Effects unit - Learning on the...

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Effects unit 1 Effects unit A pedalboard allows a performer to create a ready-to-use chain of multiple pedals. Signal chain order: tuner, compressor, octave generator, wah-wah pedal, overdrive, distortion, fuzz, EQ and tremolo. 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] Effects are housed in amplifiers, table top units, "stompboxes" and "rackmounts", or they are built into 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) Boss ME-50 guitar multi-effects pedal 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. 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]

Transcript of Effects unit - Learning on the...

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Effects unit

A pedalboard allows a performer to create a ready-to-use chain ofmultiple pedals. Signal chain order: tuner, compressor, octavegenerator, wah-wah pedal, overdrive, distortion, fuzz, EQ and

tremolo.

Effects units are electronic devices that alter how amusical instrument or other audio source sounds. Someeffects subtly "color" a sound, while others transform itdramatically. Effects are used during live performancesor in the studio, typically with electric guitar, keyboardand bass. While most frequently used with electric orelectronic instruments, effects can also be used withacoustic instruments, drums and vocals.[1][2] Examplesof common effects units include wah-wah pedals,fuzzboxes and reverb units.[3]

Effects are housed in amplifiers, table top units,"stompboxes" and "rackmounts", or they are built intothe instruments themselves. A stompbox (or "pedal") isa small metal or plastic box placed on the floor in frontof the musician and connected to his or her instrument. The box is typically controlled by one or more foot-pedalon-off switches and contains only one or two effects. A rackmount is mounted on a standard 19-inch equipment rackand 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 guitaristsderive their signature sound or "tone" from their choice of instrument and effects.[7]

Formats (form factor)

Boss ME-50 guitar multi-effects pedal

Effects units are available in a variety of formats or "form factors". Amusician's choice of form factor is generally determined by theinstrument he or she plays, the musical situation (recording or liveperformance) and what he or she can afford. Stompbox style pedals areusually the smallest, least expensive and most rugged type of effect.Rackmount devices are relatively expensive and offer a wider range offunctions.[8] An effects unit can consist of analog or digital circuitry.During a live performance, the effect is plugged into the electrical"signal" path of the instrument. In the studio, the instrument or othersound-source's auxiliary output is patched into the effect.[9][10] Form factors are part of a studio or musician'soutboard gear.[11]

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Ibanez Tube Screamer TS9overdrive pedal

Stompboxes

Stompboxes, or effects pedals, are effects units designed to sit on the floor or apedalboard and be turned on and off with the user's feet. They typically house asingle effect. The simplest stompbox pedals have a single footswitch; one to threepotentiometers for controlling the effect, gain or tone; and a single LED display toindicate whether the effect is on. The most complex stompbox pedals have multiplefootswitches, eight to ten knobs, additional switches, and an alphanumeric displayscreen 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 morestompboxes. Effect chains are typically created between a preamplifier (“preamp”)and the guitar amplifier. When a pedal is off or inactive, the electric audio signalcoming in to the pedal is diverted onto a "bypass", resulting in a "dry" signal whichcontinues on to other effects down the chain. In this way, the effects within a chaincan be combined in a variety of ways without having to reconnect boxes during a

performance.[13] A "controller" or "effects management system" allows for multiple effect chains to be created, sothat one or several chains can be engaged or disengaged by tapping a single switch. The switches are usuallyorganized 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 ofthe chain; modulation (chorus, flanger, phase shifter) in the middle; and time-based units (delay/echo, reverb) at theend. 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 vintagegear.[15]

Rackmounted effects

Rackmounts

Rackmounted effects are built into a case designed to integrate into a19-inch rack standard to the telecommunication and computingindustries. A rackmount unit may contain electronic circuitry identicalto a stompbox's, although its circuits are typically more complex.Unlike stompboxes, rackmounts usually have several different types ofeffects.[16]

Rackmounts are most commonly used in recording studios and "frontof house" live sound mixing situations, though many musicians usethem in place of stompboxes. Rackmounts are controlled by knobs orswitches on their front panel, and often by a MIDI digital controlinterface. During live performances, a musician can operaterackmounted effects using a "foot controller".[17]

"Shock mount" racks are designed for musicians who are shipping gear on major tours. Devices that are less than19 inches wide may use special "ear" adapters that allow them to be mounted on a rack.[18]

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Built-in unitsEffects are often incorporated into amplifiers and even some types of instruments. Electric guitar amplifiers typicallyhave 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. Bassamplifiers 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 digitalsynthesizers.[20] Occasionally, acoustic-electric and electric guitars will have built-in effects.[21][22]

Multi-effects and tabletop unitsA multi-effects device (also called a "multi-FX" device) is a single electronics effects pedal or rackmount device thatcontains many different electronic effects. Multi-FX devices allow users to "preset" combinations of differenteffects, 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 isthe Pod guitar amplifier modeler. Digital effects designed for DJs are often sold in tabletop models, so that the unitscan be placed alongside a mixer, turntables and CD scratching gear.[24]

History

In 1964 Dave Davies (second from left),lead guitarist of The Kinks, famouslyachieved a distorted sound on "You

Really Got Me" by slashing the cones ofhis guitar amplifier with a razor blade.

Studio effects and early stand alone units

The earliest sound effects were strictly studio productions. In the mid to late1940s, recording engineers and experimental musicians such as Les Paulbegan manipulating reel-to-reel recording tape to create echo effects andunusual, futuristic sounds. Microphone placement (“miking”) techniques wereused in spaces with specially designed acoustic properties to simulate echochambers.[25][26][27]

In 1948 DeArmond released the Trem-Trol, the first commercially availablestand-alone effects unit. This device produced a tremolo by passing aninstrument's electrical signal through a water-based electrolytic fluid.[28] Moststand-alone effects of the 1950s and early 60s such as the Gibson GA-VIvibrato unit and the Fender reverb box, were expensive and impractical,requiring bulky transformers and high voltages. The original stand-alone unitswere not especially in-demand as many effects came built into amplifiers. Thefirst 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 1940sonward, the Gibson Guitar Corp. began including vibrato circuits in combo amplifiers. The 1950 Ray ButtsEchoSonic amp was the first to feature the "slapback” echo sound, which quickly became popular with guitaristssuch as Chet Atkins, Carl Perkins, Scotty Moore, Luther Perkins, and Roy Orbison. By the 1950s, tremolo, vibratoand reverb were available as built-in effects on many guitar amplifiers. Both Premier and Gibson built tube-poweredamps 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 NeilYoung to explore distortion. Davies would famously doctor the speakers of his amp by slitting them with a razorblade to achieve an even grittier guitar sound on the 1964 song "You Really Got Me".[33] In 1966, the Britishcompany Marshall Amplification began producing the Marshall 1963, a guitar amplifier capable of producing thedistorted "crunch" that rock musicians were starting to covet.[34][35]

J Mascis of the American rock bandDinosaur Jr. helped to re-popularizeanalog stompboxes in the 1990s.[36]

Stompboxes

The electronic transistor finally made it possible to cram the aural creativityof the recording studio into small, highly portable stompbox units. Transistorsreplaced vacuum tubes, allowing for much more compact formats and greaterstability. The first transistorized guitar effect was the 1962 Maestro FuzzTone pedal, which became a sensation after its use in the 1965 Rolling Stoneshit “(I Can't Get No) Satisfaction”.[37][38]

Warwick Electronics manufactured the first wah-wah pedal, The ClydeMcCoy, in 1967 and that same year Roger Mayer issued the first octaveeffect, the Octavia.[39][40] In 1968, Univox began marketing its Uni-Vibepedal, an effect designed by noted audio engineer Fumio Mieda thatmimicked the odd phase shift and chorus effects of the Leslie rotatingspeakers used in Hammond organs. The pedals soon became favorite effectsof guitarists Jimi Hendrix and Robin Trower. Upon first hearing the Octavia,Hendrix allegedly rushed back to the studio and immediately used it to recordthe guitar solos on "Purple Haze" and "Fire"[41] By the mid-1970s a variety ofsolid-state effects pedals including flangers, chorus pedals, ring modulatorsand phase shifters were available.[42][43]

In the 1980s, digitized rackmount units began replacing stompboxes as the effects format of choice. Often musicianswould record "dry", unaltered tracks in the studio and effects would be added in post-production. The success ofNirvana's 1991 album Nevermind helped to re-ignite interest in stompboxes. Throughout the 1990s, musicianscommitted to a "lo-fi" aesthic such as J Mascis of Dinosaur Jr., Stephen Malkmus of Pavement and Robert Pollard ofGuided 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 albumtitles, songs and band names. The Big Muff, a classic fuzzbox manufactured by Electro-Harmonix,[45] iscommemorated 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 havereferenced effects units in their music.[46]

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Types

Distortion

"Clipping" an instrument's audio signal produces distortion

Distortion effects create "warm", "gritty" and"fuzzy" sounds by "clipping" an instrument'saudio signal, which distorts the shape of itswave form and adds overtones. Distortioneffects are sometimes called “gain” effects,as distorted guitar sounds were first achievedby increasing the electric power supply (i.e.gain) to tube amplifiers.[47][48][49]

Distortion and overdrive: Distortion andoverdrive units re-shape or "clip" an audiosignal's wave form so that it has flattenedpeaks, creating "warm" sounds by adding harmonics or "gritty" sounds by adding inharmonic overtones. In tubeamplifiers, 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 ofdistortion at any volume. Overdrive units, much like tube amps, produce “clean” sounds at quieter volumes anddistorted sounds at louder volumes.[50][51]

Distortion and overdrive effects: Boss DS-1 Distortion, Ibanez Tube Screamer, Marshall ShredMaster, MXRDistortion +, 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 toachieve 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, VoxTone Bender, Z.Vex Fuzz Factory.

DynamicsAlso called volume and amplitude effects, dynamics effects modify the volume of an instrument. Dynamics effectswere 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 ofits 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 ofhis 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" thedynamic range of an audio signal.[56] A compressor is often used to stabilize volume and smooth a note’s "attack" bydampening its onset and amplifying its sustain. A compressor can also function as a limiter with extreme settings ofits 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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song "In the Air Tonight".[58][59] Noise gate effects: Boss NS-2 Noise Suppressor.

Filter

Peter Frampton's Talk box

Filter effects alter the frequency content of an audio signal thatpasses through them by either boosting or weakening specificfrequencies or frequency regions.

Equalizer: An equalizer is a set of linear filters that strengthen("boost") or weaken ("cut") specific frequency regions. Stereosoften have equalizers that adjust bass and treble.[60] Audioengineers use highly sophisticated equalizers to eliminateunwanted 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 orsynthesizer into the mouth of a performer, allowing him or her toshape the sound into vowels and consonants. The modified soundis then picked up by a microphone. In this way the guitar is able to “talk”. Some famous uses of the talkbox includeBon 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 aninstrument—i.e. how loud it is at each separate frequency—in what is known as a spectral glide or "sweep".[64] Thedevice is operated by a foot treadle that opens and closes a potentiometer. Wah-wah pedals are often used by funkand psychedelic rock guitarists.[65]

Wah effects: Dunlop Cry Baby, Morley Power Wah, Musitronics Mu-Tron III.

ModulationModulation effects combine multiple audio signals in order to create sounds with unusual tonal properties. Somemodulation effects mix ("modulate") an instrument's audio signal with a signal generated by the effect called acarrier wave.[66] Other modulation effects split an instrument's audio signal in two, altering one portion of the signaland mixing it with the unaltered portion.[67]

Chorus: Chorus pedals mimic the effect choirs and string orchestras produce naturally by mixing sounds with slightdifferences in timbre and pitch. A chorus effect splits the instrument-to-amplifier audio signal, adding a slight delayand frequency variations or “vibrato” to part of the signal while leaving the rest unaltered.[67][68] A well-known usageof 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 atrack 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 variablydelayed version of the audio signal to the original or signal, creating a comb filter or Doppler effect.[69][70] Somefamous 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 witha 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 inthe 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 theplayer to create a vibrato or “pitch-bending” effect. In transistorized effects, a tremolo is produced by mixing aninstrument's audio signal with a sub-audible carrier wave in such a way that generates amplitude variations in thesound 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 variationsproduced naturally by opera singers and violinists when prolonging a single note. Vibrato effects often allow theperformer to control the rate of the variation as well as the difference in pitch (e.g. “depth”). A vibrato with anextreme "depth" setting (e.g., half a semitone or more) will produce a dramatic, ululating sound. In transistorizedeffects, vibrato is produced by mixing an instrument's audio signal with a carrier wave in such a way that generatesfrequency variations in the sound wave.[77] Guitarists often use the terms "vibrato" and "tremolo" misleadingly. Aso-called "vibrato unit" in a guitar amplifier actually produces tremolo, while a "tremolo arm" or “whammy bar” on aguitar produces vibrato.[79][80] Vibrato effects: Boss VB-2 Vibrato.

Pitch/frequencyPitch/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 apre-set interval. For example, a pitch shifter set to increase the pitch by a fourth will raise each note four diatonicintervals above the notes actually played. Simple pitch shifters raise or lower the pitch by one or two octaves, whilemore 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 morenote 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-basedTime-based effects delay the sound signal or adds echos.

Folded line spring reverberation

Delay/echo: Delay/echo units produce an echo effect by adding aduplicate instrument-to-amplifier electrical signal to the original signalat 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 isthe lead guitar in the U2 song "Where the Streets Have No Name".[82]

Delay effects: Boss DD-3 Digital Delay, Electro-Harmonix DeluxeMemory Man, Line 6 DL4, Roland RE-201.

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 thatgradually fade or "decay". A plate reverb system uses an electromechanical transducer to create vibrations in a plateof metal. Spring reverb systems, which are often used in guitar amplifiers, use a transducer to create vibrations in aspring. Digital reverb effects use various signal processing algorithms to create the reverb effect, often by usingmultiple 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

An EBow

Audio feedback as a desired guitar effect has been pioneered by guitarists such as JimiHendrix. It is generated by playing an instrument directly in front of an amplifier set to ahigh volume turning the tone into a feedback tone with infinite sustain. Typically, thesefeedback tones turn quickly from basic notes into overtones. It can be difficult to getfeedback conditions, because it depends on the sound volume and on the position of theguitar relative to the loudspeaker[85][86]

The EBow, a handheld pickup/string driver, uses two small coils. One coil has apermanent magnet. It picks up the string vibration similar to a guitar pickup. Theelectrical signal is amplified for driving the second coil which acts as a magnetic stringdriver 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 theplayer 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 SustainiacSustainer 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 andvolume due to diminishing vibration in the string. The compressor pedal boosts its electrical signal to the specifieddynamic range, slightly prolonging the duration of the note.[87]

Other effectsEnvelope follower: An envelope follower activates an effect once a designated volume is reached. One effect thatuses an envelope follower is the "auto-wah", which produces a "wah" effect depending on how loud or soft the notesare 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 volumeand pitch modulations, overdrive capacity and phase shifts.[90]

Pitch correction/vocal effects: Pitch correction effects use signal-processing algorithms to re-tune faulty intonationin 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 withhumbucker pick ups, or vice-versa. A de-fretter is a bass guitar effect that simulates the sound of a fretless bass. Theeffect uses an envelope-controlled filter and voltage-controlled amplifier to “soften” a note's attack both in volumeand timbre.[92]

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Boutique pedals

T-Rex brand "Mudhoney"overdrive pedal

Boutique pedals are designed by smaller, independent companies and are typicallyproduced in limited quantities. Some may even be hand-made. These pedals aremainly 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 offernon-standard features such as true-bypass switching, higher-quality components,innovative designs, and hand-painted artwork. Some boutique companies focus onre-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.VexEffects.

Effects unit modificationThere is also a niche market for modifying or "modding" effects. Typically, vendors provide either custommodification 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 modificationsinclude value changes in capacitors or resistors, adding true-bypass so that the effect's circuitry is no longer in thesignal path, substituting higher-quality components, replacing the unit's original operational amplifiers (op-amps), oradding functions to the device such as allowing additional control of some factor or adding an additional outputjack.[96][98][99]

Other pedals and rackmount unitsNot all stompboxes and rackmounts are effects. Strobe tuner pedals indicate whether a guitar string is too sharp orflat.[100] A footswitch pedal such as the "A/B" pedal route a guitar signal to an amplifier or enable a performer toswitch between two guitars. Guitar amplifiers and electronic keyboards may have switch pedals for turning built-ineffects on and off.[101] Some musicians who use rackmounted effects or laptops employ a MIDI controllerpedalboard or armband remote controls to trigger sound samples, switch between different effects or control effectsettings.[102][103][104]

References[1] Horne, Greg (2000). Complete Acoustic Guitar Method: Mastering Acoustic Guitar c (http:/ / books. google. com/

books?id=cHALQ_CO5P0C). Alfred Music. p. 92. .[2] Yakabuski, Jim (2001). Professional Sound Reinforcement Techniques: Tips and Tricks of a Concert Sound Engineer (http:/ / books. google.

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Article Sources and Contributors 14

Article Sources and ContributorsEffects 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, NoGuru, 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

Image Sources, Licenses and ContributorsFile: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)File:Boss ME 50 Multi Effects Pedal.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Boss_ME_50_Multi_Effects_Pedal.jpg  License: Creative Commons Attribution 2.0 Contributors: Guitar_Effects_by_roomiccube.jpg: Shane Gavin derivative work: Atlantictire (talk)File:Ts9-stompbox-2-2.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Ts9-stompbox-2-2.jpg  License: Public Domain  Contributors: Ts9-stompbox-2.jpg: *File:Ts9-stompbox.jpg:User:Javart derivative work: Atlantictire (talk) derivative work: Atlantictire (talk)File:FOH Racks-2.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:FOH_Racks-2.jpg  License: Public Domain  Contributors: FOH_Racks.jpg: PM - PhilyG talk. Original uploaderwas PhilyG at en.wikipedia derivative work: Atlantictire (talk)File:Helmfrid-sofa4 Touched.JPG  Source: http://en.wikipedia.org/w/index.php?title=File:Helmfrid-sofa4_Touched.JPG  License: unknown  Contributors: Helmfrid-sofa4.JPG: Photographerunknown derivative work: I.M.S. (talk)File:J-mascis.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:J-mascis.jpg  License: Creative Commons Attribution-Sharealike 3.0  Contributors: Alex RamonFile:Clipping waveform.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Clipping_waveform.jpg  License: Creative Commons Attribution 3.0  Contributors:Clipping_compared_to_limiting.svg: Iainf derivative work: Atlantictire (talk)File:Peter Frampton's Talk Box-3-2.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Peter_Frampton's_Talk_Box-3-2.jpg  License: Creative Commons Attribution 2.0  Contributors:Peter_Frampton's_Talk_Box-3.jpg: *Peter_Frampton's_Talk_Box.jpg: Carl Lender derivative work: Atlantictire (talk) derivative work: Atlantictire (talk)File:Reverb-4-2.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Reverb-4-2.jpg  License: Creative Commons Attribution-Sharealike 3.0  Contributors: Reverb-4.jpg: Grebe derivativework: Atlantictire (talk)File:EBow.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:EBow.jpg  License: Creative Commons Attribution-ShareAlike 3.0 Unported  Contributors: Matt EasonFile:T-Rex Mudhoney-2.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:T-Rex_Mudhoney-2.jpg  License: Creative Commons Attribution 3.0  Contributors: T-Rex_Mudhoney.JPG:Simon Wedege Petersen derivative work: Atlantictire (talk)

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