We’re going to try to provide a quick look at the major types of effects for guitar players. In part 1 we’ll cover the basics.
We know that we now have a million websites offering insight to the topic, nonetheless its been our experience that they’re created by engineers, not musicians… they read like microwave manuals rather than a helpful resource… Anyway… off we go.
I can’t really milk greater than a few lines out of this topic. It’s pretty cut and dry- a boost pedal will offer your signal a volume boost – or cut, for the way you’ve got it set. Most boost pedals serve as a master volume control allowing you a pretty great deal of use.
Why do I want a boost pedal? To take your guitar volume up over the rest of the band during the solo, to drive your amp harder by feeding it a hotter signal, to experience a set volume change at the press of a button.
When most guitarists focus on overdrive, they may be talking about the smooth ‘distortion’ produced 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 anything they normally would be able to do without wall shaking volume.
Why do I needed an overdrive pedal? Overdrive pedals can be used as a lift pedal- so that you get those inherent benefits, you’ll find some good added girth to your tone from the distortion created by the pedal. Most overdrive pedals have tone control providing you with wider tone shaping possibilities.
According to our above concept of overdrive, distortion is the place where overdrive leaves off. Inside the rock guitar world think Van Halen and beyond for the 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 effective at creating. If you’re lucky enough to have got a large Marshall, Mesa Boogie, Diezel or other monster amplifier to produce your distortion you might not need to have a distortion pedal. But for the remainder of us mere mortals, effects for guitarists are essential to modern guitar tone.
Exactly why do I would like a distortion pedal? You would like to be relevant don’t you? In spite of large amps, like those stated earlier, distortion pedals play a vital role in modern music. They have flexibility that boosts and overdrives can not rival.
God bless Ike Turner and also the Kinks. Both acts achieved their landmark tones by using abused speaker cabinets. Ike dropped his around the street walking directly into Sun Records to record Rocket 88, the Kinks cut their speakers with knives or so the legends get it. No matter how they got it, their tone changed the globe. Some think of it distortion, some consider it fuzz, however, seeing the progression readily available damaged speakers for the fuzz boxes designed to emulate those tones, I do believe its safest to call what Turner and Davies created/came across was fuzz.
Exactly why do I would like a fuzz pedal? Ya like Hendrix, don’t ya? In most honesty, the fuzz pedal is seeing resurgence in popular music these days. Bands like Nine Inch Nails, Marilyn Manson, Muse and also the White Stripes rely heavily on classic designs on recent releases.
The task of any compressor would be to deliver an even volume output. It makes the soft parts louder, along with the loud parts softer. Current country music guitar tone is driven by means of compression.
Why do you want 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 a similar sounds, while an engineer would slow or quicken the playback of one of the dupe signals. This is how you can produce wooshing jet streams. The edge in the traditional tape reels is called the flange.
How come I need a flanger? A flanger will offer a new color for your tonal palette. You may accept out one, but you’ll never get a few of the nuance coloring from the Van Halen’s, Pink Floyd’s, or Rush’s around the globe.
The phase shifter bridges the space between Flanger and Chorus. Early phasers were meant to recreate the spinning speaker of any Leslie. Phase shifting’s over use can be heard all around the initial Van Halen albums.
So why do I need 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 back in with all the original signal. The outcome should certainly sound dexspky30 several guitarists playing the same as well, producing a wide swelling sound, nevertheless i don’t listen to it. You need to do get a thicker more lush tone, but it doesn’t appear to be a chorus of players for me.
So why do I want a chorus? Because Andy Summers uses one, and Paul Raven says so… that should be suitable.
As being a kid, have you ever play with the volume knob around the TV or maybe the radio manically turning it up and down? Yeah? Well you have been a tremolo effect.
How come I would like a tremolo pedal? 6 words for ya: The Smiths ‘How Soon Is Now’
A delay pedal generates a copy of the incoming signal and slightly time-delays its replay. It can be used to create a “slap back” (single repetition) or an echo (multiple repetitions) effect. Who amongst us can’t appreciate The Sides consumption of guitar effects pedals delay throughout U2s career?
Exactly why do I want a delay pedal? See Flangers answer.
A variable band-pass frequency filter… Screw all of that- do you know what a wah wah is… its po-rn music! It’s Hendrix! It’s Hammett. It’s Wylde. It’s Slash.