We’re going in order to give you a quick look at the major kinds of guitar effects pedals. Here in part 1 we’ll cover the fundamentals.
We understand that you have millions of websites offering insight to this particular topic, but its been our experience that they’re created 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 can give your signal a volume boost – or cut, for the way you’ve got it set. Most boost pedals act as a master volume control enabling you a fairly great deal of use.
Exactly why do I would like a lift pedal? To take your guitar volume up over the other band during the solo, to operate your amp harder by feeding it a hotter signal, to get a set volume change with the press of the mouse.
When most guitarists speak about overdrive, they are discussing the smooth ‘distortion’ produced by their tube amps when driven to begin breaking apart. Overdrive pedals are created to either replicate this tone (with limited success) or drive a tube amp into overdrive, creating those screaming tubes beyond the things they normally would be able to do without wall shaking volume.
How come I need an overdrive pedal? Overdrive pedals bring an enhancement pedal- so that you get those inherent benefits, you’ll get some added girth to your tone from the distortion created by the pedal. Most overdrive pedals have tone control supplying you with wider tone shaping possibilities.
According to our above concise explanation of overdrive, distortion is when overdrive leaves off. In the rock guitar world think Van Halen and beyond for a clear example of distorted guitar tone. Distortion pedals often emulate high gain amps that produce thick walls of sound small tube amps are not effective at creating. If you’re fortunate enough to have got a large Marshall, Mesa Boogie, Diezel or any other monster amplifier to create your distortion you might not need a distortion pedal. But for the rest of us mere mortals, guitar effects pedals are necessary to modern guitar tone.
How come I would like a distortion pedal? You want to be relevant don’t you? In spite of large amps, like those mentioned previously, distortion pedals play a vital role in modern music. They provide flexibility that boosts and overdrives simply cannot rival.
God bless Ike Turner along with the Kinks. Both acts achieved their landmark tones by utilizing 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 roughly the legends already have it. Regardless of how they got it, their tone changed the planet. Some refer to it as distortion, some refer to it as fuzz, however, seeing the progression from the damaged speakers for the fuzz boxes designed to emulate those tones, I feel its safest to call what Turner and Davies created/discovered was fuzz.
Exactly why do I needed a fuzz pedal? Ya like Hendrix, don’t ya? In all of the honesty, the fuzz pedal is seeing resurgence in popular music currently. Bands like Nine Inch Nails, Marilyn Manson, Muse along with the White Stripes rely heavily on classic designs on recent releases.
The job of a compressor is always to deliver a level volume output. This makes the soft parts louder, along with the loud parts softer. Current country music guitar tone is driven through 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 slow or increase the playback of one of many dupe signals. This is the way you could potentially produce wooshing jet streams. The edge in the old school tape reels is named the flange.
Exactly why do I want a flanger? A flanger will provide a whole new color to the tonal palette. You are able to live with out one, but you’ll never get a number of the nuance coloring of 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 meant to recreate the spinning speaker of the Leslie. Phase shifting’s over use might be heard everywhere in the first few Van Halen albums.
How come I would like a phase shifter? See Flangers answer.
Chorus pedals split your signal into two, modulates one by slowing it down and detuning it, then mixes it in together with the original signal. The outcome should really sound dexspky30 several guitarists playing exactly the same thing concurrently, producing a wide swelling sound, nevertheless i don’t hear it. You are doing get yourself a thicker more lush tone, but it doesn’t appear to be a chorus of players to me.
Exactly why do I needed a chorus? Because Andy Summers uses one, and Paul Raven says so… that needs to be good enough.
Being a kid, do you ever play with the volume knob about the TV or perhaps the radio manically turning it all around? Yeah? Well that you were a tremolo effect.
How come I want a tremolo pedal? 6 words for ya: The Smiths ‘How Soon Is Now’
A delay pedal creates a copy of your incoming signal and slightly time-delays its replay. You can use it to generate a “slap back” (single repetition) or perhaps an echo (multiple repetitions) effect. Who amongst us can’t appreciate The Edges usage of electric guitar effects pedal 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.