Effects unit - Learning on the Loop

Effects unit
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Effects unit
Effects units are electronic devices that alter how a
musical instrument or other audio source sounds. Some
effects subtly "color" a sound, while others transform it
dramatically. Effects are used during live performances
or in the studio, typically with electric guitar, keyboard
and bass. While most frequently used with electric or
electronic instruments, effects can also be used with
acoustic instruments, drums and vocals.[1][2] Examples
of common effects units include wah-wah pedals,
fuzzboxes and reverb units.[3]
A pedalboard allows a performer to create a ready-to-use chain of
Effects are housed in amplifiers, table top units,
multiple pedals. Signal chain order: tuner, compressor, octave
generator, wah-wah pedal, overdrive, distortion, fuzz, EQ and
"stompboxes" and "rackmounts", or they are built into
tremolo.
the instruments themselves. A stompbox (or "pedal") is
a small metal or plastic box placed on the floor in front
of the musician and connected to his or her instrument. The box is typically controlled by one or more foot-pedal
on-off switches and contains only one or two effects. A rackmount is mounted on a standard 19-inch equipment rack
and usually contains several different types of effects.[4]
While there is currently no consensus on how to categorize effects, the following are seven common classifications:
distortion, dynamics, filter, modulation, pitch/frequency, time-based and feedback/sustain.[5][6] Rock guitarists
derive their signature sound or "tone" from their choice of instrument and effects.[7]
Formats (form factor)
Effects units are available in a variety of formats or "form factors". A
musician's choice of form factor is generally determined by the
instrument he or she plays, the musical situation (recording or live
performance) and what he or she can afford. Stompbox style pedals are
usually the smallest, least expensive and most rugged type of effect.
Rackmount devices are relatively expensive and offer a wider range of
functions.[8] An effects unit can consist of analog or digital circuitry.
Boss ME-50 guitar multi-effects pedal
During a live performance, the effect is plugged into the electrical
"signal" path of the instrument. In the studio, the instrument or other
sound-source's auxiliary output is patched into the effect.[9][10] Form factors are part of a studio or musician's
outboard gear.[11]
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Stompboxes
Stompboxes, or effects pedals, are effects units designed to sit on the floor or a
pedalboard and be turned on and off with the user's feet. They typically house a
single effect. The simplest stompbox pedals have a single footswitch; one to three
potentiometers for controlling the effect, gain or tone; and a single LED display to
indicate whether the effect is on. The most complex stompbox pedals have multiple
footswitches, eight to ten knobs, additional switches, and an alphanumeric display
screen that indicates the status of the effect with short acronyms (e.g. DIST for
"distortion").[8][12]
An "effects chain" or "signal chain" may be formed by connecting two or more
stompboxes. Effect chains are typically created between a preamplifier (“preamp”)
and the guitar amplifier. When a pedal is off or inactive, the electric audio signal
Ibanez Tube Screamer TS9
coming in to the pedal is diverted onto a "bypass", resulting in a "dry" signal which
overdrive pedal
continues on to other effects down the chain. In this way, the effects within a chain
can be combined in a variety of ways without having to reconnect boxes during a
[13]
performance.
A "controller" or "effects management system" allows for multiple effect chains to be created, so
that one or several chains can be engaged or disengaged by tapping a single switch. The switches are usually
organized in a row or a simple grid.[14]
To preserve the clarity of the tone, it is most common to put compression, wah and overdrive 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. When using many effects, unwanted noise and hum can be introduced into the sound. Some performers use a
noise gate pedal at the end of a chain to reduce unwanted noise and hum introduced by overdrive units or vintage
gear.[15]
Rackmounts
Rackmounted effects are built into a case designed to integrate into a
19-inch rack standard to the telecommunication and computing
industries. A rackmount unit may contain electronic circuitry identical
to a stompbox's, although its circuits are typically more complex.
Unlike stompboxes, rackmounts usually have several different types of
effects.[16]
Rackmounts are most commonly used in recording studios and "front
of house" live sound mixing situations, though many musicians use
them in place of stompboxes. Rackmounts are controlled by knobs or
switches on their front panel, and often by a MIDI digital control
interface. During live performances, a musician can operate
rackmounted effects using a "foot controller".[17]
Rackmounted effects
"Shock mount" racks are designed for musicians who are shipping gear on major tours. Devices that are less than
19 inches wide may use special "ear" adapters that allow them to be mounted on a rack.[18]
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Built-in units
Effects are often incorporated into amplifiers and even some types of instruments. Electric guitar amplifiers typically
have built-in reverb and distortion, while acoustic guitar and keyboard amplifiers tend to only have built-in reverb.
Since the 2000s, guitar amplifiers began having built-in multi-effects units or digital modeling effects. Bass
amplifiers are less likely to have built-in effects, although some may have a compressor/limiter or distortion.[19]
Instruments with built-in effects include Hammond organs, electronic organs, electronic pianos and digital
synthesizers.[20] Occasionally, acoustic-electric and electric guitars will have built-in effects.[21][22]
Multi-effects and tabletop units
A multi-effects device (also called a "multi-FX" device) is a single electronics effects pedal or rackmount device that
contains many different electronic effects. Multi-FX devices allow users to "preset" combinations of different
effects, allowing musicians quick on-stage access to different effects combinations.[23]
A tabletop unit is a type of multi-effects device that sits on a desk and is controlled manually. One such example is
the Pod guitar amplifier modeler. Digital effects designed for DJs are often sold in tabletop models, so that the units
can be placed alongside a mixer, turntables and CD scratching gear.[24]
History
Studio effects and early stand alone units
The earliest sound effects were strictly studio productions. In the mid to late
1940s, recording engineers and experimental musicians such as Les Paul
began manipulating reel-to-reel recording tape to create echo effects and
unusual, futuristic sounds. Microphone placement (“miking”) techniques were
used in spaces with specially designed acoustic properties to simulate echo
chambers.[25][26][27]
In 1948 DeArmond released the Trem-Trol, 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.[28] Most
In 1964 Dave Davies (second from left),
stand-alone effects of the 1950s and early 60s such as the Gibson GA-VI
lead guitarist of The Kinks, famously
vibrato unit and the Fender reverb box, were expensive and impractical,
achieved a distorted sound on "You
Really Got Me" by slashing the cones of
requiring bulky transformers and high voltages. The original stand-alone units
his guitar amplifier with a razor blade.
were not especially in-demand as many effects came built into amplifiers. The
first popular stand-alone was the 1958 Watkins Copicat, a relatively portable
tape echo effect made famous by the British band, The Shadows.[29][30]
Amplifiers
Amplifier built-ins were the first effects to be used regularly outside the studio by guitar players. From the late 1940s
onward, the Gibson Guitar Corp. began including vibrato circuits in combo amplifiers. The 1950 Ray Butts
EchoSonic amp was the first to feature the "slapback” echo sound, which quickly became popular with guitarists
such as Chet Atkins, Carl Perkins, Scotty Moore, Luther Perkins, and Roy Orbison. By the 1950s, tremolo, vibrato
and reverb were available as built-in effects on many guitar amplifiers. Both Premier and Gibson built tube-powered
amps with spring reverb. Fender began manufacturing the tremolo amps Tremolux in 1955 and Vibrolux in 1956.[31]
Distortion was not an effect originally intended by amplifier manufacturers, but could often easily be achieved by
“overdriving” the power supply in early tube amplifiers. In the 1950s, guitarists such as Willie Johnson of Howlin'
Wolf, Paul Burlison of Johnny Burnette & The Rock N Roll Trio and Link Wray deliberately increased gain beyond
its intended levels to achieve "warm" distorted sounds.[32] Wray's seminal 1958 recording "Rumble" inspired young
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musicians such as Pete Townshend of The Who, Jimmy Page of Led Zeppelin, Dave Davies of The Kinks, and Neil
Young to explore distortion. Davies would famously doctor the speakers of his amp by slitting them with a razor
blade to achieve an even grittier guitar sound on the 1964 song "You Really Got Me".[33] In 1966, the British
company Marshall Amplification began producing the Marshall 1963, a guitar amplifier capable of producing the
distorted "crunch" that rock musicians were starting to covet.[34][35]
Stompboxes
The electronic transistor finally made it possible to cram the aural creativity
of the recording studio into small, highly portable stompbox units. Transistors
replaced vacuum 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”.[37][38]
Warwick Electronics manufactured the first wah-wah pedal, The Clyde
McCoy, in 1967 and that same year Roger Mayer issued the first octave
effect, the Octavia.[39][40] In 1968, Univox began marketing its Uni-Vibe
pedal, an effect designed by noted audio engineer Fumio Mieda that
mimicked the odd phase shift and chorus effects of the Leslie rotating
speakers used in Hammond organs. The pedals soon became favorite effects
of guitarists Jimi Hendrix and Robin Trower. Upon first hearing the Octavia,
Hendrix allegedly rushed back to the studio and immediately used it to record
the guitar solos on "Purple Haze" and "Fire"[41] By the mid-1970s a variety of
solid-state effects pedals including flangers, chorus pedals, ring modulators
and phase shifters were available.[42][43]
J Mascis of the American rock band
Dinosaur Jr. helped to re-popularize
[36]
analog stompboxes in the 1990s.
In the 1980s, digitized rackmount units began replacing stompboxes as the effects format of choice. Often musicians
would record "dry", unaltered tracks in the studio and effects would be added in post-production. The success of
Nirvana's 1991 album Nevermind helped to re-ignite interest in stompboxes. Throughout the 1990s, musicians
committed to a "lo-fi" aesthic such as J Mascis of Dinosaur Jr., Stephen Malkmus of Pavement and Robert Pollard of
Guided by Voices continued to use non-digital (analog) effects pedals.[44]
Effects and effects units—stompboxes in particular—have been celebrated by pop and rock musicians in album
titles, songs and band names. The Big Muff, a classic fuzzbox manufactured by Electro-Harmonix,[45] is
commemorated by the Depeche Mode song "Big Muff" and the Mudhoney EP Superfuzz Bigmuff. Nine Inch Nails,
Pink Floyd, George Harrison, They Might Be Giants and Joy Division are among the many musicians who have
referenced effects units in their music.[46]
Effects unit
Types
Distortion
Distortion effects create "warm", "gritty" and
"fuzzy" sounds by "clipping" an instrument's
audio signal, which distorts the shape of its
wave form and adds overtones. Distortion
effects are sometimes called “gain” effects,
as distorted guitar sounds were first achieved
by increasing the electric power supply (i.e.
gain) to tube amplifiers.[47][48][49]
Distortion and overdrive: Distortion and
"Clipping" an instrument's audio signal produces distortion
overdrive units re-shape or "clip" an audio
signal's wave form so that it has flattened
peaks, creating "warm" sounds by adding harmonics or "gritty" sounds by adding inharmonic overtones. In tube
amplifiers, distortion is created by compressing the instrument's out-going electrical signal in vacuum tubes or
"valves".[48][49] Distortion effects differ from overdrive effects in that they produce roughly the same amount of
distortion at any volume. Overdrive units, much like tube amps, produce “clean” sounds at quieter volumes and
distorted sounds at louder volumes.[50][51]
Distortion and overdrive effects: Boss DS-1 Distortion, Ibanez Tube Screamer, Marshall ShredMaster, MXR
Distortion +, Pro Co RAT.
Fuzz: A fuzz pedal or “fuzzbox” is a type of overdrive pedal that clips a sound-wave until it is nearly a squarewave,
resulting in a heavily distorted or "fuzzy" sound.[49][52] Fuzzboxes also contain frequency multiplier circuitry to
achieve an even harsher timbre by adding complex harmonics.[53][54] The Rolling Stones’ "(I Can't Get No)
Satisfaction" greatly popularized the use of fuzz effects.[26]
Fuzz effects: Arbiter Fuzz Face, Electro-Harmonix Big Muff, Shin-ei Companion FY-2, Univox Super-Fuzz, Vox
Tone Bender, Z.Vex Fuzz Factory.
Dynamics
Also called volume and amplitude effects, dynamics effects modify the volume of an instrument. Dynamics effects
were the first effects to be introduced to guitarists.[5]
Boost/volume pedal: A boost or "clean boost" amplifies the volume of an instrument by increasing the amplitude of
its audio signal. These units are generally used for “boosting” volume during solos and preventing signal loss in long
"effects chains". A guitarist switching from rhythm guitar to lead guitar may use a boost to increase the volume of
his or her solo.[55]
Volume effects: Electro-Harmonix LPB-1, Fender Volume Pedal, MXR Micro Amp.
Compressor: Compressors make loud sounds quieter and quiet sounds louder by decreasing or "compressing" the
dynamic range of an audio signal.[56] A compressor is often used to stabilize volume and smooth a note’s "attack" by
dampening its onset and amplifying its sustain. A compressor can also function as a limiter with extreme settings of
its controls.[57]
Compressor effects: Keeley Compressor, MXR Dyna Comp.
Noise gate: Noise gates eliminate “hum”, “hiss” and “static” by greatly diminishing the volume of sounds that fall
below a set threshold. Noise gates are expanders, meaning unlike compressors they increase the dynamic range of an
audio signal in order to make quiet sounds even quieter.[56] If used with extreme settings along with reverb, they can
create unusual sounds, such as the gated drum effect used in 1980s pop songs, a style popularized by the Phil Collins
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Effects unit
song "In the Air Tonight".[58][59]
Noise gate effects: Boss NS-2 Noise Suppressor.
Filter
Filter effects alter the frequency content of an audio signal that
passes through them by either boosting or weakening specific
frequencies or frequency regions.
Equalizer: An equalizer is a set of linear filters that strengthen
("boost") or weaken ("cut") specific frequency regions. Stereos
often have equalizers that adjust bass and treble.[60] 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.[61]
Equalizer effects: Boss GE-7 Equalizer.
Talk box: A talk box directs the sound from a guitar or
Peter Frampton's Talk box
synthesizer into the mouth of a performer, allowing him or her to
shape the sound into vowels and consonants. The modified sound
is then picked up by a microphone. In this way the guitar is able to “talk”. Some famous uses of the talkbox include
Bon Jovi’s “Living on a Prayer”, Stevie Wonder's “Black Man” and Peter Frampton's "Show Me the Way".[62][63]
Talk boxes: Dunlop HT1 Heil Talk Box, Rocktron Banshee.
Wah-wah: A wah-wah pedal creates vowel-like sounds by altering the frequency spectrum produced by an
instrument—i.e. how loud it is at each separate frequency—in what is known as a spectral glide or "sweep".[64] The
device is operated by a foot treadle that opens and closes a potentiometer. Wah-wah pedals are often used by funk
and psychedelic rock guitarists.[65]
Wah effects: Dunlop Cry Baby, Morley Power Wah, Musitronics Mu-Tron III.
Modulation
Modulation effects combine multiple audio signals in order to create sounds with unusual tonal properties. Some
modulation effects mix ("modulate") an instrument's audio signal with a signal generated by the effect called a
carrier wave.[66] Other modulation effects split an instrument's audio signal in two, altering one portion of the signal
and mixing it with the unaltered portion.[67]
Chorus: Chorus pedals mimic the effect choirs and string orchestras produce naturally by mixing sounds with slight
differences in timbre and pitch. A chorus effect splits the instrument-to-amplifier audio signal, adding a slight delay
and frequency variations or “vibrato” to part of the signal while leaving the rest unaltered.[67][68] A well-known usage
of chorus is the lead guitar in “Come As You Are” by Nirvana.[57]
Chorus effects: Boss CE-1 Chorus Ensemble, Electro-Harmonix Small Clone, TC Electronic Stereo Chorus.
Flanger: A flanger creates a "jet plane" or "spaceship" sound, simulating a studio effect produced by recording a
track on two synchronized tapes and periodically slowing one tape by pressing the edge of its reel (the “flange”).
When the two tapes' audio signals are later mixed, a comb 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 or Doppler effect.[69][70] Some
famous uses of flanger effects include "Walking on the Moon" by The Police and "Barracuda" by Heart.[71][72]
Flanger effects: Electro-Harmonix Electric Mistress, MXR Flanger.
Phaser: A phaser or "phase shifter" creates a slight rippling effect—amplifying some aspects of the tone while
diminishing others—by splitting an audio signal in two and altering the phase of one portion. Two well-known
examples of phaser are keyboard parts on Billy Joel’s “Just the Way You Are” and Paul Simon's "Slip Slidin'
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Away".[73]
Phase shift effects: Electro-Harmonix Small Stone, MXR Phase 90, Univox Uni-Vibe.
Ring modulator: A ring modulator produces a resonant, metallic sound by mixing an instrument's audio signal with
a carrier wave generated by the device's internal oscillator. The original sound wave is suppressed and replaced by a
"ring" of inharmonic higher and lower pitches or "sidebands".[66][74] A notable use of ring modulation is the guitar in
the Black Sabbath song "Paranoid".[75]
Ring modulator effects: moogerfooger MF-102 Ring Modulator.
Tremolo: A tremolo effect produces a slight, rapid variation in the volume of a note or chord. The "tremolo effect”
should not be confused with the misleadingly-named "tremolo bar", a device on a guitar bridge which allows the
player to create a vibrato or “pitch-bending” effect. In transistorized effects, a tremolo is produced by mixing an
instrument's audio signal with a sub-audible carrier wave in such a way that generates amplitude variations in the
sound wave.[76][77] The guitar intro in the Rolling Stones' "Gimme Shelter" features a tremolo effect.[78]
Tremolo effects: Demeter TRM-1 Tremulator, Fender Tremolux.
Vibrato: Vibrato effects produce slight, rapid variations in pitch, mimicking the fractional semitone variations
produced naturally by opera singers and violinists when prolonging a single note. Vibrato effects often allow the
performer to control the rate of the variation as well as the difference in pitch (e.g. “depth”). A vibrato with an
extreme "depth" setting (e.g., half a semitone or more) will produce a dramatic, ululating sound. In transistorized
effects, vibrato is produced by mixing an instrument's audio signal with a carrier wave in such a way that generates
frequency variations in the sound wave.[77] Guitarists often use the terms "vibrato" and "tremolo" misleadingly. A
so-called "vibrato unit" in a guitar amplifier actually produces tremolo, while a "tremolo arm" or “whammy bar” on a
guitar produces vibrato.[79][80] Vibrato effects: Boss VB-2 Vibrato.
Pitch/frequency
Pitch/frequency effects modify pitch by altering the frequency of a sound wave or adding new harmonies.
Pitch shifter and harmonizer: A pitch shifter raises or lowers (e.g. "transposes") each note a performer plays by a
pre-set interval. For example, a pitch shifter set to increase the pitch by a fourth will raise each note four diatonic
intervals above the notes actually played. Simple pitch shifters raise or lower the pitch by one or two octaves, while
more sophisticated devices offer a range of interval alterations.
A harmonizer is a type of pitch shifter that combines the altered pitch with the original pitch to create a two or more
note harmony. Some hamonizers are able to create chorus-like effects by adding very tiny shifts in pitch.[81]
Pitch shift effects: DigiTech Whammy, Electro-Harmonix POG.
Time-based
Time-based effects delay the sound signal or adds echos.
Delay/echo: Delay/echo units produce an echo effect by adding a
duplicate instrument-to-amplifier electrical signal to the original signal
at a slight time-delay. The effect can either be a single echo called a
“slap” or “slapback,” or multiple echos. A well-known use of delay is
the lead guitar in the U2 song "Where the Streets Have No Name".[82]
Delay effects: Boss DD-3 Digital Delay, Electro-Harmonix Deluxe
Memory Man, Line 6 DL4, Roland RE-201.
Folded line spring reverberation
Looper pedal: A looper pedal or "phrase looper" allows a performer to record and later replay a phrase or passage
from a song. Loops can be created on the spot during a performance or they can be pre-recorded. Some units allow a
performer to layer multiple loops. The first loop effects were created with reel-to-reel tape using a tape loop.
High-end boutique tape loop effects are still used by some studios who want a vintage sound. Digital loop effects
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recreate this effect using an electronic memory.[83]
Looper effects: Boss RC-30 Loop Station.
Reverb: Reverb units simulate sounds produced in an echo chamber by creating a large number of echoes that
gradually fade or "decay". A plate reverb system uses an electromechanical transducer 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 various signal processing algorithms to create the reverb effect, often by using
multiple feedback delay circuits. Rockabilly and surf guitar are two genres that make heavy use of reverb.[84]
Reverb effects: Electro-Harmonix Holy Grail, Fender Reverb Unit.
Feedback/sustain
Audio feedback as a desired guitar effect has been pioneered by guitarists such as Jimi
Hendrix. It is generated by playing an instrument directly in front of an amplifier set to a
high volume turning the tone into a feedback tone with infinite sustain. Typically, these
feedback tones turn quickly from basic notes into overtones. It can be difficult to get
feedback conditions, because it depends on the sound volume and on the position of the
guitar relative to the loudspeaker[85][86]
The EBow, a handheld pickup/string driver, uses two small coils. One coil has a
permanent magnet. It picks up the string vibration similar to a guitar pickup. The
An EBow
electrical signal is amplified for driving the second coil which acts as a magnetic string
driver to vibrate the string. By this feedback loop a bow-like infinitely sustained sound is
generated. The EBow can drive one string at a time. Latest EBow models contain a mode switch which allows the
player to change from basic note to overtones feedback sustain.[65]
Other magnetic string drivers use the guitar pickup signal as input. Guitar built-in devices such as the Sustainiac
Sustainer and the Fernandes Sustainer create feedback sustain with a string driver mounted in the guitar.
Many compressor pedals are often also marketed as "sustainer 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 specified
dynamic range, slightly prolonging the duration of the note.[87]
Other effects
Envelope follower: An envelope follower activates an effect once a designated volume is reached. One effect that
uses an envelope follower is the "auto-wah", which produces a "wah" effect depending on how loud or soft the notes
are being played.[88][89]
Guitar amplifier modeling: Amplifier modeling is a digital effect that replicates the sound of various amplifiers,
most often analog “tube” amps. Sophisticated modeling effects can simulate speaker cabinets and miking techniques.
A rotary speaker simulator mimics the doppler sound of a vintage Leslie speaker system by replicating its volume
and pitch modulations, overdrive capacity and phase shifts.[90]
Pitch correction/vocal effects: Pitch correction effects use signal-processing algorithms to re-tune faulty intonation
in a vocalist's performance.[91]
Simulators: Simulators enable electric guitars to mimic the sound of other instruments such as acoustic guitar,
electric bass and sitar. Pick up simulators used on guitars with single-coil pick ups replicate the sound of guitars with
humbucker pick ups, or vice-versa. A de-fretter is a bass guitar effect that simulates the sound of a fretless bass. The
effect uses an envelope-controlled filter and voltage-controlled amplifier to “soften” a note's attack both in volume
and timbre.[92]
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Boutique pedals
T-Rex brand "Mudhoney"
overdrive pedal
Boutique pedals are designed by smaller, independent companies and are typically
produced in limited quantities. Some may even be hand-made. These pedals are
mainly distributed online or through mail-order, or sold in a few music stores.[93]
They are often more expensive than mass-produced pedals[94] and offer
non-standard features such as true-bypass switching, higher-quality components,
innovative designs, and hand-painted artwork. Some boutique companies focus on
re-creating classic or vintage effects.[95]
Some boutique pedal manufacturers include: Analog Man, BJFE, Pete Cornish,
Emlyn Crowther, Death By Audio, Devi Ever, Robert Keeley, Roger Linn,
Lovetone, Roger Mayer, Strymon, T-Rex Engineering, ToadWorks and Z.Vex
Effects.
Effects unit modification
There is also a niche market for modifying or "modding" effects. Typically, vendors provide either custom
modification services or sell new effects pedals which have been modified. The Ibanez Tube Screamer, Boss DS-1,
Pro Co RAT and DigiTech Whammy are some of the most often-modified effects.[96][97] Common modifications
include value changes in capacitors or resistors, adding true-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 an additional output
jack.[96][98][99]
Other pedals and rackmount units
Not all stompboxes and rackmounts are effects. Strobe tuner pedals indicate whether a guitar string is too sharp or
flat.[100] A footswitch pedal such as the "A/B" pedal route a guitar signal to an amplifier or enable a performer to
switch between two guitars. Guitar amplifiers and electronic keyboards may have switch pedals for turning built-in
effects on and off.[101] Some musicians who use rackmounted effects or laptops employ a MIDI controller
pedalboard or armband remote controls to trigger sound samples, switch between different effects or control effect
settings.[102][103][104]
References
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com/ books?id=QwcLdjCCXHkC). Hal Leonard. p. 139. .
[3] Clement, Vivian (2007). How to Succeed As a Female Guitarist: The Essential Guide for Working in a Male-dominated Industry (http:/ /
books. google. com/ books?id=FHOskiubkx0C). Alfred Music. p. 30. .
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[5] "The Art of the Stompbox" (http:/ / www. museumofmakingmusic. org/ stompbox/ index. php/ home/ categories-of-effects). The Museum of
Making. 2010. . Retrieved 13 September 2010.
[6] "Guitar effects" (http:/ / tripatlas. com/ Guitar_effects#Samples). Trip Atlas. . Retrieved 18 September 2010.
[7] Brewster, David M. (2003), Introduction to Guitar Tone and Effects: A Manual for Getting the Sounds from Electric Guitars, Amplifiers,
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tone& f=false), Hal Leonard, p. 14,
[8] Clement, V (2007). How to Succeed As a Female Guitarist (http:/ / books. google. com/ books?id=FHOskiubkx0C), Alfred Music. p. 30-31.
[9] Gibson, Bill (2007). The Ultimate Live Sound Operator's Handbook (http:/ / books. google. com/ books?id=r86J_aNNReEC). Hal Leonard.
p. 366. .
Effects unit
[10] McCormick, Tim; Rumsey, Francis (2009). Sound and Recording (http:/ / books. google. com/ books?id=8JH6Z5c6-OUC& dq="auxiliary+
output"+ recording+ effects& source=gbs_navlinks_s). Focal Press. p. 131. .
[11] Editors, Guitar Player Magazine (2001). How to Play Guitar: The Basics & Beyond (http:/ / www. allmusic. com/ artist/ p5474). Hal
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External links
• A Guide to Multi Effect Pedals (http://www.multieffectpedal.com/guide/).
• History and Photos of Vintage Fuzz Pedals (http://www.FuzzEffect.com).
• 50 of the Greatest Stompboxes (http://www.musicplayer.com/article/50-of-the/mar-05/4174)
13
Article Sources and Contributors
Article Sources and Contributors
Effects unit Source: http://en.wikipedia.org/w/index.php?oldid=491528328 Contributors: 0612, 3dec3, 3guk, Akerans, Andrewa, Atlantictire, Auntof6, BD2412, Billeindani, Binksternet,
Bjames092, Bjorn Elenfors, Bloodzombie, Boyband625, Brossow, Buglen, BurnDownBabylon, Butterscotch, C5813, CALR, Can't sleep, clown will eat me, Cavie78, Charlessellers, Chickencha,
Chris the speller, Cigaromn, Ck lostsword, ClamDip, Clusternote, Colchester121891, Commons Guitarpop, Conical Johnson, Conversion script, Courcelles, Cralize, Cymsdale, Danobeavis,
DarthInsinuate, Daviq, Deansolo, Deltabeignet, Deon Steyn, DerekL, DriveShaft 815, Dulcimerist, Dysenterymatt, Eddyspeeder, Edward, Effectrode, Elvenmuse, Emersoni, Eveningmist,
Favonian, Fram, Frantone, Gaius Cornelius, Gdoubledub, GoingBatty, GraemeL, Graham87, GreyCat, Guyvanzandt, Here Lies The Fire, Iain, Ironcroz, Is there any username not used?,
JONJONAUG, Jafro, Jai Raj, Jameschanguitars, Jampfeffer, Jcbereznay, Jeffamm, Jfusion10, Jhsounds, Joeyramoney, Jogers, JustAGal, Kilmer-san, Lindosland, Lyssipos, Magioladitis,
ManningBartlett, Martijn Hoekstra, Maslisko, Mataresephotos, Matman67b, Maxcap, Mbstone, MegX, MichaelSHoffman, Mild Bill Hiccup, MrBook, Mrgretalcat, Nagelfar, Ndrly, Nlu, No
Guru, OlEnglish, Omegatron, OnBeyondZebrax, Peternewman, Qwyrxian, R'n'B, Radagast83, Randombee, Redheylin, Requestion, Rigadoun, RobML, Ronz, Salamander4000, Shythe,
Snowfreak91287, Srice13, Steve carlson, Steve7950, Steveg99962, Sue Wallace, Tabletop, Therewillbehotcake, Theyoungidea, Ticklewickleukulele, TimNelson, Tmoxness, Tom.Reding,
Tzartzam, Ucucha, Uikku, Vintage-Rev, Viriditas, WikHead, Willd88, Wine Guy, Witchwooder, Wonderjenny, Woohookitty, Xstring, Y2kcrazyjoker4, YUL89YYZ, Yawaraey, Zaxo, Zephyrad,
273 anonymous edits
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File:Pedalboard (995939579)-2.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Pedalboard_(995939579)-2.jpg License: Creative Commons Attribution 2.0 Contributors:
Pedalboard_(995939579).jpg: Michael Morel from Barcelona, Spain derivative work: Atlantictire (talk)
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Contributors: Guitar_Effects_by_roomiccube.jpg: Shane Gavin derivative work: Atlantictire (talk)
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