We’re going in order to give a quick look at the major kinds of effects for guitar players. In part 1 we’ll cover the basic principles.
We realize that you have millions of sites offering insight to the topic, however its been our experience that they’re authored by engineers, not musicians… they read like microwave manuals rather than a helpful resource… Anyway… off we go.
I can’t really milk more than a few lines using this topic. It’s pretty cut and dry- an increase pedal can give your signal a volume boost – or cut, depending on how you’ve got it set. Most boost pedals serve as a master volume control enabling you a pretty great deal of use.
Why do I want a lift pedal? To create your guitar volume up over the other band during a solo, to operate a vehicle 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 referring to the smooth ‘distortion’ made 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 whatever they normally can do without wall shaking volume.
How come I need an overdrive pedal? Overdrive pedals bring an increase pedal- which means you get those inherent benefits, you’ll get some good added girth to your tone through the distortion developed by the pedal. Most overdrive pedals have tone control supplying you with wider tone shaping possibilities.
Depending on our above definition of overdrive, distortion is how overdrive leaves off. Within the rock guitar world think Van Halen and beyond to get a clear illustration of distorted guitar tone. Distortion pedals often emulate high gain amps that create thick walls of sound small tube amps are certainly not able to creating. If you’re fortunate enough to use a large Marshall, Mesa Boogie, Diezel or any other monster amplifier to create your distortion you might not require a distortion pedal. But throughout us mere mortals, effects for guitarists are necessary to modern guitar tone.
So why do I would like a distortion pedal? You need to be relevant don’t you? Even with large amps, like those mentioned above, distortion pedals play an important role in modern music. They have flexibility that boosts and overdrives simply cannot rival.
God bless Ike Turner as well as the Kinks. Both acts achieved their landmark tones by utilizing abused speaker cabinets. Ike dropped his on the street walking in to Sun Records to record Rocket 88, the Kinks cut their speakers with knives or more the legends already have it. No matter how they got it, their tone changed the globe. Some consider it distortion, some refer to it as fuzz, however, seeing the progression from all of these damaged speakers to the fuzz boxes created to emulate those tones, I feel its safest to call what Turner and Davies created/came across was fuzz.
How come I would like a fuzz pedal? Ya like Hendrix, don’t ya? In all of the honesty, the fuzz pedal is seeing resurgence in popular music today. Bands like Nine Inch Nails, Marilyn Manson, Muse along with the White Stripes rely heavily on classic designs on recent releases.
The task of the compressor is always to deliver a much volume output. It makes the soft parts louder, as well as the loud parts softer. Current country music guitar tone is driven through compression.
Why do you really need 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 exactly the same sounds, while an engineer would decelerate or accelerate the playback of one of several dupe signals. This is how you might produce wooshing jet streams. The advantage of the old fashioned tape reels is known as the flange.
Exactly why do I needed a flanger? A flanger will give you a fresh color in your tonal palette. It is possible to deal 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 globe.
The phase shifter bridges the gap between Flanger and Chorus. Early phasers were meant to recreate the spinning speaker of any Leslie. Phase shifting’s over use could be heard everywhere in the first few Van Halen albums.
So why do I need a phase shifter? See Flangers answer.
Chorus pedals split your signal into two, modulates one of those by slowing it down and detuning it, then mixes it back in using the original signal. The outcome should really sound dexspky30 several guitarists playing the same thing simultaneously, resulting in a wide swelling sound, having said that i don’t hear it. One does get a thicker more lush tone, however it doesn’t seem to be a chorus of players if you ask me.
So why do I need a chorus? Because Andy Summers uses one, and Paul Raven says so… that ought to be sufficient.
Being a kid, would you ever fiddle with the amount knob on the TV or perhaps the radio manically turning it all around? Yeah? Well you have been a tremolo effect.
Exactly why do I need 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. It can be used to create a “slap back” (single repetition) or perhaps echo (multiple repetitions) effect. Who amongst us can’t appreciate The Sides utilization of guitar pedal reviews delay throughout U2s career?
Why do I need 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.