We’re going in order to give a quick look at the major types of electric guitar effects pedal. Here in part 1 we’ll cover the basics.
We know that you have one million web sites offering insight to this particular topic, however its been our experience that they’re published 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 will offer 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 variety of use.
So why do I needed an increase pedal? To take your guitar volume up over the rest of the band during the solo, to operate your amp harder by feeding it a hotter signal, to possess a set volume change on the press of the mouse.
When most guitarists focus on overdrive, they can be making reference to the smooth ‘distortion’ manufactured by their tube amps when driven to begin breaking apart. Overdrive pedals are meant 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.
How come I needed an overdrive pedal? Overdrive pedals can be used a boost pedal- which means you get those inherent benefits, you’ll get some added girth to the tone through the distortion created by the pedal. Most overdrive pedals have tone control providing you with wider tone shaping possibilities.
Depending on our above meaning of overdrive, distortion is how overdrive leaves off. Inside the rock guitar world think Van Halen and beyond for any clear example of distorted guitar tone. Distortion pedals often emulate high gain amps that produce thick walls of sound small tube amps are not effective at creating. If you’re fortunate enough to have got a large Marshall, Mesa Boogie, Diezel or some other monster amplifier to produce your distortion you will possibly not need to have a distortion pedal. But for the remainder of us mere mortals, electric guitar effects pedal are necessary to modern guitar tone.
So why do I want a distortion pedal? You want to be relevant don’t you? Despite large amps, like those stated previously, distortion pedals play an integral role in modern music. They offer flexibility that boosts and overdrives simply cannot rival.
God bless Ike Turner as well as the Kinks. Both acts achieved their landmark tones by using abused speaker cabinets. Ike dropped his about the street walking in to Sun Records to record Rocket 88, the Kinks cut their speakers with knives or so the legends have it. No matter how they got it, their tone changed the entire world. Some think of it distortion, some think of it fuzz, however, seeing the progression readily available damaged speakers on the fuzz boxes created to emulate those tones, I think its safest to call what Turner and Davies created/found was fuzz.
Why do I needed a fuzz pedal? Ya like Hendrix, don’t ya? In every honesty, the fuzz pedal is seeing resurgence in popular music nowadays. Bands like Nine Inch Nails, Marilyn Manson, Muse and also the White Stripes rely heavily on classic designs on recent releases.
The job of any compressor would be to deliver a much volume output. This makes the soft parts louder, as well as the loud parts softer. Current country music guitar tone is driven using compression.
Why do you want a compressor? Improved sustain, increased clarity during low volume playing.
The earliest “flanger” effects were manufactured in the studio by playing 2 tape decks, both playing exactly the same sounds, while an engineer would decrease or increase the playback of one of many dupe signals. This is how you could potentially produce wooshing jet streams. The advantage in the old school tape reels is known as the flange.
So why do I needed a flanger? A flanger will offer you a brand new color for your tonal palette. It is possible 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 space between Flanger and Chorus. Early phasers were meant to recreate the spinning speaker of any Leslie. Phase shifting’s over use could be heard throughout the first couple of 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 way back in together with the original signal. The outcome is supposed to sound dexspky30 several guitarists playing exactly the same thing simultaneously, producing a wide swelling sound, but I don’t listen to it. You are doing get yourself a thicker more lush tone, but it doesn’t sound like a chorus of players to me.
How come I want a chorus? Because Andy Summers uses one, and Paul Raven says so… that ought to be sufficient.
Like a kid, did you ever play with the amount knob on the TV or maybe the radio manically turning it all around? Yeah? Well you have been a tremolo effect.
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. You can use it to produce a “slap back” (single repetition) or even an echo (multiple repetitions) effect. Who amongst us can’t appreciate The Edges consumption of guitar effects pedals delay throughout U2s career?
Why do I want a delay pedal? See Flangers answer.
A variable band-pass frequency filter… Screw all that- you know what a wah wah is… its po-rn music! It’s Hendrix! It’s Hammett. It’s Wylde. It’s Slash.