Showing posts with label Guitar Effects. Show all posts
Showing posts with label Guitar Effects. Show all posts
Top 10 Guitar Effects
brought to you by American Musical Supply
| 1. |  | Line 6 POD X3 Live Modeling Guitar Effects Processor | The Line 6 POD X3 Live represents the true evolution of the classic POD XT Live. The POD X3 Live features an expanded arsenal of 78 guitar amps, from high-wattage heavyweights to boutique beauties along with 24 guitar cabs, 98 stompbox and studio effects, 28 bass amps, 22 bass cabs and 6 vocal preamps. With the sonic firepower of a top-tier studio in a portable pedal board, the POD X3 live is an incredible value. |
| 2. |  | Boss GT10 Guitar Multi-Effects Pedal | The Boss GT10 is a floorboard powerhouse that offers natural and musical response as well as a marked improvement in sound quality from previous generations. Loaded with tones of effects and an innovative user interface, the GT10 includes EZ Tone that allows guitarists to obtain the exact sound they desire in an extremely intuitive way. |
| 3. |  | Digidesign Eleven Rack Guitar Effects and Amp Modeling Interface | A must have for any guitarist, the Eleven Rack combines the highest quality guitar effects with a pristine Pro Tools interface. Eleven Rack can be used as a standalone effects processor on stage or a Pro Tools interface with exquisite amp modes for the studio. The built-in amp models deliver the full depth, dimension, and response of a mic’d up rig giving you the experience of playing through the most coveted guitar amps in the world. |
| 4. |  | Boss ME70 Guitar Multi Effects Pedal | The Boss ME70 is a multi-effects unit that is stompbox easy. The friendly, knob-laden design makes tone creation a snap, but with a powerful COSM amp section derived from the GT10, the ME70 takes the EZ effects concept to new heights. |
| 5. |  | TC Electronic G System Limited Guitar Multi-Effects Pedal | G System is the first floor-based unit ever to offer both studio-quality guitar effects and advanced loop/routing facilities for external pedals and preamps. With a unique combination of 2 DSP sections, analog loops, amp switching, and 9VDC power outputs for external pedals, G-System is aimed at the experienced guitar player looking to complete his setup with the ultimate in quality, integration and flexibility. |
| 6. |  | DigiTech RP1000 Guitar Multi-Effects Pedal | The control of your sound is imperative. The RP1000 gives you added control to express yourself the way you want – No longer will the lack of control stand in the way of your expression. The RP1000 features great sounding amp and cabinet models, internal and external effects switching system, built-in phrase looper, USB connection and much more. |
| 7. |  | Boss RC20XL Loop Station Pedal | The Boss RC20XL allows musicians to create multi-layered performances in real time. Loops and riffs can be stacked repeatedly until the 16 minutes of ample recording space is full. Never before has it been so easy to create a massive one-person band sound in real time. |
| 8. |  | Line 6 DL4 Delay Modeler Pedal and Loop Sampler | The DL4 Delay is a programmable stomp box full of classic guitar effects, with the power and versatility of Line 6’s incredible digital modeling technology. The DL4 Delay Modeler has 3 programmable presets, a Tap Tempo switch and includes a Loop Sampler; Tube, Tape, Sweep, Multi-Head and Analog Echoes; Low Res, Rhythmic, Stereo, Ping Pong, Reverse, and Auto-Volume Delays. |
| 9. |  | Fulltone OCD Obsessive Compulsive Drive Pedal | It's always been somewhat of a compromise using Overdrive pedals until now. The OCD is designed to replicate the dynamics and harmonic structure of an overdriven tube amp. The OCD pedal uses a unique multi-stage distortion circuit, as opposed to the more common diodes-in-feedback-loop/diodes-to-ground configurations. The designers at Fulltone made this pedal for themselves, but they'll let you use it too. And you'll love it! |
| 10. |  | Line 6 M9 Stompbox Modeler | The Line 6 M9 Stompbox Modeler is powerful, portable and bursting with immortal stompbox effects. Its wide variety of vintage and modern tones makes it perfect on its own or an unrivalled addition to you pedal board. Featuring over 100 distinctive distortions, tangy choruses, syrupy sweet reverbs, and many other kinds of expressive effects. They combine under your feet to form an instant collection of stunning stompbox tones. More |
Check these guitar effects at Guitar Emporium Online
The world of guitar effects | Guitar Pedals
DISTORTION
Pretty much self explanatory, distortion pedals make your guitar sound, well, distorted. Jimi Hendrix loved running several pedals in sequence, like a fuzz, a wah and a "Uni-Vibe" (which we'll discuss in a bit).
WAH PEDALS
Vox has reissued its classic wah pedal, while newer models are available from Tech 21 (the "Killer Wail") and Dunlop.
DELAY
Early rock music used tape-based delays to produce everything from fast "slapback" echoes to the wild, multiple delays produced by units such as Roland's Space Echo.
CHORUS
The original effect was produced by the Boss CE-1 Chorus Ensemble, though later effects would add multiple detunings and delays to produce a rich, glossy animation.
FLANGER
Eventually, the effect was duplicated using advanced digital delays set to extremely short delay times and inverting the signal's phase.
PHASER
The groovy swirling effect is all over the first two Van Halen albums. Early Phasers were supposed to recreate the complex sound of a B-3 Leslie cabinet, which had a rotating horn and a spinning drum under a 15-inch woofer.
UNI-VIBE
Jimi Hendrix loved the original Uni-Vibe, which was sort of a rudimentary chorus effect with some detuning effect similar to vibrato.
COMPRESSOR
COMPRESSOR
This is a classic studio effect that found its way into various stomp boxes in an effort to increase sustain. The earliest units were fairly noisy, but modern compressors have added noise gates that cut off the signal once it reaches a particular level.
AUTO-WAH
Best known in its earliest incarnation in the Mu-Tron III Envelope Follower, which was actually part auto-wah and part triggered filter.
MULTI-EFFECTS
Best known in its earliest incarnation in the Mu-Tron III Envelope Follower, which was actually part auto-wah and part triggered filter.
MULTI-EFFECTS
The king of effects boxes is the multi-effect pedal, which can include everything above and a bunch of stuff that hasn't even been categorized yet. These are available in all flavors from basic to complex. And by complex, we mean chaining so many effects that it doesn't even sound like a guitar any more.
Check these guitar pedals at Guitar Emporium Online
Check these guitar pedals at Guitar Emporium Online
Guitar Effect Glossary
Below is an alphabetical list of the most commonly used guitar effects with an explanation of how each one sounds or works.
If you have any suggestions of any effects missing from this glossary/dictionary, submit your words here by using the contact us form!
A
Automatic Double-Tracking - also known as ADT, a delay-based effect. An effect created using either a digital or analogue unit capable of producing a very fast single repeat of the input signal. This creates an effect often referred to as doubling.
B
Bypass - the act of switching the instrument signal to a route whereby it is not processed, most effects units/pedals can bypass a signal.
C
Chorus - another delay based effect in the region of 15 and 35 milliseconds. It simulates what happens when two guitars play the same part. Another type of doubling. But as with real-life double-tracking, there are always discriminations in the pitch and timing between parts - a chorus recreates this effect electronically. Most chorus effect units have controls to vary both the rate (modulation) and depth of the outputted signal.
Compressor - a signal averaging out effects unit. When using compression, quiet notes are boosted in volume, while louder signals - such as a heavily struck chord - are reduced in volume. This averages out the natural differences in level as you play, making finger-picking sound smoother, and giving a flowing feel to clean lead passages. Wide arrays of effects are achievable with a compressor, by adjusting the threshold and compression controls. For example, heavy compression will reduce the percussive front of a heavily picked note to give it a softer start; as the note fades, he unit increases volume, thus keeping the level constant.
D
Delay - when sound is reflected from a distant surface, a delayed version of the original signal is heard a short time later. Echo-units electronically recreate this natural effect, by either analogue or digital means. Solid-state units store the signal electronically; analogue devices pass the signal down a long chain until it is needed to produce the echo, while in digital unit?s the signal is stored in an encoded form until it is required, it is then decoded and used. Digital units can produce stereo delays, allowing multi-tapped signals to be played left, right and centre-stage. It is even possible to produce a ?ping-pong? delay, where the sound appears to bounce from side to side.
Digital effects - almost every effect can be produced digitally. When using digital effects, the signal is converted to a binary code - a series of ones and zeros - so that can be processed and then converted and played back as an analogue signal.
Distortion - when extra gain and distortion cannot be achieved by an amplifier, traditionally a distortion pedal (a fuzz-box/overdriver) is used. A clean signal is plugged in, and a distorted, sustaining sound is produced. The amount and type of distortion can be controlled on the effects unit. Some units include value based pre-amps to give good tone and dynamics coupled with genuine value overdrive. Digitally produced distortion, while very common, does not usually have the warmth of analogue valve based distortion and is often thought to be too harsh for the tastes of most guitarists.
E
Enhancers - this type of device processes an audio signal to improve the sound and definition. Early enhancers where known as ?aural exciters? and boosted a harmonic element in the music to produce a brighter effect. Other systems use phase correction to place signals precisely in phase so that frequencies are not lost as a result of phase cancellation.
Expander - the opposite effect of compression is called expansion. Used to create an increased dynamic range of a signal.
F
Flanger - a delay-based effect that originated with tape recorders. The tape was slowed down by pressing the fingers against the reel, and the sound produced was mixed together with the normal signal from a second tape. The flanging sound is created electronically by playing back a delayed signal (of up to 20 milliseconds) with a controlled pitch modulation, against the original track. Most modern day effects pedals can produce this effect.
G
Graphic equalizer - a device which controls the tone of a signal by splitting it into a spectrum of frequency-bands, allowing each band to be boosted or cut separately. The word ?graphic? refers to the fact that it is possible to see at a glance what particular ?shape? is being used. E.g. a V-shape boosts the top end, while the opposite response adds mid-range warmth. Only tonal emphasis can be changed, it is not possible to improve the basic quality of the tone.
H
Harmonizer - also known as the pitch-shifter. This effect has two main uses. It can enrich the sound of a guitar, using a harmonizer to add overtones which are in harmony with the original signal (sounds similar to chorus). The harmonizer can also generate a harmony note. Until recently, only fixed-interval harmonies were possible; however, modern electronics can intelligently adjust to produce specific user defined harmonies.
L
Leslie cabinet - the Leslie is a rotary speaker cabinet designed for use with an organ. In the 1960?s, players such as Jimi Hendrix found that by feeding the guitar signal though a Leslie cabinet they sound produce a delicate, ethereal sound. Nowadays the effect is electronically produced.
M
MIDI - stands for Musical Instrument Digital Interface. Developed in 1981 by the Sequential Circuits Company as a universal interfacing system for synthesizers and sequencers. MIDI is widely used within effects units as a way of controlling parameters or stored settings from either footswitches or sequencers.
Multi-effects units - a single unit that is capable of producing reverb, flanging, delay, chorus, phasing, harmonising, distortion and many other effects. These devices are usually digital, MIDI-controllable, and capable of chaining effects together and storing settings.
O
Octave divider - this analogue effect (an early forerunner of the harmonizer) added a single note either an interval of an octave above, or an octave below the original signal.
P
Panning - the location of a signal within a stereo field. It can also refer to the dynamic behaviour of the signal - for example, where echo repeats are panned from left to right.
Phasing - if two identical versions of a signal are ?out-of-phase?, so that the peaks in one coincide with the troughs in the other, the two signals will cancel each other out, leading - in theory - to silence. If the signals are partially out-of-phase a characteristic colouration to the sound will result. Phasing can be achieved electronically, the results varying from a mild ?whooshing? to sounds reminiscent of a jet plane.
Pre-amplifier - to help overload the input-stages of the amplifier, a ?pre-amp? can be used to generate extra gain. The pre-amp often acts as a tone control when used in conjunction with a main amplifier. It can also be used to boost the signal of an acoustic instrument when used with an amplifier.
R
Reverberation - a reverb unit mimics the natural effect of overlapping sound reflections caused by sound bouncing around an interior space such as a room. Spring reverb is the traditional effect built into many amplifiers, but digital reverb (offering fine control of all the parameters) is now more common.
S
Stereo chorus - this term can refer to a chorus effect that is panned over stereo outputs to give the impression of spatial movement. It can also describe the sound created by playing a dry signal through one channel and a chorused signal though the other.
T
Tape-echo - the traditional method of producing delay. The original signal is recorded on a tape and played back slightly later by one or more replay heads, giving either a single repeat or ?multi-tap? effects. Feeding the delayed signal back to the recording heads gives a heavily textured sound.
Tone pedal - see wah-wah pedal.
Treble booster - in the early 1960?s, many of the cheaper amplifiers and guitars lacked the top-end produced by high-quality equipment. To overcome this, small battery-powered treble boosters were used.
Tremolo - a rhythmic pulsing effect obtained by modulating the volume of the signal. It was built into many early combos, being relatively easy to engineer with valve circuitry, and could give anything from a fast rippling sound to a deep throbbing effect. Note: Fender always called their tremolo effect ?vibrato? - this is technically incorrect (see vibrato).
V
Vibrato - this effect is achieved by modulating the pitch of a signal. The sounds produced can vary from a subtle enhancement to an extreme variation. Early valve combos (such as the Vox AC30) offered vibrato as well as tremolo; however, the feature is more often seen on chorus pedals or digital multi-effects units.
Volume pedal - a passive device that allows the player to vary the volume of their instrument while performing. Its main use (apart from altering overall volume level) is as a ?swell? pedal; a particularly attractive effect may be achieved by eliminating the percussive attack at the beginning of notes and chords letting them ?float in?. Also works well with string-bends and harmonics.
W
Wah-wah pedal - a foot operated tone control which became popular in the late 1960?s. When the pedal is flat, a high-treble sound is produced; raising the pedal gradually increases the bass sound. It can be used in several different ways: rocking it gently backwards and fords while playing produces a ?talking guitar? effect or a soft wah sound, while a fast, chopping effect is used by many funk players. It can also be set to an in-between, position, to select a certain tone. MIDI-controlled, rack-mounted auto wah devices are also available.
Check these guitar effects at Guitar Emporium Online
Guitar Effects Information Beyond Basics
The topic of guitar effects is a huge one. There are many types of guitar effects available for the guitarist, and players always seem to be searching for a better model. In this article I will attempt to explain (in layman's terms) what each type of effect does and how they are typically used. I’ll also list some recommended pedals for each type of effect.
Effects Are Everywhere
Many guitarists say they don’t use effects, but unless you are playing an acoustic guitar unplugged, you are using effects. An amplifier of any type (acoustic or electric) is really a guitar effect — it affects your tone. We usually don’t think of amps as being effects but they really are. Amplifiers can take you from clean to high gain overdriven tones. Many amplifiers also have additional effects built-in, such as reverb or tremolo (some even have digital effects). They may not be pedals, but they are effects. Having said that, the focus on this article will mainly be effects pedals.
Effects Units
There are three main types of effects units: single effects pedals, multi-effects pedals, and rack effects units. Excluding rack units, most effects pedals are also affectionately called “stomp boxes” by guitar players because they sit on the floor and you step on their switches to turn them on and off or change sounds. Rack units are usually high-end gear mainly used in studios, although some pros have been known to tour with huge racks of gear. Most guitar players, however, tend to stick with floor units.
With single effects units you have the advantage of being to able to choose each effect type individually, so you can choose the best effects unit in each category to suit your tastes. The disadvantage is you usually are stuck with only one setting for each effect when playing live. To change settings, you have to squat down and physically turn knobs — not too cool during a gig.
Multi-effects units have the advantage of being programmable (most units) so you can create patches that contain multiple effects chains and settings that can be called up via footswitches. Plus the units are usually fairly compact. You can usually get by with just a single multi-effects on many gigs. The disadvantage is (depending on the multi-effects unit) you don’t get to choose the individual effects unit (or quality) or sometimes the order of effects. You get what’s in the box.
Rack mounted effects units are usually very high quality (and expensive) and offer many patches and significant programmability. The disadvantage is they require a separate rack unit to hold them and then some form of additional foot controller (usually MIDI) to control them when using them live.
Setups
There are probably as many different ways to setup effects as there are guitarists, but let’s look at some common ones. Probably the most common method of using effect is simply using a group of single effects units, in a chain, that run into the input of an amp. Many amps now feature an effects loop that places the effects after the preamp stage so the effects color the amp tone instead of the amp coloring the effects tone. Each has its own advantages. Try both and see which you like best.
If you gig on a regular basis, plugging in and unplugging several effects gets to be a hassle. At this stage many players get a dedicated pedalboard to which effects can be attached using Velcro strips and left plugged in. You then simply need to plug your guitar into the pedalboard and the pedalboard into the amp.
I personally use a combination of one multi-effects unit and two single effects units. The bulk of my effects come from a multi-effects unit which fairly compact. I then add a wah and a volume pedal. I get most of my overdrive (or distortion) effects from my amp and combine that with the effects from my multi-effects unit. This setup is compact and quick to setup and tear down. Plus it all fits in a my gig bag.
Some pros use a rackmount system (usually including rack units and shelves with stompboxes) which are often kept backstage. They then use foot controllers (often custom made) to control the effects. This is very cool, but also very expensive, and a lot of gear to haul around.
Combining Effects
Effects units can, and often are, used individually, but the real magic starts when you begin to combine effects. Possibilities are nearly endless and it is quite fun to try different combinations out. Almost any clean effect sounds good when mixed with some overdrive. A little reverb or delay can make most effects sound even better. Try unexpected combinations and you may be pleasantly surprised.
Effect Types
The column at the right contains links to individual effects types. Each effect will be explained, in layman terms, with audio examples. Some may contain techniques, such as the wah, or suggested settings and combinations with other effects. I will also list some highly rated units for each type.
Using effects will open up a whole new world of tonal colors and can be very inspiring. Let’s start exploring...
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Check these guitar effects at Guitar Emporium Online
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