We’re going to attempt to give a quick consider the major varieties of guitar pedals review. In part 1 we’ll cover the basics.
We know that you have one million websites offering insight for this topic, but its been our experience that they’re authored by engineers, not musicians… they read like microwave manuals as opposed to 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 enhancement pedal will give your signal a volume boost – or cut, depending on how you’ve got it set. Most boost pedals behave as a master volume control allowing you a fairly number of use.
Exactly why do I need a lift pedal? To take your guitar volume up over the rest of the band during a solo, to operate your amp harder by feeding it a hotter signal, to get a set volume change on the press of the mouse.
When most guitarists focus on overdrive, they may be discussing the smooth ‘distortion’ produced 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 anything they normally would be able to do without wall shaking volume.
Why do I want an overdrive pedal? Overdrive pedals can be used a lift pedal- so you get those inherent benefits, you’ll get some added girth for your tone through the distortion created by the pedal. Most overdrive pedals have tone control providing you with wider tone shaping possibilities.
Based on our above concise explanation of overdrive, distortion is the place where overdrive leaves off. Within the rock guitar world think Van Halen and beyond for a clear demonstration of distorted guitar tone. Distortion pedals often emulate high gain amps that create thick walls of sound small tube amps usually are not able to creating. If you’re lucky enough to have a large Marshall, Mesa Boogie, Diezel or other monster amplifier to make your distortion you may not want a distortion pedal. But for the rest of us mere mortals, effects for guitarists are necessary to modern guitar tone.
So why do I needed a distortion pedal? You wish to be relevant don’t you? Despite large amps, like those mentioned above, distortion pedals play a key role in modern music. They provide flexibility that boosts and overdrives cannot rival.
God bless Ike Turner as well as the Kinks. Both acts achieved their landmark tones by making use of 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 roughly the legends get it. No matter how they got it, their tone changed the planet. Some consider it distortion, some refer to it as fuzz, however, seeing the progression from the damaged speakers towards the fuzz boxes manufactured to emulate those tones, I think its safest to call what Turner and Davies created/discovered was fuzz.
Exactly why do 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 currently. Bands like Nine Inch Nails, Marilyn Manson, Muse and also the White Stripes rely heavily on classic designs on recent releases.
The work of your compressor is always to deliver an even volume output. It will make the soft parts louder, as well as the loud parts softer. Current country music guitar tone is driven through 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 decrease or speed up the playback of one of many dupe signals. This is how you could produce wooshing jet streams. The edge of your old school tape reels is referred to as the flange.
How come I would like a flanger? A flanger will offer a fresh color in your tonal palette. You are able to accept 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 gap between Flanger and Chorus. Early phasers were meant to recreate the spinning speaker of a Leslie. Phase shifting’s over use might be heard everywhere in the first couple of Van Halen albums.
How come 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 with the original signal. The effect should certainly sound dexspky30 several guitarists playing the same concurrently, creating a wide swelling sound, nevertheless i don’t listen to it. You do obtain a thicker more lush tone, but it doesn’t appear to be a chorus of players in my opinion.
Why do I want a chorus? Because Andy Summers uses one, and Paul Raven says so… which should be sufficient.
Like a kid, did you ever play with the quantity knob around the TV or even the radio manically turning it all around? Yeah? Well you were a tremolo effect.
How come I would like a tremolo pedal? 6 words for ya: The Smiths ‘How Soon Is Now’
A delay pedal produces a copy of your incoming signal and slightly time-delays its replay. You can use it to create a “slap back” (single repetition) or even an echo (multiple repetitions) effect. Who amongst us can’t appreciate The Edges use of effects for guitarists delay throughout U2s career?
So why do I need 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.