We’re going to try and give you a quick look at the major types of effects for guitar players. Here in part 1 we’ll cover the basic principles.
We realize there are millions of websites offering insight to this particular topic, however its been our experience that they’re written 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 work as a master volume control allowing you a fairly wide variety of use.
So why do I needed a lift pedal? To give your guitar volume up over the rest of the band during the solo, to operate a vehicle your amp harder by feeding it a hotter signal, to get a set volume change on the press of the mouse.
When most guitarists speak about overdrive, these are discussing the smooth ‘distortion’ created by their tube amps when driven to the point of 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 the things they normally would be able to do without wall shaking volume.
So why do I would like an overdrive pedal? Overdrive pedals can be used as an enhancement pedal- therefore you get those inherent benefits, you’ll acquire some added girth in your tone from your distortion created by the pedal. Most overdrive pedals have tone control supplying you with wider tone shaping possibilities.
Depending on our above concept of overdrive, distortion is 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 will not be effective at creating. If you’re fortunate enough to possess a large Marshall, Mesa Boogie, Diezel or some other monster amplifier to make your distortion you might not need a distortion pedal. But for the remainder of us mere mortals, guitar pedal reviews are crucial to modern guitar tone.
Why do I need a distortion pedal? You need to be relevant don’t you? Despite large amps, like those stated earlier, distortion pedals play a vital 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 directly into Sun Records to record Rocket 88, the Kinks cut their speakers with knives roughly the legends get it. Regardless how they got it, their tone changed the planet. Some think of it distortion, some refer to it as fuzz, however, seeing the progression from these damaged speakers on the fuzz boxes designed to emulate those tones, I think its safest to call what Turner and Davies created/found was fuzz.
How come I want 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 as well as the White Stripes rely heavily on classic designs on recent releases.
The work of your compressor is always to deliver a level volume output. It 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 created in the studio by playing 2 tape decks, both playing the same sounds, while an engineer would slow or increase the playback of among the dupe signals. This is the way you might produce wooshing jet streams. The edge from the traditional tape reels is known as the flange.
So why do I would like a flanger? A flanger will provide a brand new color to your tonal palette. It is possible to live with out one, but you’ll never get a number 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 intended to recreate the spinning speaker of the Leslie. Phase shifting’s over use could be heard all over the first few Van Halen albums.
How come I would like a phase shifter? See Flangers answer.
Chorus pedals split your signal into two, modulates one of these by slowing it down and detuning it, then mixes it back in with all the original signal. The result is supposed to sound dexspky30 several guitarists playing the same thing at the same time, creating a wide swelling sound, however i don’t listen to it. You do have a thicker more lush tone, but it really doesn’t appear to be a chorus of players for me.
Why do I needed a chorus? Because Andy Summers uses one, and Paul Raven says so… that should be adequate.
As being a kid, did you ever play with the volume knob in the TV or even the radio manically turning it down and up? 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 produces a copy of an incoming signal and slightly time-delays its replay. You can use it to make a “slap back” (single repetition) or even an echo (multiple repetitions) effect. Who amongst us can’t appreciate The Sides consumption of guitar effects pedals 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- you know what a wah wah is… its po-rn music! It’s Hendrix! It’s Hammett. It’s Wylde. It’s Slash.