We’re going in order to provide a quick check out the major forms of electric guitar effects pedal. Here in part 1 we’ll cover the basic principles.
We all know that we now have a million websites offering insight to this particular topic, however its been our experience that they’re published by engineers, not musicians… they read like microwave manuals as opposed to 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 boost pedal will give your signal a volume boost – or cut, for the way you’ve got it set. Most boost pedals behave as a master volume control enabling you quite a wide range of use.
Why do I need a boost pedal? To create 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 have a set volume change on the press of the mouse.
When most guitarists talk about overdrive, these are discussing the smooth ‘distortion’ made by their tube amps when driven to the point of 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 anything they normally can do without wall shaking volume.
Why do I want an overdrive pedal? Overdrive pedals can be used a boost pedal- which means you get those inherent benefits, you’ll get some good added girth for your tone from your distortion developed by the pedal. Most overdrive pedals have tone control giving you wider tone shaping possibilities.
Based on our above concept of overdrive, distortion is the place where overdrive leaves off. Within the rock guitar world think Van Halen and beyond for the clear instance of distorted guitar tone. Distortion pedals often emulate high gain amps that create thick walls of sound small tube amps are certainly not effective at creating. If you’re fortunate 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 rest of us mere mortals, electric guitar effects pedal are very important to modern guitar tone.
So why do I needed a distortion pedal? You would like to be relevant don’t you? Even with large amps, like those stated previously, distortion pedals play an important 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 using abused speaker cabinets. Ike dropped his around the street walking straight into Sun Records to record Rocket 88, the Kinks cut their speakers with knives roughly the legends get it. No matter how they got it, their tone changed the world. Some think of it distortion, some refer to it as fuzz, however, seeing the progression from these damaged speakers on the fuzz boxes created to emulate those tones, I do believe its safest to call what Turner and Davies created/found was fuzz.
Why do I need a fuzz pedal? Ya like Hendrix, don’t ya? In every honesty, the fuzz pedal is seeing resurgence in popular music today. Bands like Nine Inch Nails, Marilyn Manson, Muse and the White Stripes rely heavily on classic designs on recent releases.
The work of any compressor is always to deliver an even volume output. It will make the soft parts louder, along with the loud parts softer. Current country music guitar tone is driven by the use of compression.
Why do you really need a compressor? Improved sustain, increased clarity during low volume playing.
The earliest “flanger” effects were created in the studio by playing 2 tape decks, both playing the identical sounds, while an engineer would decrease or speed up the playback of one of several dupe signals. This is the way you could produce wooshing jet streams. The edge in the old school tape reels is referred to as the flange.
So why do I would like a flanger? A flanger will provide a brand new color for your tonal palette. You are able to live with 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 world.
The phase shifter bridges the gap between Flanger and Chorus. Early phasers were intended to recreate the spinning speaker of a Leslie. Phase shifting’s over use may be heard all around the first few Van Halen albums.
Why do I need a phase shifter? See Flangers answer.
Chorus pedals split your signal in 2, modulates one of those by slowing it down and detuning it, then mixes it back together with the original signal. The effect should certainly sound dexspky30 several guitarists playing the exact same thing at the same time, creating a wide swelling sound, but I don’t listen to it. You do get yourself a thicker more lush tone, however it doesn’t seem to be a chorus of players to me.
How come I needed a chorus? Because Andy Summers uses one, and Paul Raven says so… that needs to be suitable.
Being a kid, would you ever have fun with the volume knob around the TV or even the radio manically turning it up and down? Yeah? Well you have been a tremolo effect.
How come 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. It can be used to generate a “slap back” (single repetition) or perhaps echo (multiple repetitions) effect. Who amongst us can’t appreciate The Edges utilization of guitar pedal reviews delay throughout U2s career?
How come I want 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.