We’re going to try and offer a quick glance at the major varieties of electric guitar effects pedal. Within part 1 we’ll cover the basics.
We all know there are a million websites offering insight for this 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- an increase pedal will 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 great deal of use.
Exactly why do I want a lift pedal? To create your guitar volume up over the rest of the band in a solo, to drive your amp harder by feeding it a hotter signal, to experience a set volume change in the press of the mouse.
When most guitarists discuss overdrive, they can be referring to the smooth ‘distortion’ created by their tube amps when driven to begin breaking up. Overdrive pedals are created to either replicate this tone (with limited success) or drive a tube amp into overdrive, creating those screaming tubes beyond what they normally would be able to do without wall shaking volume.
Why do I would like an overdrive pedal? Overdrive pedals can be used as a boost pedal- so you get those inherent benefits, you’ll acquire some added girth for your tone from your distortion made by the pedal. Most overdrive pedals have tone control offering you wider tone shaping possibilities.
According to our above concept of overdrive, distortion is the place where overdrive leaves off. From the rock guitar world think Van Halen and beyond for the clear example of distorted guitar tone. Distortion pedals often emulate high gain amps that produce thick walls of sound small tube amps usually are not able to creating. If you’re lucky enough to use a large Marshall, Mesa Boogie, Diezel or other monster amplifier to make your distortion you may not need a distortion pedal. But for the remainder of us mere mortals, electric guitar effects pedal are crucial to modern guitar tone.
How come I need a distortion pedal? You want to be relevant don’t you? Despite large amps, like those mentioned above, distortion pedals play an important role in modern music. They have flexibility that boosts and overdrives are unable to 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 in the street walking in to Sun Records to record Rocket 88, the Kinks cut their speakers with knives roughly the legends have it. Regardless of how they got it, their tone changed the world. Some consider it distortion, some refer to it as fuzz, however, seeing the progression readily available damaged speakers for the fuzz boxes built to emulate those tones, I think its safest to call what Turner and Davies created/found 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 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 can make the soft parts louder, as well as the loud parts softer. Current country music guitar tone is driven using compression.
Why do you really 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 exactly the same sounds, while an engineer would slow or quicken the playback of one of several dupe signals. This is how you could potentially produce wooshing jet streams. The edge in the traditional tape reels is known as the flange.
So why do I would like a flanger? A flanger will offer a new color in your tonal palette. You are able to live 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 of the world.
The phase shifter bridges the gap between Flanger and Chorus. Early phasers were designed to recreate the spinning speaker of a Leslie. Phase shifting’s over use could be heard everywhere in the initial Van Halen albums.
How come I need a phase shifter? See Flangers answer.
Chorus pedals split your signal in 2, modulates one of them by slowing it down and detuning it, then mixes it way back in with all the original signal. The outcome is supposed to sound dexspky30 several guitarists playing the same simultaneously, creating a wide swelling sound, nevertheless i don’t hear it. You do obtain a thicker more lush tone, nevertheless it doesn’t seem to be a chorus of players for me.
How come I want a chorus? Because Andy Summers uses one, and Paul Raven says so… which should be sufficient.
Like a kid, would you ever fiddle with the volume knob around the TV or the radio manically turning it down and up? Yeah? Well you were a tremolo effect.
Why do I need a tremolo pedal? 6 words for ya: The Smiths ‘How Soon Is Now’
A delay pedal produces a copy of the incoming signal and slightly time-delays its replay. You can use it to make a “slap back” (single repetition) or an echo (multiple repetitions) effect. Who amongst us can’t appreciate The Edges consumption 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 everything 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.