We’re going to try to provide a quick consider the major varieties of rock guitar effects. Here in part 1 we’ll cover the basic principles.
We know that we now have a million web sites offering insight for this topic, nonetheless its been our experience that they’re authored 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 can 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.
How come I would like an enhancement pedal? To give your guitar volume up over the rest of the band during a solo, to drive your amp harder by feeding it a hotter signal, to get a set volume change in the press of the mouse.
When most guitarists focus on overdrive, they are making reference to the smooth ‘distortion’ created by their tube amps when driven to the point of 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 the things they normally would be able to do without wall shaking volume.
So why do I needed an overdrive pedal? Overdrive pedals bring an enhancement pedal- so you get those inherent benefits, you’ll get some good added girth to the tone from the distortion developed by the pedal. Most overdrive pedals have tone control supplying you with wider tone shaping possibilities.
Depending on our above meaning of overdrive, distortion is when overdrive leaves off. Inside the rock guitar world think Van Halen and beyond for a clear illustration of distorted guitar tone. Distortion pedals often emulate high gain amps that produce thick walls of sound small tube amps usually are not able to creating. If you’re lucky enough to use a large Marshall, Mesa Boogie, Diezel or another monster amplifier to make your distortion you possibly will not want a distortion pedal. But for the rest of us mere mortals, effects for guitar players are necessary to modern guitar tone.
Why do I would like a distortion pedal? You would like to be relevant don’t you? Despite having large amps, like those mentioned above, distortion pedals play a key role in modern music. They offer flexibility that boosts and overdrives cannot rival.
God bless Ike Turner as well as the Kinks. Both acts achieved their landmark tones through the use of abused speaker cabinets. Ike dropped his in the street walking directly into Sun Records to record Rocket 88, the Kinks cut their speakers with knives approximately the legends get it. Regardless of how they got it, their tone changed the globe. Some call it distortion, some think of it fuzz, however, seeing the progression from these damaged speakers for the fuzz boxes created to emulate those tones, I do believe its safest to call what Turner and Davies created/found was fuzz.
How come I need a fuzz pedal? Ya like Hendrix, don’t ya? In all of the honesty, the fuzz pedal is seeing resurgence in popular music nowadays. Bands like Nine Inch Nails, Marilyn Manson, Muse along with the White Stripes rely heavily on classic designs on recent releases.
The work of the compressor is usually 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 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 exactly the same sounds, while an engineer would slow or speed up the playback of among the dupe signals. This is the way you might produce wooshing jet streams. The advantage of the old style tape reels is referred to as the flange.
So why do I needed a flanger? A flanger will give you a fresh color in your tonal palette. You are able to accept out one, but you’ll never get some of the nuance coloring in 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 designed to recreate the spinning speaker of the Leslie. Phase shifting’s over use might be heard all around the first few Van Halen albums.
Why do I would like a phase shifter? See Flangers answer.
Chorus pedals split your signal in 2, modulates one of these by slowing it down and detuning it, then mixes it way back in together with the original signal. The result should really sound dexspky30 several guitarists playing the same thing as well, creating a wide swelling sound, nevertheless i don’t hear it. You need to do get yourself a thicker more lush tone, however it doesn’t appear to be a chorus of players for me.
Why do I want a chorus? Because Andy Summers uses one, and Paul Raven says so… that ought to be suitable.
As being a kid, did you ever enjoy the volume knob in the TV or maybe the radio manically turning it up and down? Yeah? Well you were a tremolo effect.
Why do I need a tremolo pedal? 6 words for ya: The Smiths ‘How Soon Is Now’
A delay pedal generates a copy of the incoming signal and slightly time-delays its replay. It can be used to create a “slap back” (single repetition) or perhaps an echo (multiple repetitions) effect. Who amongst us can’t appreciate The Sides usage of electric guitar effects pedal delay throughout U2s career?
How come I needed 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.