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Aneffects unit,effects processor, oreffects pedal is an electronic device that alters the sound of amusical instrument or other audio source throughaudio signal processing.
Common effects includedistortion/overdrive, often used with electric guitar inelectric blues androck music;dynamic effects such asvolume pedals andcompressors, which affectloudness;filters such aswah-wah pedals andgraphic equalizers, which modify frequency ranges;modulation effects, such aschorus,flangers andphasers;pitch effects such aspitch shifters; and time effects, such asreverb anddelay, which create echoing sounds and emulate the sound of different spaces.[1][2]
Most modern effects usesolid-state electronics ordigital signal processors. Some effects, particularly older ones such asLeslie speakers andspring reverbs, use mechanical components orvacuum tubes. Effects are often used asstompboxes, typically placed on the floor and controlled with footswitches. They may also be built intoguitar amplifiers, instruments (such as theHammond B-3 organ),tabletop units designed for DJs and record producers, andrackmounts, and are widely used asaudio plug-ins in such common formats asVST,AAX, andAU.
Musicians,audio engineers and record producers use effects units during live performances or in the studio, typically with electric guitar, bass guitar,electronic keyboard orelectric piano. While effects are most frequently used withelectric or electronic instruments, they can be used with any audio source, such asacoustic instruments, drums, and vocals.[3][4]
An effects unit is also called aneffect box,effects device,effects processor or simply aneffect. The abbreviationF/X orFX is sometimes used. A pedal-style unit may be called astomp box,stompbox,effects pedal orpedal. Unprocessed audio coming into an effects unit is referred to asdry, while the processed audio output is referred to aswet.[5]
A musician bringing many pedals to a live show or recording session often mounts the pedals on aguitar pedalboard, to reduce set-up and tear-down time and, for pedalboards with lids, protect the pedals during transportation. When a musician has multiple effects in arack mountedroad case, this case may be called aneffects rack orrig. When rackmounted effects are mounted in a roadcase, this also speeds up a musician's set-up and tear-down time, because all of the effects can be connected together inside the rack case.
Effects units are available in a variety ofform factors. Stompboxes are used in both live performance and studio recording. Rackmount devices saw a heavy usage during the later 20th century, due to their superior processing power and desirable tones as compared to pedal-style units. However, by the 21st century, with the advent of digital plugins and more powerful stompboxes for live usage, the use of rack-mounted effect units has declined.[6][failed verification] An effects unit can consist ofanalog ordigital electronics or a combination of the two. During a live performance, the effect is plugged into the electricalsignal path of the instrument. In the studio, an instrument or another sound source — possibly anauxiliary output of amixer or aDAW — is patched into the effect.[7][8] Whatever the form factor, effects units are part of a studio or musician'soutboard gear.[9]
Stompboxes are small plastic or metal chassis that usually lie on the floor or in a pedalboard to be operated by the user's feet. Pedals are often rectangle-shaped, but there are a range of other shapes (e.g., the circularFuzz Face). Typical simple stompboxes have a single footswitch, one to threepotentiometers for controlling the effect, and a singleLED that indicates if the effect is on. A typical distortion or overdrive pedal's three potentiometers, for example, control the level or intensity of the distortion effect, the tone of the effected signal and the output level of the effected signal. Depending on the type of pedal, the potentiometers may control different parameters of the effect. For achorus effect, for example, the knobs may control the depth and speed of the effect. Complex stompboxes may have multiple footswitches, many knobs, additional switches or buttons that are operated with the fingers, and an alphanumericLED display that indicates the status of the effect with short acronyms (e.g., DIST for "distortion").[6][10]
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Aneffects chain is formed by connecting two or more stompboxes forming asignal chain. Effect chains are typically created between the guitar and the amp or between thepreamplifier and the power amp. When a pedal is off or inactive, the electricaudio signal coming into the pedal diverts onto abypass, an unaltereddry signal that continues on to other effects down the chain. In this way, a musician can combine effects within a chain in a variety of ways without having to reconnect boxes during a performance.[11]Acontroller oreffects management system lets the musician create multiple effect chains, so they can select one or several chains by tapping a single switch. The switches are usually organized in a row or a simple grid.[12]
It is common to putcompression,wah andoverdrive pedals at the start of the chain; modulation (chorus,flanger,phase shifter) in the middle; and time-based units (delay/echo,reverb at the end.[13] When using many effects, unwanted noise and hum can be introduced into the sound. Some performers use anoise gate pedal at the end of a chain to reduce unwanted noise and hum introduced by overdrive units or vintage gear.[14]
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Rackmount effects units are typically built in a thin metal chassis withrack ears designed to be screw-mounted into the rack rails of a19-inch rack that is standard to themusic technology industry. Rackmount effects have a standardized 19-inch width, and height of 1 or morerack unit(s). Devices that are less than 19 inches wide can sometimes be made rackmount-compatible via special rackmount adapters.[15]
A rackmount effects unit may containelectronic circuitry identical to a stompbox's, although its circuits are typically more complex. Unlike stompboxes, rackmounts usually have several different types of effects.[16] Rackmount effects units are controlled by knobs, switches or buttons on their front panel, and often remote-controllable by aMIDI digital control interface or pedal-stylefoot controller.[17]
Rackmount effects units are most commonly used in recording studios andfront of houselive sound mixing situations. Musicians may use them in place of stompboxes, as use of a rack can offer space for conveniently mounting additional rackmount equipment or accessories. Rackmounted effects units are typically mounted in a rack, which may be housed within a road case, a durable case with removable access panels that protect the equipment within during transportation. Because of this, rackmount effect units are not always designed with durable protective features such as corner protectors which are used on stompboxes and amps that are designed to be transported as standalone units.
A multi-effects (MFX) device is a single electronics effects pedal or rackmount device that contains many different electronic effects. multi-effects devices allow users topreset combinations of different effects, allowing musicians quick on-stage access to different effects combinations.[18] Multi-effects units typically have a range of distortion, chorus, flanger, phaser, delay, looper and reverb effects. Pedal-style multi-effects range from fairly inexpensive stompboxes that contain two pedals and a few knobs to control the effects to large, expensive floor units with many pedals and knobs. Rack-mounted multi-effects units may be mounted in the same rack as preamplifiers and power amplifiers.
A tabletop unit is a type of multi-effects device that sits on a desk and is controlled manually. One such example is thePod guitar amplifier modeler. Digital effects designed for DJs are often sold in tabletop models, so that the units can be placed alongside aDJ mixer, turntables andscratching gear.[19]
Effects are often incorporated intoinstrument amplifiers and even some types of instruments. Electricguitar amplifiers often have built-in reverb, chorus anddistortion, while acoustic guitar andkeyboard amplifiers tend to only have built-in reverb. Some acoustic instrument amplifiers have reverb, chorus, compression and equalization (bass and treble) effects. Vintage guitar amps typically havetremolo andvibrato effects, and sometimes reverb. The Fender Bandmaster Reverb amp, for example, had built-in reverb and vibrato. Built-in effects may offer the user less control than standalone pedals or rackmounted units. For example, on some lower- to mid-pricedbass amplifiers, the only control on theaudio compression effect is a button or switch to turn it on or off, or a single knob. In contrast, a pedal or rackmounted unit would typically provide ratio, threshold and attack controls or other options to allow the user additional control over the compression.
Some guitar amplifiers have built-in multi-effects units or digitalamplifier modeling effects. Bass amplifiers are less likely to have built-in effects, although some may have acompressor/limiter orfuzz bass effect.[20][better source needed]
Instruments with built-in effects includeHammond organs,electronic organs,electronic pianos anddigital synthesizers.[21] Built-in effects for keyboards typically include reverb, chorus and, for Hammond organ, vibrato. Manyclonewheel organs include an overdrive effect. Occasionally, acoustic-electric and electric guitars will have built-in effects, such as a preamp or equalizer.[22][23]
The earliest sound effects were strictly used in studio productions. Microphones placed inecho chambers with specially designed acoustic properties simulated the sound of live performances in different environments. In the mid to late 1940s,recording engineers and experimental musicians such asLes Paul began manipulatingreel-to-reel recording tape to create echo effects and unusual, futuristic sounds.[24][25] In 1941,DeArmond released the Model 601 Tremolo Control,[26] the first commercially available stand-alone effects unit. This device produced a tremolo by passing an instrument's electrical signal through a water-based electrolytic fluid.[27] Most stand-alone effects of the 1950s and early 1960s such as the Gibson GA-VI vibrato unit and the Fender reverb box, were expensive and impractical, requiring bulkytransformers and highvoltages. The original stand-alone units were not especially in-demand as many effects came built into amplifiers. The first popular stand-alone was the 1958Watkins Copicat, a relatively portabletape echo effect made famous by the British band,The Shadows.[28][29]
Effects built intotube-powered guitar amplifiers were the first effects that musicians used regularly outside the studio. From the late 1940s onward, theGibson began includingvibrato circuits incombo amplifiers that incorporated one or more speakers with the amp. The 1950 Ray Butts EchoSonic amp was the first to feature atape echo,[30] which quickly became popular with guitarists such asChet Atkins,Carl Perkins,Scotty Moore,Luther Perkins, andRoy Orbison.[31] BothPremier and Gibson built amplifiers withspring reverb.Fender began manufacturing the tremolo amps Tremolux in 1955 and Vibrolux in 1956.[32]
Distortion was not an effect originally intended by amplifier manufacturers, but could often easily be achieved byoverdriving the power supply in earlytube amplifiers. In the 1950s, guitarists began deliberately increasinggain beyond its intended levels to achievewarm distorted sounds.[33] Among the first musicians to experiment with distortion wereWillie Johnson ofHowlin' Wolf,[33]Goree Carter,[34]Joe Hill Louis,[35][36]Ike Turner,[37]Guitar Slim,[38] andChuck Berry.[39]
In 1954,Pat Hare produced heavily distortedpower chords for several recordings (includingJames Cotton's "Cotton Crop Blues"), creating "a grittier, nastier, more ferocious electric guitar sound,"[40] accomplished by turning the volume knob on his amplifier "all the way to the right until the speaker was screaming."[41] Link Wray's 1958 recording "Rumble" inspired young musicians such asPete Townshend ofThe Who,Jimmy Page ofLed Zeppelin,Jeff Beck,Dave Davies ofThe Kinks, andNeil Young to explore distortion by various means.[42] In 1966, the British companyMarshall Amplification began producing the Marshall 1963, a guitar amplifier capable of producing the distortedcrunch that rock musicians were starting to seek.[43][44]
The electronictransistor finally made it possible to fit effects circuitry into highly portable stompbox units. Transistors replacedvacuum tubes, allowing for much more compact formats and greater stability. The first transistorized guitar effect was the 1962 Maestro Fuzz Tone pedal, which became a sensation after its use in the 1965 Rolling Stones hit "(I Can't Get No) Satisfaction".[45][46]
Warwick Electronics manufactured the firstwah-wah pedal,[47] The Clyde McCoy, in 1967 and that same year Roger Mayer developed the firstoctave effect, which Jimi Hendrix named "Octavio".[48] Upon first hearing the Octavia, Hendrix reportedly rushed back to the studio and immediately used it to record the guitar solos on "Purple Haze" and "Fire".[49] In 1968,Univox began marketing Shin-ei'sUni-Vibe pedal, an effect designed by noted audio engineer Fumio Mieda that mimicked the oddphase shift andchorus effects of theLeslie rotating speakers used inHammond organs. The pedals soon became favorite effects of guitaristsJimi Hendrix andRobin Trower. In 1976,Roland subsidiaryBoss Corporation released the CE-1 Chorus Ensemble, the firstchorus pedal, created by taking a chorus circuit from anamplifier and putting it into astompbox.[50] By the mid-1970s a variety of solid-state effects pedals includingflangers, chorus pedals,ring modulators andphase shifters were available.[51][52]
In the 1980s, digitalrackmount units began replacing stompboxes as the effects format of choice. Often musicians would recorddry, unaltered tracks in the studio and effects would be added in post-production.[citation needed] The success ofNirvana's 1991 albumNevermind helped to re-ignite interest in stompboxes. Somegrunge guitarists would chain several fuzz pedals together and plug them into atube amplifier.[53] Throughout the 1990s, musicians committed to alo-fi aesthetic such asJ Mascis ofDinosaur Jr.,Stephen Malkmus ofPavement andRobert Pollard ofGuided by Voices continued to useanalog effects pedals.[54]
Effects and effects units—stompboxes in particular—have been celebrated by pop and rock musicians in album titles, songs and band names. TheBig Muff, afuzzbox manufactured byElectro-Harmonix,[55] is commemorated by theDepeche Mode song "Big Muff" and theMudhoneyEPSuperfuzz Bigmuff.Nine Inch Nails,Pink Floyd,George Harrison,They Might Be Giants andJoy Division are among the many musicians who have referenced effects units in their music.[56]
Distortion, overdrive, and fuzz effects units add awarm,gritty, orfuzzy character to an audio signal by re-shaping orclipping it, whichdistorts the shape of itswaveform by flattening its peaks, creatingwarm sounds by addingharmonics orgritty sounds by addinginharmonic overtones. Distortion effects are sometimes calledgain effects, as distorted guitar sounds were first achieved by increasing the gain oftube amplifiers.[57][58][59]
While distortion effects units produce perfectly flattened peaks orhard clipping, overdrive effects units producesoft tube-like distortion by compressing the waveform without completely flattening it. Much like guitar tube amplifiers, overdrive effects units are capable of producingclean sounds at lower volumes and distortedwarm sounds at higher volumes.[60][61]
Notableexamples of distortion and overdrive pedals include theBoss DS-1 Distortion,Ibanez Tube Screamer,Marshall ShredMaster,MXR Distortion +, andPro Co RAT.
A fuzz pedal, or fuzzbox, is a type of overdrive effects unit that clips a signal until it is nearly asquare wave, resulting in a heavily distorted orfuzzy sound.[59][62] Fuzzboxes may containfrequency multiplier circuitry to achieve a harshtimbre by adding complexharmonics.[63][64]The Rolling Stones' song "(I Can't Get No) Satisfaction", with a fuzz effect featured prominently on the main electric guitar riff played by Keith Richards, greatly popularized the use of fuzz effects.[65]Fuzz bass (also called bass overdrive) is a style of playing theelectric bass that produces a buzzy, overdriven sound via a tube or transistor amp or by using a fuzz or overdrive pedal.
Notable examples of fuzz effect units include the:Arbiter Fuzz Face,Electro-Harmonix Big Muff,Shin-ei Companion FY-2,Univox Super-Fuzz,Vox Tone Bender,Z.Vex Fuzz Factory.
While distortion effect units are most associated with electric and bass guitar, they are also commonly used on keyboard instruments (i.e.synthesizers,combo andtonewheel organs,electric piano), as well as drums and vocals.
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Also called volume andamplitude effects, dynamics effects modify the volume of an instrument. Dynamics effects were among the first effects introduced to guitarists.[1]
Boost/volume pedal: When activated, aboost orclean boost pedal amplifies the volume of an instrument by increasing theamplitude of itsaudio signal. These units are generally used forboosting volume during solos and preventing signal loss in long effects chains. A guitarist switching from rhythm guitar to lead guitar for aguitar solo may use a boost to increase the volume of their solo.[66]
Volume effects:Electro-Harmonix LPB-1, Fender Volume Pedal,MXR Micro Amp,Ernie Ball Volume Pedal.Treadle-based volume pedals are used by electric instrument players (guitar, bass, keyboards) to adjust the volume of their instrument with one foot while their hands are being used to play their instrument. Treadle-style volume pedals are often also used to create swelling effects by removing the attack of a note or chord, as popularised bypedal steel guitar players. This enables electric guitar and pedal steel players to imitate the soft swelling sound that an orchestrastring section can produce, in which a note or chord starts very softly and then grows in volume. Treadle-based volume pedals do not usually have batteries or require external power.
Compressor: Compressors make loud sounds quieter and quiet sounds louder by decreasing orcompressing thedynamic range of anaudio signal.[67] A compressor is often used to stabilize volume and alter the sound of a note'sattack. With extreme settings of its controls, a compressor can function as alimiter.[68]
Compressor effects:Keeley Compressor,MXR Dyna Comp,Boss CS-3 Compression Sustainer.
Noise gate: Noise gatesattenuate hum, hiss, and static in the signal by greatly diminishing the volume when the signal falls below a set threshold. Noise gates areexpanders—meaning that, unlike compressors, they increase thedynamic range of anaudio signal to make quiet sounds even quieter.[67] If used with extreme settings and combined with reverb, they can create unusual sounds, such as thegated drum effect used in 1980s pop songs, a style popularized by thePhil Collins songIn the Air Tonight.[69][70]
Noise gate effects:Boss NS-2 Noise Suppressor.
Filter effects alter thefrequency content of anaudio signal that passes through them by either boosting or weakening specific frequencies or frequency regions.
Equalizer: An equalizer is a set oflinear filters that strengthen (boost) or weaken (cut) specificfrequency regions. While basichome stereos often have equalizers for two bands, to adjust bass and treble, professionalgraphic equalizers offer much more targeted control over the audio frequency spectrum.[71]Audio engineers use highly sophisticated equalizers to eliminate unwanted sounds, make an instrument or voice more prominent, and enhance particular aspects of an instrument's tone.[72]
Equalizer effects:Boss GE-7 Equalizer,MXR 10-band EQ Pedal.
Talk box: A talk box directs the sound from an electric guitar or synthesizer into the mouth of a performer using a tube, allowing the sound to be shaped intovowels andconsonants with movements of the mouth. The modified sound is then picked up by a microphone. In this way, the guitarist is able create the effect that the guitar is talking. Some famous uses of the talkbox includeBon Jovi's "Livin' on a Prayer",Stevie Wonder's "Black Man",Mötley Crüe's "Kickstart My Heart",Joe Walsh's "Rocky Mountain Way",Alice in Chains's "Man in the box" andPeter Frampton's "Show Me the Way".[73][74]
Talk boxes:Dunlop HT1 Heil Talk Box,Rocktron Banshee.
Wah-wah: A wah-wah pedal creates vowel-like sounds by altering thefrequency spectrum produced by an instrument—i.e., how loud it is at each separatefrequency—in what is known as aspectral glide orsweep.[75] The device is operated by a foot treadle that manipulates apotentiometer or other electronic control. Wah-wah pedals are often used byfunk and rock guitarists.[76]
Wah effects:Dunlop Cry Baby,[77]Morley Power Wah,Vox.[78]
Auto-wah or, more generally, envelope filter effects: A filter effect that is controlled by the volume of the input signal.[79] The most common filter type used for this effect pedal is the low-pass filter, although many designs include a toggle for band-pass or high-pass filters as well. Additionally, some designs can switch between a down filter mode and an up filter. This effect is commonly used in funk, reggae and jam band music.
Envelope filter effects:Musitronics Mu-Tron III, Electro-Harmonix Q-Tron Plus,[80] DOD Envelope Filter 440.[81]
Modulation, in general electronics, means the altering of one signal based on another. In audio effects, modulation is a control feature that varies the strength or other attribute of the effect over time to alter tonal properties. Some modulation effects modulate an instrument'saudio signal with a signal generated by the effect called acarrier wave.[82] Other modulation effects split an instrument's audio signal in two, altering one portion of the signal and mixing it with the unaltered portion.[83]
Chorus: Chorus pedals mimic the effectchoirs andstring orchestras produce naturally, by mixing similar sounds with slight differences intimbre andpitch. A chorus effect splits theaudio signal and adds a slight delay andfrequency variations orvibrato to one version while leaving the rest unaltered.[83][84] A well-known usage of chorus is the lead guitar in "Come As You Are" byNirvana.[68]
Chorus effects:Boss CE-1 Chorus Ensemble,Electro-Harmonix Small Clone,TC Electronic Stereo Chorus.
Flanger: A flanger creates awhooshing,jet plane orspaceship sound, simulating a studio effect that was first produced by recording a track on two synchronizedtape decks and periodically slowing one tape by pressing the edge of its reel (theflange). When the two tapes'audio signals are later mixed, acomb filter effect can be heard. Flanger units add a variably delayed version of the audio signal to the original or signal, creating a comb filter orDoppler effect.[85][86] Some famous uses of flanger effects include "Walking on the Moon" byThe Police, the intro to "Ain't Talkin' 'Bout Love" byVan Halen, and "Barracuda" byHeart.[87][88]
Flanger effects:Electro-Harmonix Electric Mistress,MXR Flanger,Boss BF-3 Flanger.
Phaser: A phaser or phase shifter creates a slight rippling effect—amplifying some aspects of the tone while diminishing others—by splitting anaudio signal in two and altering thephase of one portion. Three well-known examples of phaser are thetwo-handed tapping part on the Van Halen instrumental "Eruption" and the keyboard parts onBilly Joel's "Just the Way You Are" andPaul Simon's "Slip Slidin' Away".[89]
Phase shift effects:Uni-Vibe,Electro-Harmonix Small Stone,MXR Phase 90.
Ring modulator: A ring modulator produces a resonant, metallic sound byfrequency mixing an instrument'saudio signal with acarrier wave generated by the device's internaloscillator. The original sound wave is suppressed and replaced by aring ofinharmonic higher and lowerpitches orsidebands.[82][90] A notable use ofring modulation is the guitar in theBlack Sabbath song "Paranoid".[91]
Ring modulator effects:Moogerfooger MF-102 Ring Modulator.
Tremolo: A tremolo effect produces a variation in the volume of a signal. The tremolo effect should not be confused with the misleadingly-namedtremolo bar, a device on a guitar bridge that creates avibrato orpitch-bending effect. In electronic effects, a tremolo is produced by modulating an instrument's audio signal with asub-audible carrier wave in such a way that generates amplitude variations in the sound wave.[92][93] Tremolo effects are built-in effects in some vintageguitar amplifiers. The guitar intro in theRolling Stones' "Gimme Shelter" features a tremolo effect.[94]
Tremolo effects: Demeter TRM-1 Tremulator,Fender Tremolux.
Slicer: Combines amodulation sequence with anoise gate orenvelope filter to create a percussive and rhythmic effect like a helicopter.[95]
Vibrato: Vibrato effects produce slight, rapid variations inpitch, mimicking the fractionalsemitone variations produced naturally byopera singers and violinists when they are prolonging a single note. Vibrato effects often allow the performer to control the rate of the variation as well as the difference in pitch (depth). A vibrato with an extremedepth setting (e.g., half a semitone or more) will produce a dramatic,ululating sound. Intransistorized effects, vibrato is produced by mixing an instrument'saudio signal with acarrier wave in such a way that generates frequency variations in the sound wave.[93] Guitarists often use the termsvibrato andtremolo misleadingly. A so-calledvibrato unit in a guitar amplifier may actually produces tremolo, while atremolo arm orwhammy bar on a guitar produces vibrato.[96][97]
Vibrato effects:Boss VB-2 Vibrato.
A pitch shifter (also called anoctaver for effects that shift pitch by anoctave) raises or lowers (i.e.transposes) each note a performer plays by a pre-setinterval. For example, a pitch shifter set to increase the pitch by a fourth will raise each note fourdiatonic intervals above the notes actually played. Simple, less expensive pitch shifters raise or lower the pitch by one or twooctaves, while more sophisticated devices offer a range of interval alterations. A pitch shifter can be used by an electric guitarist to play notes that would normally only be available on an electric bass. As well, a bass player with a four string electric bass can use an octave pedal to obtain low notes that would normally only be obtainable with a five-string bass with a low B string.
A harmonizer is a type of sophisticated pitch shifter that combines the altered pitch with the original pitch to create a two or three noteharmony based on the original pitch. Some hamonizers are able to create chorus-like effects by modulating of small shifts in pitch.[98]
The first mass-market digital pitch shifter was theDigiTech Whammy, introduced in 1989.[99] It creates a "strange and artificial" sound, with distinctive "wobbly"artifacts.[100][101] Its users includeJonny Greenwood andEd O'Brien ofRadiohead,[102][103]Matt Bellamy ofMuse,[104]Tom Morello ofRage Against the Machine andAudioslave,[101]David Gilmour ofPink Floyd[105] andJack White of theWhite Stripes.[106]Guitar World described the Whammy as one of the most iconic guitar pedals.[107]
Time-based effects delay the sound signal, add reverb or echos, or enable musicians to record and play backloops.
Delay/echo: Delay/echo units produce an echo effect by adding a duplicate to the original signal at a slight time delay. The effect can either be a single echo (called aslap orslapback), or multiple echos. A well-known use of delay is the lead guitar in theU2 song "Where the Streets Have No Name", and also the opening riff of "Welcome to the Jungle" byGuns N' Roses.[108]
Delay effects:Boss DD-3 Digital Delay,MXR Carbon Copy,Electro-Harmonix Deluxe Memory Man,Line 6 DL4,Roland RE-201.
Looper pedal: A looper pedal orphrase looper allows a performer to record and later replay a phrase,riff or passage from a song.Loops can be created on the spot during a performance (live looping) or they can be pre-recorded. By using a looper pedal, a singer-guitarist in aone person band can play the backing chords to a song, loop them with the pedal, and then sing and do aguitar solo over the chords. Some units allow a performer to layer multiple loops, enabling the performer to create the effect of a full band.[109] The first loop effects were created withreel-to-reel tape using atape loop.
Reverb: Reverb units simulate the spacious sounds produced naturally inany acoustic space, from hall or room to a huge stone cathedral. This is done by creating a large number of echoes that gradually fade away in volume ordecay. One early technique for creating a reverb effect was to send an amplified signal of the music via a speaker to another room with reflective surfaces, such as a tile bathroom, and then record the natural reverberations that were produced. A plate reverb system uses an electromechanicaltransducer to create vibrations in a plate of metal.Spring reverb systems, which are often used in guitar amplifiers, use a transducer to create vibrations in a spring. Digital reverb effects use varioussignal processingalgorithms to create the reverb effect, often by using multiple feedbackdelay circuits.Rockabilly andsurf guitar are two genres that make heavy use of reverb.[110]
Reverb effects:Electro-Harmonix Holy Grail,Fender Reverb Unit.
Audio feedback is an effect produced when amplified sound is picked up by a microphone or guitar pickup and played back through aguitar amplifier, initiating a feedback loop, which usually consists of high-pitched sound. Feedback that occurs from a vocal mic into aPA system is almost always avoided. However, in some styles of rock music, electric guitar players intentionally create feedback by playing their instrument directly in front of thespeaker enclosure of aguitar amplifier set up with sufficient gain. The creative use of feedback effects was pioneered by guitarists such asJimi Hendrix in the 1960s. This technique creates sustained, high-pitchedovertones and unusual sounds not possible through regular playing techniques. Guitar feedback effects can be difficult to perform, because it is difficult to determine the sound volume and guitar position relative to a guitar amp's loudspeaker necessary for achieving the desired feedback sound.[111][112] Guitar feedback effects are used in a number of rock genres, includingpsychedelic rock,heavy metal music andpunk rock.
EBow is a brand name of Heet Sound Products, of Los Angeles, California, for a small, handheld, battery-powered resonator. The Ebow was invented by Greg Heet, as a way to make a note on an electric guitar string resonate continuously, creating an effect that sounds similar to cello or violin.[113] The resonator uses apickup feedback circuit, including a sensor coil, driver coil, and amplifier, to induce forced string resonance. The Ebow ismonophonic, so it drives only one string at a time.[114]
Other handheld and mounted guitar and bass resonators produced in Germany under the SRG brand were on the market since the early 1990s through 2016. These were available in both monophonic (one string at a time) and polyphonic (multiple strings at a time) models, and included multiple onboard trigger switch effects, such as HPF (high pass filter) for enhancing harmonics and producing feedback effects, and LPF (low pass filter), producing a bass boost with a cello sound on heavy gauge strings.[115] Later EBow models, such as the plus Ebow, contain a mode slide switch on the back, which allows the player to either produce just sustain orovertone feedback in addition to sustain.[76] Pedals such as the Boss DF-2 and FB-2 use an internally generated signal matched to the pitch of the guitar that can be sustained indefinitely by depressing the pedal. Manycompressor pedals are often also marketed assustainer pedals. As a note is sustained, it loses energy and volume due to diminishing vibration in the string. The compressor pedal boosts its electrical signal to the specifieddynamic range, prolonging the duration of the note.[116] This, combined with heavy distortion and the close proximity of the guitar and the speaker cabinet, can lead to infinite sustain at higher volumes.
Envelope follower: An envelope follower activates an effect once a designated volume is reached. One effect that uses an envelope follower is theauto-wah, which produces awah effect depending on how loud or soft the notes are being played.[117][118]
Guitar amplifier modeling:Amplifier modeling is a digital effect that replicates the sound of various amplifiers, most often vintagetube amplifiers and famous brands ofspeaker cabinets. Sophisticated modeling effects can simulate different types of speaker cabinets (e.g., the sound of an 8x10 inch cabinet) andmiking techniques. A rotary speaker simulator mimics thedoppler andchorus effect sound of a vintageLeslie speaker system by replicating its volume and pitch modulations,overdrive capacity andphase shifts.[119]
Pitch correction and related vocal effects: Pitch correction effects use signal-processing algorithms to re-tune faultyintonation in a vocalist's performance[120] or create unusualvocoder-type vocal effects. One of the best known examples of this isAutotune, a software program and effect unit which can be used to both correct pitch and add vocal effects.
Simulators: Simulators enable electric guitars to mimic the sound of other instruments such asacoustic guitar, electric bass andsitar.Pick up simulators used on guitars withsingle-coil pick ups replicate the sound of guitars withhumbucker pick ups, or vice versa. A de-fretter is a bass guitar effect that simulates the sound of afretless bass. The effect uses anenvelope-controlled filter andvoltage-controlled amplifier to "soften" a note's attack both in volume andtimbre.[121]
Bitcrusher filters: Bitcrushers rely on conversion of the audio signal into a digital format (ADC) and the reduction of sound fidelity by utilising bit (and sometimes sample) rates low enough to cause significant colouration and filtering within the audible frequency range.
Rotary speakers are specially constructedamplifier andloudspeakers used to create special audio effects by rotating the speakers or a sound-directing ductto introduce theDoppler effect and other sound reflections. The rotating speaker baffle creates a chorus-type effect. Named after its inventor,Donald Leslie, it is particularly associated with theHammond organ but is used with a variety of instruments as well as vocals. The Hammond/Leslie combination has become an element in many genres of music. The Leslie Speaker and the Hammond Organ brands are currently owned bySuzuki Musical Instrument Corporation.
TheKorg Kaoss Pad is a smalltouchpadMIDI controller,sampler, and effects processor for audio and musical instruments, made byKorg. The Kaoss Pad's touchpad can be used to control its internal effects engine, which can be applied to a line-in signal or to samples recorded from the line-in. Effects types include pitch shifting,distortion, filtering,wah-wah,tremolo,flanging,delay,reverberation, auto-panning, gating,phasing, andring modulation.The Kaoss Pad can also be used as aMIDI controller.
Bass effects are electronic effects units that are designed for use with the low pitches created by an electric bass or for anupright bass used with a bass amp orPA system. Two examples of bass effects arefuzz bass andbass chorus. Somebass amplifiers have built-in effects, such asoverdrive orchorus.Upright bassists in jazz, folk, blues and similar genres may use a basspreamplifier, a small electronic device that matches the impedance between thepiezoelectric pickup and the amp or PA system. Bass preamps also allow for the gain of the signal to be boosted or cut. Some models also offer equalization controls, a compressor, and aDI box connection.
Boutique pedals are designed by smaller, independent companies and are typically produced in limited quantities. Some may even be hand-made, with hand-soldered connections. These pedals are mainly distributed online or through mail-order, or sold in a few music stores.[122] They are often more expensive than mass-produced pedals[123] and offer higher-quality components, innovative designs, in-house-made knobs, and hand-painted artwork or etching. Some boutique companies focus on re-creating classic or vintage effects.[124][better source needed]
Some boutique pedal manufacturers include:BJFE,Pete Cornish,Emlyn Crowther,Death By Audio,Robert Keeley,Roger Linn,Roger Mayer,Strymon,T-Rex Engineering, ToadWorks, andZ.Vex Effects.
There is also aniche market for modifying or "modding" effects.[citation needed] Typically,[according to whom?] vendors provide either custom modification services or sell new effects pedals they have already modified.[citation needed] TheIbanez Tube Screamer,Boss DS-1,Pro Co RAT andDigiTech Whammy are some of the most often-modified effects.[125][126] Common modifications include value changes in capacitors or resistors, addingtrue-bypass so that the effect's circuitry is no longer in the signal path, substituting higher-quality components, replacing the unit's original operational amplifiers (op-amps), or adding functions to the device, such as allowing additional control of some factor or adding another output jack.[125][127][128]
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Not all stompboxes and rackmounted electronic devices designed for musicians are effects.Strobe tuner and regularelectronic tuner pedals indicate whether a guitar string is toosharp orflat.[129] Stompbox-format tuner pedals route the electric signal for the instrument through the unit via a 1/4" patch cable. These pedal-style tuners usually have an output so that the signal can be plugged into aguitar amp to produce sound. Rackmountpower conditioner devices deliver a voltage of the proper level and characteristics to enable equipment to function properly (e.g., by providing transient impulse protection). A rackmounted wireless receiver unit is used to enable a guitarist or bassist to move around on stage without being connected to a cable. A footswitch pedal such as the "A/B" pedal routes a guitar signal to an amplifier or enables a performer to switch between two guitars, or between two amplifiers.
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Guitar amplifiers andelectronic keyboards may have switch pedals for turning built-in reverb and distortion effects on and off; the pedals contain only a switch, with the circuitry for the effect being housed in the amplifier chassis.[130] Some musicians who use rackmounted effects or laptops employ aMIDI controller pedalboard or armband remote controls to trigger soundsamples, switch between different effects or control effect settings.[131][132][133] Apedal keyboard uses pedals, but it is not an effect unit; it is a foot-operated keyboard in which the pedals are typically used to playbasslines.
No note indicates that the manufacturer specializes in effects only
His first venture, the Phillips label, issued only one known release, and it was one of the loudest, most overdriven, and distorted guitar stomps ever recorded, "Boogie in the Park" by Memphis one-man-band Joe Hill Louis, who cranked his guitar while sitting and banging at a rudimentary drum kit.
Black country bluesmen made raw, heavily amplified boogie records of their own, especially in Memphis, where guitarists like Joe Hill Louis, Willie Johnson (with the early Howlin' Wolf band) and Pat Hare (with Little Junior Parker) played driving rhythms and scorching, distorted solos that might be counted the distant ancestors of heavy metal.
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