We’re going to try and give a quick check out the major kinds of electric guitar effects pedal. Here in part 1 we’ll cover the basic principles.
We know that we now have one million internet sites offering insight to this particular 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 using this topic. It’s pretty cut and dry- an enhancement pedal can give your signal a volume boost – or cut, depending on how you’ve got it set. Most boost pedals act as a master volume control allowing you a pretty wide range of use.
So why do I would like a lift pedal? To bring your guitar volume up over the remainder of the band in a solo, to operate a vehicle your amp harder by feeding it a hotter signal, to possess a set volume change at the press of a button.
When most guitarists discuss overdrive, these are talking about the smooth ‘distortion’ produced by their tube amps when driven to begin breaking apart. Overdrive pedals are designed 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.
Exactly why do I need an overdrive pedal? Overdrive pedals can be used as an enhancement pedal- so you get those inherent benefits, you’ll acquire some added girth to the tone through the distortion created by the pedal. Most overdrive pedals have tone control giving you wider tone shaping possibilities.
Based upon our above definition of overdrive, distortion is the place where overdrive leaves off. In the rock guitar world think Van Halen and beyond to get a clear demonstration of distorted guitar tone. Distortion pedals often emulate high gain amps that create thick walls of sound small tube amps are not competent at creating. If you’re lucky enough to possess a large Marshall, Mesa Boogie, Diezel or some other monster amplifier to produce your distortion you will possibly not need a distortion pedal. But for the remainder of us mere mortals, effects for guitar players are essential to modern guitar tone.
Why do I want a distortion pedal? You want to be relevant don’t you? Even with large amps, like those mentioned previously, distortion pedals play a key role in modern music. They feature flexibility that boosts and overdrives can not rival.
God bless Ike Turner as well as 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 globe. Some refer to it as distortion, some refer to it as fuzz, however, seeing the progression from all of these damaged speakers to the fuzz boxes manufactured to emulate those tones, I do believe its safest to call what Turner and Davies created/discovered was fuzz.
How come I needed a fuzz pedal? Ya like Hendrix, don’t ya? In every honesty, the fuzz pedal is seeing resurgence in popular music these days. Bands like Nine Inch Nails, Marilyn Manson, Muse along with the White Stripes rely heavily on classic designs on recent releases.
The task of any compressor is always to deliver a much volume output. It makes the soft parts louder, and also 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 made in the studio by playing 2 tape decks, both playing the same sounds, while an engineer would decrease or speed up the playback of one of many dupe signals. This is how you could potentially produce wooshing jet streams. The edge from the traditional tape reels is called the flange.
Exactly why do I needed a flanger? A flanger will provide a fresh color in your tonal palette. You can deal with out one, but you’ll never get a few of the nuance coloring of the Van Halen’s, Pink Floyd’s, or Rush’s around the world.
The phase shifter bridges the gap between Flanger and Chorus. Early phasers were meant to recreate the spinning speaker of a Leslie. Phase shifting’s over use might be heard throughout the initial few Van Halen albums.
Exactly why do I need a phase shifter? See Flangers answer.
Chorus pedals split your signal in 2, modulates one of these by slowing it down and detuning it, then mixes it back in using the original signal. The effect is supposed to sound dexspky30 several guitarists playing the exact same thing simultaneously, resulting in a wide swelling sound, but I don’t listen to it. You are doing obtain a thicker more lush tone, but it really doesn’t seem like a chorus of players if you ask me.
How come I needed a chorus? Because Andy Summers uses one, and Paul Raven says so… that should be good enough.
Being a kid, have you ever fiddle with the quantity knob around the TV or the radio manically turning it down and up? 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 creates a copy of your incoming signal and slightly time-delays its replay. You can use it to create a “slap back” (single repetition) or an echo (multiple repetitions) effect. Who amongst us can’t appreciate The Edges use of rock guitar effects delay throughout U2s career?
Exactly why do I would like a delay pedal? See Flangers answer.
A variable band-pass frequency filter… Screw all of that- you know what a wah wah is… its po-rn music! It’s Hendrix! It’s Hammett. It’s Wylde. It’s Slash.