We’re going to try and give you a quick look at the major kinds of rock guitar effects. In part 1 we’ll cover the basic principles.
We realize that we now have one million sites offering insight to this topic, nonetheless 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 over 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, for the way you’ve got it set. Most boost pedals serve as a master volume control enabling you quite a number of use.
So why do I needed a lift pedal? To create your guitar volume up over the other band during a solo, to operate your amp harder by feeding it a hotter signal, to experience a set volume change with the press of the mouse.
When most guitarists focus on overdrive, they may be talking about the smooth ‘distortion’ made by their tube amps when driven to begin breaking up. Overdrive pedals are made to either replicate this tone (with limited success) or drive a tube amp into overdrive, creating those screaming tubes beyond whatever they normally would be able to do without wall shaking volume.
So why do I need an overdrive pedal? Overdrive pedals can be used as an increase pedal- which means you get those inherent benefits, you’ll find some good added girth to your tone from your distortion made by the pedal. Most overdrive pedals have tone control supplying you with wider tone shaping possibilities.
Based on our above concise explanation of overdrive, distortion is the place where overdrive leaves off. In the rock guitar world think Van Halen and beyond for any clear instance of distorted guitar tone. Distortion pedals often emulate high gain amps that create thick walls of sound small tube amps usually are not competent at creating. If you’re lucky enough to possess a large Marshall, Mesa Boogie, Diezel or other monster amplifier to make your distortion you possibly will not need to have a distortion pedal. But for the remainder of us mere mortals, effects for guitarists are crucial to modern guitar tone.
How come I needed a distortion pedal? You wish to be relevant don’t you? Even with large amps, like those mentioned above, distortion pedals play a key role in modern music. They provide flexibility that boosts and overdrives simply cannot 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 on 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 planet. Some refer to it as distortion, some refer to it as fuzz, however, seeing the progression from the damaged speakers to the fuzz boxes designed to emulate those tones, I think its safest to call what Turner and Davies created/found was fuzz.
So why do I want a fuzz pedal? Ya like Hendrix, don’t ya? In all honesty, the fuzz pedal is seeing resurgence in popular music these days. Bands like Nine Inch Nails, Marilyn Manson, Muse and the White Stripes rely heavily on classic designs on recent releases.
The position of the compressor would be to deliver a much volume output. It makes the soft parts louder, and 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 produced in the studio by playing 2 tape decks, both playing a similar sounds, while an engineer would decelerate or increase the playback of one of many dupe signals. This is how you could potentially produce wooshing jet streams. The edge from the traditional tape reels is referred to as the flange.
Exactly why do I would like a flanger? A flanger will offer a new color to your tonal palette. You can tolerate out one, but you’ll never get a few of the nuance coloring in the Van Halen’s, Pink Floyd’s, or Rush’s of the world.
The phase shifter bridges the space between Flanger and Chorus. Early phasers were intended to recreate the spinning speaker of your Leslie. Phase shifting’s over use can be heard everywhere in the first couple of Van Halen albums.
So 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 in with the original signal. The outcome is supposed to sound dexspky30 several guitarists playing the same at the same time, resulting in a wide swelling sound, having said that i don’t listen to it. You are doing get a thicker more lush tone, nevertheless it doesn’t sound like a chorus of players for me.
How come I want a chorus? Because Andy Summers uses one, and Paul Raven says so… that ought to be adequate.
Like a kid, have you ever enjoy the amount knob about the TV or perhaps the radio manically turning it down and up? Yeah? Well you have been a tremolo effect.
Exactly why do I would like a tremolo pedal? 6 words for ya: The Smiths ‘How Soon Is Now’
A delay pedal creates a copy of an incoming signal and slightly time-delays its replay. You can use it to create a “slap back” (single repetition) or an echo (multiple repetitions) effect. Who amongst us can’t appreciate The Edges usage of effects for guitarists delay throughout U2s career?
How come I want a delay pedal? See Flangers answer.
A variable band-pass frequency filter… Screw all of that- you know what a wah wah is… its po-rn music! It’s Hendrix! It’s Hammett. It’s Wylde. It’s Slash.