achieved their landmark tones through the use of abused speaker cabinets. Ike dropped his about the street walking straight into Sun Records to record Rocket 88, the Kinks cut their speakers with knives approximately the legends have it. Regardless how they got it, their tone changed the globe. Some consider it distortion, some call it fuzz, however, seeing the progression from these damaged speakers towards the fuzz boxes manufactured to emulate those tones, I feel its safest to call what Turner and Davies created/found was fuzz.
Why do 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 these days. Bands like Nine Inch Nails, Marilyn Manson, Muse as well as the White Stripes rely heavily on classic designs on recent releases.
The job of a compressor would be to deliver a level volume output. It makes the soft parts louder, and the loud parts softer. Current country music guitar tone is driven by the use of compression.
Why do you need a compressor? Improved sustain, increased clarity during low volume playing.
The earliest “flanger” effects were produced in the studio by playing 2 tape decks, both playing the same sounds, while an engineer would decelerate or accelerate the playback of one of several dupe signals. This is how you could produce wooshing jet streams. The edge from the old fashioned tape reels is named the flange.
Exactly why do I would like a flanger? A flanger will give you a new color in your tonal palette. You may live with out one, but you’ll never get a number of the nuance coloring in 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 supposed to recreate the spinning speaker of a Leslie. Phase shifting’s over use might be heard all around the initial Van Halen albums.
Exactly why do I want a phase shifter? See Flangers answer.
Chorus pedals split your signal into two, modulates one of them by slowing it down and detuning it, then mixes it way back in with the original signal. The impact should really sound dexspky30 several guitarists playing the exact same thing as well, creating a wide swelling sound, but I don’t hear it. One does get a thicker more lush tone, but it doesn’t sound like a chorus of players if you ask me.
So why do I needed a chorus? Because Andy Summers uses one, and Paul Raven says so… which should be sufficient.
As being a kid, have you ever fiddle with the amount knob around the TV or the radio manically turning it up and down? Yeah? Well that you were a tremolo effect.
Exactly why do I need a tremolo pedal? 6 words for ya: The Smiths ‘How Soon Is Now’
A delay pedal generates a copy of any incoming signal and slightly time-delays its replay. You can use it to produce a “slap back” (single repetition) or perhaps echo (multiple repetitions) effect. Who amongst us can’t appreciate The Sides consumption of effects for guitarists delay throughout U2s career?
Exactly why do I needed a delay pedal? See Flangers answer.
A variable band-pass frequency filter… Screw everything- do you know what a wah wah is… its po-rn music! It’s Hendrix! It’s Hammett. It’s Wylde. It’s Slash.