Archive | Effects

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AMP-ED: The Reverberation Effect

Posted on 07 July 2010 by Guest Post

Guest post by Kurt Prange. Kurt is the Sales Engineer for Amplified Parts in Tempe, AZ. Kurt began playing guitar at the age of nine in Kalamazoo, MI. He is a guitar DIY’er and tube amp designer who enjoys helping other musicians along in the endless pursuit of tone.


    Photo by Fern Richardson

The Reverberation Effect

A listener standing some distance from a sound source will perceive sound that is actually a combination of direct sound and indirect sound that has been reflected from the boundaries of the listening area. The reflections are referred to as reverberation. Reverb can enhance the perceived sound from a source by adding depth, color and liveliness.

Reverb can be thought of as being composed of two parts:

1) Early reflections – shape the listener’s conception of room size
2) Cluttered reflections – convey the liveliness of a room

Imagine you are inside a large hall and you clap your hands once. The length of time required for the arrival of the very first reflections is called the delay time (usually on the order of tens of milliseconds, e.g. 33 ms) and is related to the volume of the room (or distance of the reflective surfaces from the listener). The number and density of reflections increases rapidly with time and they become cluttered while simultaneously decreasing in level until they are no longer audible. The length of time required for a sound to decrease in level by 60 dB is called the decay time (usually on the order of a few seconds, e.g. 3 s) and is related to the acoustical properties of the reflective surfaces in the listening area. For example, poured concrete walls will reflect more (absorb less) acoustic energy than drywall.

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Review: Tech 21′s Boost D.L.A.

Posted on 16 June 2010 by Dan Coplan

Tech 21 was born from Andrew Barta’s personal desire to recreate the natural sound of tube amps in a pedal. As a performing musician, Andrew used his electronics background in bringing the legendary SansAmp to market. Today, Tech 21 offers a wide range of quality audio gear for guitar and bass, all hand built right here in the good ol’ US of A. The Boost D.L.A., offered as version 2 in a copper finish, is Tech 21′s analog delay emulator with clean boost.

FRESH OUTTA THE COOKIE TIN

The pedal arrived in a cool tin box that actually could be used for cookies (Note to self: hide cookies in Tech 21 tin. Girlfriend will never look there). The all metal housing, significantly more rugged than the “cookie tin” (but too packed with electronics to hold anything more than a handful of crumbs), is standard in length but roughly 1-1/2 times wider than a typical pedal. Six easily gripped knobs control mix, feedback, tone, time, flutter, and level which extends into signal boost. A large red LED indicates power, two small push switches activate trails and triplets, and two larger heavy duty footswitches toggle ON/OFF and tap tempo. The battery is easily accessed by a removable door on the back.

A DELAY, A CLEAN BOOST, AND MORE…

The time between delays (30 to 1,000 milliseconds) is controlled by both the Time dial and Tap Tempo footswitch. The controls override each other and affect any sounds being delayed at the time. If you set tempo with the footswitch and then turn the time dial, delayed sounds will kick in to the new tempo and transpose in pitch. You can also create a similar effect using just the time dial. Warning: this is too much fun and you may get lost for hours experimenting with all sorts of warbly, cartoony, chopping, sci-fi, sped-up and slowed-down wackiness. Tap Tempo can also be used to alter the interval of an existing delayed signal. In this scenario the pitch remains the same but the rhythm of the delay and attack may be affected. More experimental fun. Dig this…you can set the tap tempo while the pedal is in bypass mode. Count off with your drummer at the start of a song and kick right in with your delay in perfect sync. Too cool.

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REVIEW: ZVEX Effects Mastotron Pedal

Posted on 28 May 2010 by Dan Coplan

Zachary Vex is the founder of ZVEX Effects, a boutique effects pedal company. ZVEX pedals are unique both in look, with truly off the wall hand painted artistry, and function, with multitudes of controls taking guitar signals to places never before imagined. The Mastotron is a new pedal in the company’s Vextron series based on a heavy silicon fuzz design.

FRESH OUTTA THE BOX

Understated in appearance (especially for ZVEX), the dark blue pedal is slightly smaller than what one would consider standard. Also different is the layout which stretches wide, rather than tall. Controls include volume, tone, pulse width, fuzz, relax/push, and subs. A small red LED on the upper-right indicates ON and OFF. The all metal construction is solid and the electronics and 9V battery are sealed tight by four screws underneath.

DON’T FIX THAT TORN SPEAKER!

When I think fuzz, I think retro so I opted for my trusty Ibanez Jet King 1 (ok, so it’s from this decade but it’s retro in style) to take me through the journey of scratch and static. I was hanging out with my good friend Johnny DeMarco who was eager to test drive the pedal so I turned over performance responsibilities to him while I dialed in the settings. We plugged straight through the pedal into a Blackheart Little Giant Half Stack.

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REVIEW: Phase One Technologies Fuzzymoto

Posted on 10 May 2010 by Dan Coplan

Phase One Technologies Fuzzymoto: Fuzz Guitar Effects Pedal

Phase One Technologies, founded in 2008 by Bill Carrigan and Mason el Hajj, is a custom shop for musicians striving to get the best sound out of their pedals and amps. They use analog solid-state and vacuum tube components exclusively and offer an existing product line as well as consultations with clients to provide custom solutions. The Fuzzymoto is a limited supply pedal inspired in sound by Mason’s love of Jimi Hendrix and in appearance by…well, you’ll have to ask the guys about that yourself.

IS THAT…AN EFFECT PEDAL?

What has two eyes, two ears, red and black fur, and a nose you’re supposed to stomp on? Why, it’s the Fuzzymoto, of course! This might be the coolest or the cutest pedal I’ve ever seen, I can’t decide. Supported by rubber feet, “Fuzzy” takes up a fair amount of real estate at 4-1/2 inches tall, 7 inches long, and 4 inches wide. Two chicken head-style dials form the eyes…I mean, allow control of volume and amount of fuzz. A heavy duty footswitch sits at the base, creating the visual of a long snout. And the whole thing is covered in red and black fur! How cool is that? Or cute? I still can’t decide. The underside is hand-etched with the name of the company, their location (Costa Mesa, CA), “The Original Fuzzymoto” and serial number a la artwork (I got “#24 of 40″). Even if you never use it to fuzz out your sound, this would just be fun to have on stage. Or to take along with you, like you do with your pet rock family. But that’s not the point.

Continue reading…

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Review: ZVEX Effects Distortron Pedal

Posted on 24 March 2010 by Dan Coplan

ZVEX Effects is a boutique pedal company named after its founder, Zachary Vex. The pedals are hand made and are as unique and fun in the hand painted artistry gracing the exterior as they are in the electronic pizzazz generated from within. The Distortron is a new pedal in the company’s Vextron series and is promoted as the “gifted little sister to the Z.Vex Box of Rock.”

FRESH OUTTA THE BOX

The mini brick I received for review was just that: brick red in color and roughly half the size of an actual brick as used in construction. It felt solid and the electronics and 9V battery were sealed tight by four screws underneath. Contrary to most pedals, the controls are laid out horizontally: Volume, Tone, Drive, 3-way mini toggle to set the low frequency (Subs), and a 2-way toggle to set low or high gain. A small red ON/OFF LED light sits in the upper-right corner. This “landscape” design is in keeping with a majority of their offerings and is equivalent in width to slightly less than two BOSS-style pedals sitting side-by-side.

ENGAGE THE DISTORTRON!

To maximize full rocking thrash I called upon my good friend Johnny DeMarco to wail away for the audio samples. He used an Ibanez Jet King in the full humbucking bridge position. This ran straight through the pedal into a Blackheart Little Giant Half Stack. As a base, all dials were set to 5 (on a scale of 1 to 10) with the SUBS switch set to 1 and the GAIN set to lo. What came back was a heavy crunch, like tubes starting to give way but maintaining some clean signal. The distortion is authentic in that it sounds like the tone is actually breaking up as opposed to distortion being layered with the clean signal. The audio example starts with the clean tone for reference and then kicks into distortion, or rather, DISTORTRON!

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With volume cranked to 10, THIS SUCKER GETS LOUD! For the output it’s generating, it’s remarkably clean.

Volume was dialed back to a level less compromising to the beams holding up the structure in my building, and we rolled through the tone knob. At its lowest setting “The Beast” (a more appropriate name in my opinion) was contained but was still a beast. It’s as if several roadies were holding a heavy blanket over the cabinet and struggling to keep it and themselves from being blown off. With the volume cranked, forget it. With tone full up it was as if the bass frequencies were stripped from the signal but “The Beast” just got angry and surged forward with mid-range to higher-end punch. In my experience, cranking all-in-one tone knobs can add harshness. The Distortron is a pedal that handles this better than most.

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Experimenting with the SUBS toggle engaged varying degrees of bass intensity, similar to turning up the subwoofer in your car. The signal is at its lowest in the number 1 setting. Switching to 2 engages a bass boost. This is different from dialing down the tone which attenuates higher frequencies as opposed to this switch which increases lower frequencies. Switching to 3 was like invoking Thor, the Mighty Warrior with a big, thunderous boost. The following example includes running through the settings from 1 to 3 with each repetition of the riff being played at a progressively higher setting. Computer speakers do not do the audio justice. If you don’t hear much of a difference it’s your speakers, not the pedal.

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The choice of gain includes “LO” and “HI”. “LO” can be thought of as a base setting with “HI” engaging a boost similar to saturating a couple extra tubes for a thicker, richer, distortion. The audio example starts with “LO” and switches to “HI”. Again, computer speakers may not reveal the true effect of this switch.

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Finally, we rolled through the drive control. The words “Crackle Okay” are printed around the dial which I found curious. I turned the dial back and forth and heard what sounded like a dirty pot that wouldn’t break free of its dust no matter how much I spun it back and forth. And then I read the manual which explained that the “crackling” I was hearing was perfectly normal, hence the disclaimer. At a setting of 1 the guitar was fairly clean and sounding like it was just starting to break up. At 10 it was no holds barred thick, commanding, and syrupy with crazy sustain. It was too much but this is a good thing. Better to be able to venture beyond sanity and pull back then not have the option. The audio example rolls through the drive control from its lowest to highest setting.

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THE FINAL WRAP

Tape your knuckles and prepare to spit in the face of your enemy with the Distortron! This pedal packs a wallop and offers a range of attitude from snarly hostility to full on in-your-face thrash. On the downside, ZVEX has a reputation for some of the coolest looking hand painted pedals around. Visually, the Distortron is about as plain as you can get and therefore disappointing in comparison, but clearly you can’t judge a book by its cover. The wide form factor is visually cool and allows for convenient spacing of the controls but is not ideal for pedal boards. Ultimately it’s about the quality of the tone and construction and ZVEX gets high marks for this.

PROS: Solid build. Wide range of tonal possibilities. Quite simply, it kicks ass.

CONS: Nowhere near as cool looking as their other pedals. Wide form factor could be less convenient for pedalboards. Requires a screwdriver to get at the battery.

MSRP – $149

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REVIEW: T-Rex Engineering’s ToneBug Overdrive Pedal

Posted on 28 February 2010 by Dan Coplan

T-Rex Engineering is a Danish company built initially on the success of their MIDI gear for guitar. Venturing into the world of stomp boxes over a decade ago, T-Rex adopted a philosophy of simple design with focused, high quality performance. With their ToneBug series, T-Rex simplifies design further in order to offer the same high quality at a more affordable price.

The T-Rex Tonebug Overdrive Guitar Effects Pedal!

FRESH OUTTA THE BOX

My initial impression pulling the spartan aquamarine pedal out of the box was that of a vintage 50’s home appliance. This may sound like I’m poking fun but I’m not – the pedal looks cool! The casing is all metal and the base is heavy duty plastic with a little bit of a rubbery feel. The pedal has weight and I feel like I could drive over it with a tank and then have to change the treads on the tank. Three shiny chrome knobs on top serve as the controls and sit atop a brushed aluminum base labeled with the knobs’ functions. They’re thick and turn smoothly with the perfect amount of drag to dial them into place where they’ll stay put. A wide rectangular ON light rests atop the pedal face just above the knobs. The footswitch is equally heavy duty with good action on the spring inside and it’s well clear of the knobs so there’s little risk of tap-dancing your controls out of whack. Metal input and output jacks on either side of a 9V power adapter plug are reinforced with hard plastic washers. The battery compartment is accessible underneath the pedal via a door that swings open. Thank you T-Rex for not making me have to break out a screwdriver to get to the battery! An extra nice touch is the battery door is hinged to the pedal which greatly minimizes the chance of losing it.

SHIFTING INTO OVERDRIVE!

Being in a vintage mood I chose to test this pedal with my Goldtop Epiphone ES-295 which is a hollowbody sporting a pair of P90’s. I used the blend of neck and bridge pickups and took this signal through the overdrive into a Blackheart Little Giant Half Stack. No other effects were used. Here’s the clean unaffected sound.

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With the tone knob set “flat” at 5, I turned the gain knob halfway as well and “kicked into overdrive”. The bright red LED gave me clear indication I was good to go but I was surprised by the lack of feedback from the footswitch. I’m used to a nice ‘ka-chunk’. This footswitch doesn’t ‘ka-chunk’, rather it smoothly presses down and springs back up. At first I was put off by this, but the more I used it, the more I liked it – something I could get used to. More importantly, switching the pedal on and off is totally silent! No pops of any kind. Sweet! Overdriving away, my tone got crunchy with real grit. My biggest problem with a lot of overdrive pedals is how they suck away the lower frequencies while pushing the mids making for a harsh sound. This pedal pushes that mid level crunch but maintains the bottom end so it is more of a full signal. The quality of the crunch is a bit clippy which affects warmth and clarity but the fullness of the tone helps make up for it.

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With gain turned up to 10, I rocked to full overdrive. My tone was dirty, aggressive, and wanted to punch you in the face. The pedal came into its own and I really enjoyed dishing out raw overdrive. Comparing the previous setting to this one, the gain knob feels almost like a blend control in that it’s controlling a mix of dry signal and overdrive rather than the dry signal itself going into overdrive. Still a bit clippy for my taste, but this pedal definitely dishes out the dirt.

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Though not advertised as a clean boost, I tried this pedal with no gain to see how clean a signal I could get. I achieved equality in volume with the pedal both on and off between 3 and 4 on the level knob. This left plenty of room to boost volume to taste. But this pedal is not a clean boost – there’s a little bit of grunge no matter how the pedal is dialed in. This grunge doesn’t change throughout the range of the level control, however, which is helpful in dialing in your sound. The following example starts with a few bars of the dry signal and then you’ll hear the boost kick in. My level setting for this example was halfway at 5 so you can imagine how much more this pedal can be cranked.

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Finally, I tested the range of the tone control. With gain set between 7 and 8, I dialed tone all the way up. This emphasized, as you would expect, the higher end. Happily the lower end was preserved and T-Rex found the right spot to push resulting in brighter, sharper sound without going overboard into piercing harshness – in other words, the tone control is useful all the way to its max setting. The first few bars of the audio example are dry followed by overdrive.

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T-Rex scored again with tone turned all the way down. I was prepared for mud. I was met with a boost in the low to mid frequencies that worked in conjunction with my original sound, preserving the quality of the signal while giving it a round bottom boost.

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THE FINAL WRAP

T-Rex hits the bullseye for simplicity and quality. This pedal is built as well as any I’ve ever used. It looks cool and the controls serve the intended purpose – no more, no less. I’m impressed by how quiet this pedal is even when maxing out the settings. My only two requests would be to trade in the clipping quality of the overdrive for more natural sounding crunch and the ability to completely dial out the gain for boost that is pure and clean.

PROS: Built like a tank. Quiet! Maintains dry signal integrity. Great vintage look.

CONS: No clean boost. Overdrive is a little artificial sounding.

MSRP – $129

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Dan Coplan is senior staff writer at SMG. Dan is a Los Angeles based cinematographer and self-admitting guitar junkie. Email: dancoplan@sharemyguitar.com

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Danelectro Transparent Overdrive: CTO-1 vs CTO-2

Posted on 17 February 2010 by Dan Coplan

Danelectro recently phased out their Cool Cat Transparent Overdrive CTO-1 pedal for the CTO-2 which adds features to let guitarists further customize their sound. These additions come in the form of four DIP switches located inside the battery compartment. Otherwise the look and function of the pedals and external controls are identical.


Danelectro Transparent Overdrive: version 1: CTO-1 and version 2: CTO-2

A Guitar, Effects Pedal, Amp & Mic

The audio examples were played with a Westone Prestige (Les Paul style double humbucker) using the bridge pickup into a Blackheart Little Giant Half Stack with EQ (bass, mid, treble) set flat at 12 o’clock. The amp was mic’d with a large condenser mic and recorded into Apple’s Logic Pro. No processing was added anywhere along the chain aside from the pedals. Here is an example of the clean signal:

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The CTO-1 is a great pedal and “transparent” is an accurate description. I’ve tried a number of OD’s and have often been disappointed by the way they tend to drop the bottom out of the tone and emphasize the mid range. The CTO-1 maintains sonic integrity qualifying it by my definition as “transparent”. With gain set to zero and volume turned all the way up this pedal acts as a clean boost. It’s not much of a boost at these settings but there is a little bump and the sound is warm and full. As gain is turned up, output is increased and you can get more clean boost this way until the signal starts to give way to overdrive around 3 or 4 o’clock. This pedal gets loud so I had to balance the increase in gain with a decrease in volume. Here’s an audio example of the CTO-1 with gain turned up halfway:

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Pump Up the Volume

With gain cranked all the way the pedal spits out a raw and heavy crunch which is very tasty! EQ controls include treble and bass. The pedal is in its flat setting with these two set halfway. Increasing the treble predictably increases noise but it was quieter than expected. The amount of gain plays a role as an increase smooths out any harshness and offers a razor like crunch. With gain dropped to zero the pedal becomes surprisingly quiet and in this case the increased treble gives the sound presence. In cranking the bass and gain knobs I got beefy, heavy fuzz sounds that made me want to play the riff from “Smoke on the Water” over and over. Dialing gain down to zero resulted in a more muted sound but still with a little extra body.

With the CTO-2 Danelectro reworked the circuity to allow for various degrees of compression by means of three DIP switches, each one offering more compression. A fourth switch offers additional gain of 6 dB. I love options but in this case the re-engineering of the pedal resulted in tone that is more harsh and metallic sounding than its predecessor. The following audio example is the CTO-2 with identical settings as the CTO-1 above with no DIP switches engaged:

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A mid-level emphasis starts to give the sound a harsh and metallic feel that’s more like an electric-sounding boost than a warm analog crunch. For the next example I engaged DIP switch 3 which is J-Fet compression, the most restrictive of the choices. The concept is that headroom is reduced as transients are contained:

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I found that this had a thinning effect and made the sound more brittle and harsh.

With gain turned all the way up on the CTO-2, the sound was very crunchy but not warm at all and it felt like my signal was clipping. Bass frequencies from my original tone were still there but were overpowered by an electronic feeling grit. With gain turned all the way down this pedal shined as a clean boost offering more of a bump than the CTO-1 and with the boost switch engaged, an additional 6 dB of gain is made available.

Cranking the treble is surprisingly quiet – Danelectro nailed that one. It gives a little clarity but not the more pleasant presence of the CTO-1. Adding gain with the treble cranked just adds harshness. Cranking the bass is like adding mud and as this control is increased, the pedal gets farty. Add gain and you get farty distortion. But there is a point at which it starts sounding like a synthesizer. While I’m sure this wasn’t Danelectro’s intention, it’s actually kind of cool for specific applications.

The Low Down

I have a lot of respect for Danelectro as the quality of their gear with respect to price is truly impressive and their pedals are fun! Unfortunately they’ve lost sight of the saying, “If it ain’t broke, don’t fix it!” because the CTO-1 is a killer pedal all around while the CTO-2 comes up short in too many ways. I hope they realize their mistake and revert back to the original version because the CTO-1 is nearly impossible to find. If you do come across one, grab it!

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Danelectro Transparent Overdrive: CTO-1

PROS: Great sounding warm, analog, transparent overdrive! Great value.

CONS: None except you can’t find them anymore.

BUILD QUALITY – 8

TONAL QUALITY – 10

DESIGN – 8

VALUE – 10

OVERALL – 9

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Danelectro Transparent Overdrive: CTO-2

PROS: Quiet treble EQ. Up to 12 dB of boost. Affordable.

CONS: Harsh and artificial sounding. Compression switches limit sound even further.

BUILD QUALITY – 8

TONAL QUALITY – 4

DESIGN – 8

VALUE – 7

OVERALL – 6

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Effects Review: DigiTech HardWire CM-2 Tube Overdrive Pedal

Posted on 10 February 2010 by ShareMyGuitar

Oscar Jordan of SMG Reviewing The HardWire CM-2 overdrive pedal from DigiTech

The DigiTech HardWire CM-2 is a tube overdrive pedal that knocked our socks off. This versatile effects stomper can accommodate everything from a little gain bump to enhance those bluesy tones to a killer turbo boost for that screaming distortion you’ve been looking for. The DigiTech HardWire pedal gives you true bypass and high voltage operation. It’s a well made and rugged all-metal casing that is wide enough for your big foot and looks like it can handle a beating. We can go on and on about the features but why not just watch Oscar Jordan explain it live on video, check it out….

From DigiTech: Overdrive should be transparent and responsive to your touch and the CM-2 Tube Overdrive offers this with two modes of operation: Classic and Modified. Classic is transparent and articulate while Modified adds more gain and a “bigger” low end.

MSRP: $139.95

Technical Specifications:

Inputs/Outputs

* Input: 1/4” Unbalanced (Tip-Sleeve)
* Input Impedance: 500 kOhms – effect on
* Output: 1/4” Unbalanced (Tip-Sleeve)
* Output Impedance: 1 kOhm – effect on

Controls

* Level, Low, High, Gain knobs
* Classic/Modified switch, On/Off foot switch

Power Requirements

* Power Input: 9 VDC
* Power Consumption: 220mW
* Current Draw: 25mA
* Battery Type: Single 9 VDC
* Battery Life: 17 Hours

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SMG: The NAMM Show 2010 Begins!

Posted on 14 January 2010 by Mickey Richardson

Get ready guitar maniacs! The NAMM 2010 convention begins tomorrow in Anaheim, California. SMG will be there reporting on the sites, sounds and oh yes… the gear. You can follow us on Twitter where will be sending out a steady stream of live tweets straight from the source. Our Facebook page will also be regularly updated and you can even be one of the first to join the Share My Guitar Social Network for Guitarist, where you can expect to find plenty of buzz from NAMM.

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Getting a Great Guitar Tone: Part 2

Posted on 24 November 2009 by Guest Post

As discussed in my last post, tone is a very personal thing and what I enjoy may not be loved by each and every person.  With that in mind, this will be a general article. I’m not going to tell you to buy this or that, but rather try to encourage you to explore your options. I would highly recommend that you experiment and research what your looking for so as to not waste time and money. A tip is to use websites like craigslist or ebay, where great or hard to find gear can be acquired at pennies on the dollar. I know many guitarist and musicians in general do this with great success. So on to the article……

SMG_Guitar_Pedal

This week I would like to discuss pedals and effects. Besides having a quality amp and a great guitar, owning a few or several pedals can open up a world of tonal possibilities you may never have even knew existed. Guitar effect pedals are usually left between the guitar and front of the amp, although some pedals can be run through the effects loop with better results (delay pedals) or different sonic ranges.

Another cool thing with pedals is how they interact with one another and how putting them in different orders between your guitar and amp can yield vastly different tones. Remember that you must experiment a bit to find the tones you hear in your head.

The most common effect pedals are; overdrive, distortion, chorus, flanger, phaser, tremolo, wah, reverb, and delay. Some other effects not as commonly used but just as cool are ring modulators, harmony/pitch shifting pedals, compressors, looper, octave, and synth. Lets look at each one individually.

Overdrive: Overdrive pedals are cool in a few ways that I know of. The first is in front of an already gainy Marshall type amp. If you crank the level, keep the gain low and the tone in the middle you can
make your amp a tight hard rock/metal sounding monster. When this is done the amp gets added compression and punch so playing seems easier and the amp is more fluid sounding. Many players like Zakk Wylde do this for their core sound. Also, in front of a clean amp you can use an overdrive pedal to get a nice gritty sound for blues or some classic rock.

Distortion: Distortion pedals are cool for many of the same things I mentioned with overdrive pedals. The difference is that these pedals have more gain and can get a much heavier sound when used with a clean amp.

Chorus: Chorus pedals add a nice sparkle or depth to your tone. When I think of chorus pedals I think of guys in hard rock bands using them to add a depth or width to their tones. On the other hand, using chorus pedals can add a certain wetness to your sound which take away from the amp’s attack and punchiness. I use the beginning of Knocking on Heaven’s Door by Guns N Roses as a reference.

Flanger: My personal favorite effect…sorry I had to interject that point. These pedals can give you the jet plane taking off sound, to a crazy vibrato warble, to just about any crazy demented sound you have in mind. They are similar to chorus in that they thicken the tone as well, but add a certain wetness that some won’t like. Listen to Van Halen’s Unchained for a good example.

Phaser: When I think of phasers I think Eddie Van Halen. He would often leave one on for many rhythm and lead parts. It would add this sort of rising and falling sound, which is the phasing sound. Again, these are similar to chorus and flanger pedals.

Tremolo: This effect is often heard on old 50s and 60s surf rock. It sounds like the amp is increasing and decreasing in volume. When sped up super fast they sound intense and kind of like a chocking on and off sound. Think about the beginning of Green Day’s Blvd of Broken Dreams.

Wah: The most used, abused and often overused effect. From Clapton, to Hendrix, to Slash to virtually every rock player, this effect is king. It mimics the sound of turning the tone pot from bass to treble on your guitar. It’s a very vocal effect and can be used to express yourself by making the guitar speak. My favorite wah song is Hendrix’s Voodoo Chile.

Reverb: Reverb is basically another way of saying echo. Its like standing in a big room and letting the air and largeness of the room hold your sound.  Also in front of a clean amp this effect makes your sound insanely lush and pretty, a la Santana.

Delay: Delay is another personal favorite of mine. Delay is basically a step past reverb in that it is echo but it also adds repeats to your playing. So you can play a note and that note will keep echoing or repeating for a length of your choosing. Playing lead guitar with some delay added in is an amazing sound that can make you sound like a million bucks. Also add it to your rhythm playing like the Edge from U2 for a cool layered type sound.

For other effects like synths, ring modulators and pitch shifters look into what is out there. Musician’s friend and other online music stores have a huge catalog on gear. I would investigate into what you like and see how it is done. Also check out effects on youtube because people like to post videos showing off the cool tones they are getting from their gear. Often times as a kid I would try and read articles on my favorite players to see the gear they used. Now you can simply google “Slash Guitar Gear” and within seconds have an idea of how Slash gets his sound.

While you now know about the basics of using guitar effects, remember that effects are meant to take your playing to a new level, and not to make up for not being able to play. Start with your dry or ‘uneffected’ sound and go from there. As you begin to add in effects, remember that it all starts with your hands and most importantly, your guitar.

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