Eects unit

1 Terminology
An eects unit is also called an eect box"; a pedal-style
unit may be called a stomp box or stompbox.

2 Formats (form factor)

Eects units are available in a variety of form factors.
Stompboxes are usually the smallest, least expensive, and
most rugged. Rackmount devices are generally more exA pedalboard allows a performer to create a ready-to-use chain
pensive and oer a wider range of functions.[8] An efof multiple pedals. Signal chain order: tuner, compressor, octave
fects unit can consist of analog or digital circuitry or a
generator, wah-wah pedal, overdrive, distortion, fuzz, EQ and
combination of the two. During a live performance, the
tremolo.
eect is plugged into the electrical signal path of the
instrument. In the studio, the instrument or other soundsources auxiliary output is patched into the eect.[9][10]
Form factors are part of a studio or musicians outboard
An eects unit or pedal is an electronic device that alters gear.[11]
how a musical instrument or other audio source sounds.
Some eects subtly color a sound while others transform it dramatically. Musicians use eects units during 2.1 Stompboxes
live performances or in the studio, typically with electric
guitar, electronic keyboard, electric piano or electric bass. Stompboxes usually lie on the oor or in a pedalboard to
While most frequently used with electric or electronic in- be operated by the users feet. Typical simple stompboxes
struments, eects can also be used with acoustic instru- have a single footswitch, one to three potentiometers
ments, drums and vocals.[1][2] Examples of common ef- for controlling the eect, and a single LED that indifects units include wah-wah pedals, fuzzboxes and reverb cates if the eect is on. Complex stompboxes may have
units.[3]
multiple footswitches, many knobs, additional switches,
Eects are built into ampliers, housed in table top units, and an alphanumeric LED display that indicates the sta"stompboxes" and "rackmount units", or they are built tus of the eect with short acronyms (e.g., DIST for
into the instruments themselves. A stompbox or pedal distortion).[8][12]
is a small metal or plastic box placed on the oor in front An eects chain or signal chain is formed by conof the musician and connected to the instrument and the necting two or more stompboxes. Eect chains are typiinstrument amplier with patch cords. Typically, one or cally created between the guitar and the amp or between
more on-o foot-operated switches control a device that the preamplier (preamp) and the power amp. When a
provides only one or two eects, with many pedals hav- pedal is o or inactive, the electric audio signal coming
ing knobs for controlling the volume, tone and intensity of into the pedal diverts onto a bypass, an unaltered dry
the eect. A rackmount device mounts on a standard 19- signal that continues on to other eects down the chain.
inch equipment rack and usually contains several types of In this way, a musician can combine eects within a chain
eects.[4]
in a variety of ways without having to reconnect boxes
during a performance.[13] A controller or eects management system lets the musician create multiple eect
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.[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, anger, phase shifter) in the middle; and time-

While there is currently no rm consensus on how to categorize eects, the following are seven common classications: distortion/overdrive, dynamics (aecting loudness), lter, modulation, pitch/frequency, time-based and
feedback/sustain.[5][6] Guitarists derive their signature
sound or "tone" from their choice of instrument, pickups,
eects units, and guitar amp and from the dierent settings they use with their pickups, eects units and amp.[7]
1

FORMATS (FORM FACTOR)

Rackmounted eects

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 eects using a foot
controller.[17]
Shock mount racks are designed for musicians who frequently move gear between venues. Devices that are less
than 19 inches wide may use special ear adapters to
mount on a rack.[18]

Ibanez Tube Screamer TS9 overdrive pedal

2.3 Built-in units

based units (delay/echo, reverb) at the end. When using

many eects, 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]

Eects are often incorporated into ampliers and even

some types of instruments. Electric guitar ampliers typically have built-in reverb and distortion, while acoustic
guitar and keyboard ampliers tend to only have built-in
reverb. The Fender Bandmaster Reverb amp, for example, had built-in reverb and vibrato.

2.2

Rackmounts

Rackmounted eects are typically built in a metal chassis with ears designed to be screwed into a 19-inch rack
that is standard to the telecommunication and computing
and music technology industries. Rackmounted units are
typically mounted in a road case, a tough plastic case with
removable front and rear covers that can be latched on
during transportation to protect the knobs and switches
and then removed during performances. A rackmount
unit may contain electronic circuitry identical to a stompboxs, although its circuits are typically more complex.
Unlike stompboxes, rackmounts usually have several different types of eects.[16]

Since the 2000s, guitar ampliers began having builtin multi-eects units or digital modeling eects. Bass
ampliers are less likely to have built-in eects, although some may have a compressor/limiter or fuzz
bass eect.[19] Instruments with built-in eects include Hammond organs, electronic organs, electronic pianos and digital synthesizers.[20] Occasionally, acousticelectric and electric guitars will have built-in eects, such
as a preamp or equalizer.[21][22]

2.4 Multi-eects and tabletop units

A multi-eects device (also called a multi-FX device) is

a single electronics eects pedal or rackmount device that
contains many dierent electronic eects. Multi-FX deRackmounts are most commonly used in recording stu- vices allow users to preset combinations of dierent efdios and front of house live sound mixing situations, fects, allowing musicians quick on-stage access to dierthough professional musicians may use them in place ent eects combinations.[23] Multi-eects units typically

3.2

Ampliers

Boss ME-50 guitar multi-eects pedal

have a range of distortion, chorus, anger, phaser and reverb eects. The most expensive multi-eects units may
also have looper functions.

3
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 rst
commercially available stand-alone eects unit. This device produced a tremolo by passing an instruments electrical signal through a water-based electrolytic uid.[28]
Most stand-alone eects of the 1950s and early 60s
such as the Gibson GA-VI vibrato unit and the Fender
reverb box, were expensive and impractical, requiring
bulky transformers and high voltages. The original standalone units were not especially in-demand as many eects
came built into ampliers. The rst popular stand-alone
was the 1958 Watkins Copicat, a relatively portable tape
echo eect made famous by the British band, The Shadows.[29][30]

A tabletop unit is a type of multi-eects device that sits

on a desk and is controlled manually. One such example
is the Pod guitar amplier modeler. Digital eects designed for DJs are often sold in tabletop models, so that
the units can be placed alongside a mixer, turntables and 3.2
CD scratching gear.[24]

Ampliers

History

A Fender Vibrolux Reverb amp and a ROSS amp

Guitar amplier built-in eects were the rst eects that

musicians used regularly outside the studio. From the
late 1940s onward, the Gibson Guitar Corp. began including vibrato circuits in combo ampliers. The 1950
Ray Butts EchoSonic amp was the rst 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 ampliers. 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]
In 1964, Dave Davies (second from left), lead guitarist of The
Kinks, famously achieved a distorted sound on "You Really Got
Me" by slashing the cones of his guitar amplier with a razor
blade.

3.1

Distortion was not an eect originally intended by amplier manufacturers, but could often easily be achieved by
overdriving the power supply in early tube ampliers.
In the 1950s, guitarists began deliberately increasing gain
beyond its intended levels to achieve warm distorted
sounds.[32] Among the rst musicians to experiment
were Willie Johnson of Howlin' Wolf,[32]
Studio eects and early stand alone with distortion[33]
Goree Carter,
Joe Hill Louis,[34][35] Ike Turner,[36]
units
[37]
Guitar Slim, and Chuck Berry.[38]

The earliest sound eects were strictly studio produc- In 1954 Pat Hare produced heavily distorted power
tions. In the mid to late 1940s, recording engineers chords for several recordings (including James Cotton's

TYPES

Cotton Crop Blues"), creating a grittier, nastier, more ferocious electric guitar sound,[39] accomplished by turning the volume knob on his amplier all the way to the
right until the speaker was screaming.[40] Link Wrays
1958 recording "Rumble" inspired young musicians such
as Pete Townshend of The Who, Jimmy Page of Led Zeppelin, Je Beck, 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 a grittier guitar sound on the 1964
song "You Really Got Me".[41] In 1966, the British company Marshall Amplication began producing the Marshall 1963, a guitar amplier capable of producing the
distorted crunch that rock musicians were starting to Several Boss pedals connected together.
seek.[42][43]

3.3

Stompboxes

In the 1980s, digital rackmount units began replacing

stompboxes as the eects format of choice. Often musicians would record dry, unaltered tracks in the studio and eects would be added in post-production. The
success of Nirvana's 1991 album Nevermind helped to
re-ignite interest in stompboxes. Some grunge guitarists
would chain several fuzz pedals together and plug them
into a tube amplier.[49] Throughout the 1990s, musicians committed to a "lo-" aesthic such as J Mascis of
Dinosaur Jr., Stephen Malkmus of Pavement and Robert
Pollard of Guided by Voices continued to use analog effects pedals.[50]

Eects and eects unitsstompboxes in particular

have been celebrated by pop and rock musicians in album
titles, songs and band names. The Big Mu, a classic
fuzzbox manufactured by Electro-Harmonix,[51] is commemorated by the Depeche Mode song "Big Mu" and
the Mudhoney EP Superfuzz Bigmu. Nine Inch Nails,
The Fuzz Face eect pedal.
Pink Floyd, George Harrison, They Might Be Giants and
Joy Division are among the many musicians who have
The electronic transistor nally made it possible to cram
referenced eects units in their music.[52]
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 rst transistorized guitar eect 4 Types
was the 1962 Maestro Fuzz Tone pedal, which became a
sensation after its use in the 1965 Rolling Stones hit "(I 4.1 Distortion
Can't Get No) Satisfaction".[44][45]
Warwick Electronics manufactured the rst wah-wah
pedal, The Clyde McCoy, in 1967 and that same year Jim
Morris of Kelsey-Morris Sound developed the rst octave
eect, which Jimi Hendrix named Octavio. In 1968,
Univox began marketing its Uni-Vibe pedal, an eect designed by noted audio engineer Fumio Mieda that mimicked the odd phase shift and chorus eects of the Leslie
rotating speakers used in Hammond organs. The pedals
soon became favorite eects of guitarists Jimi Hendrix
and Robin Trower. Upon rst hearing the Octavia, Hendrix allegedly rushed back to the studio and immediately
used it to record the guitar solos on "Purple Haze" and
"Fire".[46] By the mid-1970s a variety of solid-state effects pedals including angers, chorus pedals, ring modulators and phase shifters were available.[47][48]

Original Signal

Distortion

Threshold

Soft Clipping

Hard Clipping

Clipping an instruments audio signal produces distortion

Distortion eects create warm, gritty, and fuzzy sounds

by "clipping" an instruments audio signal, which distorts
the shape of its wave form and adds overtones. Distortion

4.2

Dynamics

eects are sometimes called "gain" eects, as distorted

guitar sounds were rst achieved by increasing the electric
power supply, e.g. gain, to tube ampliers.[53][54][55]
Distortion and overdrive: Distortion and overdrive
units re-shape or clip an audio signal's wave form so that
it has attened peaks, creating warm sounds by adding
harmonics or gritty sounds by adding inharmonic overtones. In tube ampliers, distortion is created by compressing the instruments out-going electrical signal in
vacuum tubes or valves.[54][55] Distortion pedals produce perfectly attened peaks or hard clipping. Overdrive pedals produce soft tube-like distortion by compressing the sine wave without completely attening it.
Much like tube amps, overdrive units produce clean
sounds at quieter volumes and distorted warm sounds
at louder volumes. Distortion and overdrive pedals may
either be transistor-based or digital.[56][57]
Distortion and overdrive eects: 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.[55][58] Fuzzboxes may contain frequency multiplier circuitry to achieve a harsh timbre by adding complex harmonics.[59][60] The Rolling Stones' "(I Can't Get
No) Satisfaction" greatly popularized the use of fuzz
eects.[26] Fuzz bass (also called "bass overdrive") is a
style of playing the electric bass that produces a buzzy,
overdriven sound via a tube or transistor amp or by using
a fuzz or overdrive pedal.
Fuzz eects: Arbiter Fuzz Face, Electro-Harmonix Big A rack of rackmount audio compressors in a recording studio.
Mu, Shin-ei Companion FY-2, Univox Super-Fuzz, From top to bottom: Retro Instruments/Gates STA level; Spectra
Vox Tone Bender, Z.Vex Fuzz Factory.
Sonic; Dbx 162; Dbx 165; Empirical Labs Distressor; Smart Re-

4.2

Dynamics

search C2; Chandler Limited TG1; Daking FET (91579); and

Altec 436c.

Also called volume and amplitude eects, dynamics effects modify the volume of an instrument. Dynamics eects were among the rst eects introduced to
guitarists.[5]

is often used to stabilize volume and smooth a notes attack by dampening its onset and amplifying its sustain.
A compressor can also function as a limiter with extreme
settings of its controls.[63]
Boost/volume pedal: A boost or clean boost amplies Compressor eects: Keeley Compressor, MXR Dyna
the volume of an instrument by increasing the amplitude Comp, Boss CS-3 Compression Sustainer.
of its audio signal. These units are generally used for Noise gate: Noise gates attenuate hum, hiss, and static
boosting volume during solos and preventing signal in the signal by greatly diminishing the volume when the
loss in long "eects chains". A guitarist switching from signal falls below a set threshold. Noise gates are often
rhythm guitar to lead guitar may use a boost to increase used by electric guitarist who play with vintage amps,
the volume of his or her solo.[61]
which can have unwanted hum in the tone, and by guiTreadle based volume pedals are often also used to cre- tarists from heavy metal who use high distortion levels,
ate swelling eects by removing the attack of a note or which add noise to the signal even when no notes are bechord, as popularised by pedal steel guitar players. Vol- ing played. Noise gates mute the signal when it falls beume eects: Electro-Harmonix LPB-1, Fender Volume low a certain threshold. This means that during bars of
Pedal, MXR Micro Amp, Ernie Ball Volume Pedal.
rest for the guitarist in a song, the hum or noise from the
Compressor: Compressors make loud sounds quieter amp or distortion pedal will not be heard by the audiand quiet sounds louder by decreasing or compressing ence. Noise gates are expandersmeaning that, unlike
the dynamic range of an audio signal.[62] A compressor compressors, they increase the dynamic range of an audio

TYPES

signal to make quiet sounds even quieter.[62] If used with

extreme settings and combined with reverb, they can create unusual sounds, such as the gated drum eect used in
1980s pop songs, a style popularized by the Phil Collins
song In the Air Tonight.[64][65]
Noise gate eects: Boss NS-2 Noise Suppressor.

4.3

Filter

Thomas Organ Cry Baby (1970) manufactured by JEN

Wah-wah: A wah-wah pedal creates vowel-like sounds

by altering the frequency spectrum produced by an
instrumenti.e., how loud it is at each separate
frequencyin what is known as a spectral glide or
sweep.[70] The device is operated by a foot treadle that
opens and closes a potentiometer. Wah-wah pedals are
often used by funk and rock guitarists.[71]
Wah eects: Dunlop Cry Baby, Morley Power Wah,
Musitronics Mu-Tron III.
Peter Frampton's Talk box

4.4 Modulation
Filter eects alter the frequency content of an audio signal
that passes through them by either boosting or weakening Modulation, in general electronics, means the altering of
specic frequencies or frequency regions.
signal strength. In audio devices, modulation is a control
Equalizer: An equalizer is a set of linear lters that feature that varies the strength of some eect over time
strengthen (boost) or weaken (cut) specic frequency to alter tonal properties. Some modulation eects mix
regions. While basic home stereos often have equal- ("modulate") an instruments audio signal with[72]a signal
Other
izers for two bands, to adjust bass and treble, profes- generated by the eect called a carrier wave.
modulation eects split an instruments audio signal in
sional graphic equalizers oer much more targeted conof the signal and mixing it with
trol over the audio frequency spectrum.[66] Audio engi- two, altering one portion
the unaltered portion.[73]
neers use highly sophisticated equalizers to eliminate unwanted sounds, make an instrument or voice more promi- Chorus: Chorus pedals mimic the eect choirs and
nent, and enhance particular aspects of an instruments string orchestras produce naturally, by having slight varitone.[67]
ations in timbre and pitch, by mixing sounds with slight
Equalizer eects: Boss GE-7 Equalizer, MXR 10-band dierences in timbre and pitch. A chorus eect splits the
EQ Pedal.
instrument-to-amplier audio signal, and adds a slight deto part of the sigTalk box: A talk box directs the sound from an electric lay and frequency variations or "vibrato"
[73][74]
nal
while
leaving
the
rest
unaltered.
A well-known
guitar or synthesizer into the mouth of a performer usAs You Are"
usage
of
chorus
is
the
lead
guitar
in
"Come
ing a tube, allowing him or her to shape the sound into
[63]
by
Nirvana.
vowels and consonants with his or her mouth. The modied sound is then picked up by a microphone. In this way Chorus eects: Boss CE-1 Chorus Ensemble, Electrothe guitar is able to talk. Some famous uses of the talk- Harmonix Small Clone, TC Electronic Stereo Chorus.
box include Bon Jovi's "Livin' on a Prayer", Stevie Wonder's "Black Man", Mtley Cre's "Kickstart My Heart",
Joe Walsh's "Rocky Mountain Way", Alice in Chains's
"Man in the box" and Peter Frampton's "Show Me the
Way".[68][69]
Talk boxes: Dunlop HT1 Heil Talk Box, Rocktron Banshee.

Flanger: A anger creates a whooshing jet plane or

spaceship sound, simulating a studio eect that was rst
produced by recording a track on two synchronized tapes
and periodically slowing one tape by pressing the edge of
its reel (the ange). When the two tapes audio signals
are later mixed, a comb lter eect can be heard. Flanger
units add a variably delayed version of the audio signal to

4.5

Pitch/frequency

the original or signal, creating a comb lter or Doppler 4.5

eect.[75][76] Some famous uses of anger eects include
"Walking on the Moon" by The Police, the intro to "Ain't
Talkin' 'Bout Love" by Van Halen, and "Barracuda" by
Heart.[77][78]
Flanger eects: Electro-Harmonix Electric Mistress,
MXR Flanger, Boss BF-3 Flanger.

Pitch/frequency

Phaser: A phaser or phase shifter creates a slight rippling eectamplifying some aspects of the tone while
diminishing othersby splitting an audio signal in two
and altering the phase of one portion. Three well-known
examples of phaser are the two handed tapping part on
the Van Halen instrumental "Eruption" and the keyboard
parts on Billy Joel's "Just the Way You Are" and Paul Simon's "Slip Slidin' Away".[79]
Phase shift eects: Electro-Harmonix Small Stone,
MXR Phase 90, Univox Uni-Vibe.
Ring modulator: A ring modulator produces a resonant, metallic sound by mixing an instruments audio signal with a carrier wave generated by the devices internal
oscillator. The original sound wave is suppressed and replaced by a ring of inharmonic higher and lower pitches
or "sidebands".[72][80] A notable use of ring modulation is
the guitar in the Black Sabbath song "Paranoid".[81]
Ring modulator eects: moogerfooger MF-102 Ring
Modulator.
Tremolo: A tremolo eect 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 that creates a
vibrato or pitch-bending eect. In transistorized effects, a tremolo is produced by mixing an instruments
audio signal with a sub-audible carrier wave in such a
way that generates amplitude variations in the sound
wave.[82][83] Tremolo eects are built-in eects in some
vintage guitar amplier. The guitar intro in the Rolling
Stones' "Gimme Shelter" features a tremolo eect.[84]
Tremolo eects: Demeter TRM-1 Tremulator, Fender
Tremolux.

An Electro-Harmonix Polyphonic Octaver Generator (POG)

Pitch/frequency eects modify pitch by altering the

frequency of a sound wave or adding new harmonies.
Pitch shifter and harmonizer: A pitch shifter (also
called an octaver for eects that shift pitch by an
octave) 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 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 ve-string bass with a low B string.

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 eects by adding very tiny shifts in pitch.[87]
Vibrato: Vibrato eects produce slight, rapid variations Pitch shift eects: DigiTech Whammy, Electroin pitch, mimicking the fractional semitone variations Harmonix POG.
produced naturally by opera singers and violinists when
they are prolonging a single note. Vibrato eects often
allow the performer to control the rate of the variation 4.6 Time-based
as well as the dierence in pitch (e.g. depth). A vibrato with an extreme depth setting (e.g., half a semi- Time-based eects delay the sound signal or adds echos.
tone or more) will produce a dramatic, ululating sound.
In transistorized eects, vibrato is produced by mixing an
instruments audio signal with a carrier wave in such a way
that generates frequency variations in the sound wave.[83]
Guitarists often use the terms "vibrato" and "tremolo"
misleadingly. A so-called vibrato unit in a guitar amplier actually produces tremolo, while a "tremolo arm"
or whammy bar on a guitar produces vibrato.[85][86]
Folded line spring reverberation
Vibrato eects: Boss VB-2 Vibrato.
Delay/echo: Delay/echo units produce an echo eect by

TYPES

adding a duplicate instrument-to-amplier 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".[88]
Delay eects: Boss DD-3 Digital Delay, MXR Carbon
Copy, Electro-Harmonix Deluxe Memory 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 (live looping) or they can be pre-recorded.
By using a looper pedal, a singer-guitarist in a one man
band can play the backing chords to a song, loop them
with the pedal, and then do a guitar solo over the chords.
Some units allow a performer to layer multiple loops.[89]
The rst loop eects were created with reel-to-reel tape
using a tape loop. High-end boutique tape loop eects
are still used by some studios who want a vintage sound.
Digital loop eects recreate this eect using an electronic
memory.[90]
Looper eects: Boss RC-30 Loop Station.
Reverb: Reverb units simulate sounds produced in a nite acoustic space by creating a large number of echoes
that gradually fade or decay. One early technique for
creating a reverb eect was to send an amplied signal of
the music to room with reective surfaces, such as a tile
bathroom, and then record the natural reverberations. 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 ampliers, use a
transducer to create vibrations in a spring. Digital reverb
eects use various signal processing algorithms to create
the reverb eect, often by using multiple feedback delay
circuits. Rockabilly and surf guitar are two genres that
make heavy use of reverb.[91]
Reverb eects: Electro-Harmonix Holy Grail, Fender
Reverb Unit.

4.7

Feedback/sustain

Audio feedback: Audio feedback is an eect produced

when amplied sound is picked up by a microphone or
guitar pickup and played back through an guitar amplier, initiating a feedback loop. Feedback that occurs
from a vocal mic into a PA system is usually avoided.
However, in some styles of rock music, electric guitar
players intentionally create feedback by playing their instrument directly in front of a heavily amplied, distorted
guitar amplier's speaker enclosure. The creative use of
feedback eects was pioneered by guitarists such as Jimi
Hendrix in the 1960s. This technique creates sustained,
high-pitched overtones and unusual sounds not possible
through regular playing techniques. Guitar feedback effects can be dicult to perform, because it is dicult
to determine the sound volume and guitar position rela-

An EBow

tive to a guitar amps loudspeaker necessary for achieving the desired feedback sound.[92][93] Guitar feedback
eects are used in a number of rock genres, including
psychedelic rock, heavy metal music and punk rock.
EBow is a brand name of Heet Sound Products, of Los
Angeles, California, for the original type of small handheld resonator, invented by Greg Heet. The EBow can
make a note on an electric guitar string resonate continuously, creating an eect that sounds similar to a bowed
violin note. The resonator uses a pickup - inductive string
driver - feedback circuit, including a sensor coil, driver
coil, and amplier, to induce forced string resonance.
The Ebow brand resonator is monophonic, and drives
only one string at a time; Other handheld guitar and bass
resonators on the market, manufactured under the tradename SRG, produced by Aescher Europa, in Germany,
are available in both monophonic and polyphonic models, which include multiple onboard trigger switch eects,
such as HPF (high pass lter) for enhancing harmonics
and producing feedback eects, and LPF (low pass lter), producing a bass boost with a cello sound on heavy
gauge strings. 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 or overtone feedback
in addition to sustain.[71]
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 specied dynamic range, slightly prolonging the duration of
the note.[94] This, combined with heavy distortion and the
close proximity of the guitar and the speaker cabinet, can

9
lead to innite sustain at higher volumes.

4.8

Other eects

bass. The eect uses an envelope-controlled lter and

voltage-controlled amplier to soften a notes attack
both in volume and timbre.[99]

Rotating speakers are specially constructed

amplier/loudspeakers used to create special audio
Envelope follower: An envelope follower activates an
eects using the Doppler eect by rotating the speakers
eect once a designated volume is reached. One eect
or a sound-directing duct. The rotating speaker creates
that uses an envelope follower is the auto-wah, which proa chorus-type eect. Named after its inventor, Donald
duces a wah eect depending on how loud or soft the
Leslie, it is particularly associated with the Hammond
notes are being played.[95][96]
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 by
Suzuki Musical Instrument Corporation. The stompbox
that simulates this eect is the Uni-Vibe pedal.

5 Bass eects

A rotating Leslie speaker in a clear plastic cabinet

A selection of bass eect pedals at a music store.

Guitar amplier modeling: Amplier modeling is a

digital eect that replicates the sound of various ampliers, most often analog "tube" amps. Sophisticated modeling eects can simulate dierent types of speaker cabinets (e.g., the sound of an 8x10 cabinet) and miking
techniques. A rotary speaker simulator mimics the
doppler and chorus eect sound of a vintage Leslie
speaker system by replicating its volume and pitch modulations, overdrive capacity and phase shifts.[97]

Main article: Bass eects

Pitch correction/vocal eects: Pitch correction eects

use signal-processing algorithms to re-tune faulty intonation in a vocalists performance [98] or create unusual
vocoder-type vocal eects. One of the best known examples of this is Autotune, a program which can be used
to both correct pitch, and add vocal eects.

Bass eects are electronic eects units that are designed

for use with the low pitches created by an electric bass or
for an upright bass used with a bass amp or PA system.
Two examples of bass eects are fuzz bass and bass chorus. Some bass ampliers have built-in eects, such as
overdrive or chorus. Upright bassists in jazz, folk, blues
and similar genres may use a bass preamplier, a small
electronic device that matches the impedance between
the piezoelectric 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 oer equalization controls, a
compressor, and a DI box connection.

Simulators: Simulators enable electric guitars to mimic

the sound of other instruments such as acoustic guitar, 6 Boutique pedals
electric bass and sitar. Pick up simulators used on guitars
with single-coil pick ups replicate the sound of guitars Boutique pedals are designed by smaller, independent
with humbucker pick ups, or vice versa. A de-fretter is companies and are typically produced in limited quantia bass guitar eect that simulates the sound of a fretless ties. Some may even be hand-made, with hand-soldered

10

REFERENCES

regular electronic tuner pedals indicate whether a guitar

string is too sharp or at.[107] Rackmount power 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 amplier or enables a
performer to switch between two guitars, or between two
ampliers.

T-Rex brand Mudhoney overdrive pedal

Guitar ampliers and electronic keyboards may have

switch pedals for turning built-in reverb and distortion
eects on and o; the pedals contain only a switch,
with the circuitry for the eect being housed in the
amplier chassis.[108] Some musicians who use rackmounted eects or laptops employ a MIDI controller
pedalboard or armband remote controls to trigger sound
samples, switch between dierent eects or control effect settings.[109][110][111]

connections. These pedals are mainly distributed on- A pedal keyboard is a foot-operated keyboard typically
line or through mail-order, or sold in a few music used to play bass lines.[112]
stores.[100] They are often more expensive than massproduced pedals[101] and oer non-standard features such
as true-bypass switching, higher-quality components, innovative designs, in-house-made knobs and hand-painted 8 See also
artwork or etching. Some boutique companies focus on
Audio eects
re-creating classic or vintage eects.[102]
Some boutique pedal manufacturers include: Analog
Outboard gear for more generic article
Man, BJFE, Pete Cornish, Emlyn Crowther, Death By
Audio, Devi Ever, Robert Keeley, Roger Linn, Roger
Sound eect
Mayer, Strymon, T-Rex Engineering, ToadWorks and
Audio signal processing
Z.Vex Eects.
Acoustic wave for natural audio eects

6.1

Eects unit modication

Vintage musical equipment

There is also a niche market for modifying or modding Technologies

eects. Typically, vendors provide either custom modication services or sell new eects pedals they have al Digital signal processor
ready modied. The Ibanez Tube Screamer, Boss DS1, Pro Co RAT and DigiTech Whammy are some of
Linear lter
the most often-modied eects.[103][104] Common mod Non-linear lter
ications include value changes in capacitors or resistors, adding true-bypass so that the eects circuitry is no
Frequency divider
longer in the signal path, substituting higher-quality com Frequency mixer
ponents, replacing the units original operational ampliers (op-amps), or adding functions to the device, such
Frequency multiplier
as allowing additional control of some factor or adding
another output jack.[103][105][106]

9 References
7

Other pedals and rackmount

units

[1] Horne, Greg (2000). Complete Acoustic Guitar Method:

Mastering Acoustic Guitar c. Alfred Music. p. 92.

Not all stompboxes and rackmounted electronic devices

designed for musicians are eects. Strobe tuner and

[2] Yakabuski, Jim (2001). Professional Sound Reinforcement

Techniques: Tips and Tricks of a Concert Sound Engineer.
Hal Leonard. p. 139.

11

[3] Clement, Vivian (2007). How to Succeed As a Female

Guitarist: The Essential Guide for Working in a Maledominated Industry. Alfred Music. p. 30.

[23] Hunter, Dave (2004). Guitar Eects Pedals: The Practical

Handbook. Hal Leonard. p. 125.

[4] Clement, V (2007). How to Succeed As a Female Guitarist.

Alfred Music. p. 30.

[24] Bartlett, Bruce; Bartlett, Jenny (2008). Practical Recording Techniques: The Step-by-step Approach to Professional
Audio Recording. Focal Press. p. 226.

[5] The Art of the Stompbox. The Museum of Making.

2010. Retrieved 13 September 2010.

[25] Tianen, Dave (13 August 2009). The Wizard Of Waukesha. Retrieved 13 September 2010.

[6] Guitar eects. Trip Atlas. Retrieved 18 September

2010.

[26] The Art of the Stompbox. The Museum of Making.

2010. Retrieved 13 September 2010.

[7] Brewster, David M. (2003), Introduction to Guitar Tone

and Eects: A Manual for Getting the Sounds from Electric Guitars, Ampliers, Eects Pedals and Processors, Hal
Leonard, p. 14

[27] Roads, Curtis (1996). The Computer Music Tutorial. MIT

Press. pp. 437, 476.

[8] Clement, V (2007). How to Succeed As a Female Guitarist,

Alfred Music. p. 3031.
[9] Gibson, Bill (2007). The Ultimate Live Sound Operators
Handbook. Hal Leonard. p. 366.

[28] Chester, Paul. Acoustic Guitar - Early Pickups. Retrieved 3 January 2011.
[29] Hunter, D (2004). Guitar Eects Pedals: The Practical
Handbook. Hal Leonard. p. 1112.
[30] THE WATKINS/WEM COPICAT 13 September 2010

[10] McCormick, Tim; Rumsey, Francis (2009). Sound and

Recording. Focal Press. p. 131.

[31] Hunter, D (2004). Guitar Eects Pedals: The Practical

Handbook. Hal Leonard. p. 1113.

[11] Editors, Guitar Player Magazine (2001). How to Play Guitar: The Basics & Beyond. Hal Leonard. p. 82.

[32] Dave, Rubin (2007). Inside the Blues, 1942 to 1982. Hal
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[12] Mangum, Eric; Stubbs, Dean (2000). Dod Presents 100

Superstar Guitar Sounds on a Stompbox Budget. Hal
Leonard. p. 8.
[13] Egnater, Bruce Bruce Egnater on Eects Loops Guitar
Player, December, 2009.
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ISBN 1-4234-9944-1.
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Right. Retrieved 10 September 2010.
[16] Ashton, Adrian (2006).
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The Bass Handbook.

Hal

[17] Levitin, Dan (1992). From Demo Tape to Record Deal:

Handy Guide. Alfred Music. p. 26. ISBN 0-88284-4946.
[18] Ashton, Adrian (2006).
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The Bass Handbook.

Hal

[19] Eiche. Jon; Fliegler, Ritchie (1993) Amps!: The Other

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[33] Robert Palmer, Church of the Sonic Guitar, pp. 13

38 in Anthony DeCurtis, Present Tense, Duke University
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and Culture (4. print. ed.). Durham, N.C.: Duke University Press. ISBN 0-8223-1265-4. His rst 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.
[35] Miller, Jim (1980). The Rolling Stone illustrated history
of rock & roll. New York: Rolling Stone. ISBN 0-39451322-3. Retrieved 5 July 2012. Black country bluesmen made raw, heavily amplied boogie records of their
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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.
[36] Shepard, John (2003). Continuum Encyclopedia of Popular Music of the World. Performance and Production.
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[38] Collis, John (2002). Chuck Berry: The Biography. Aurum. p. 38.
[39] Robert Palmer, Church of the Sonic Guitar, pp. 13
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12

[40] Koda, Cub. Pat Hare. AllMusic. Retrieved 25 January

2010.
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[43] Doyle, Michael (1993). The History of Marshall: The Illustrated Story of The Sound of Rock. Hal Leonard Corporation. pp. 2833. ISBN 0-7935-2509-8.
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40 Years of Interviews, Gear, and Lessons from the Worlds
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[47] Hunter, D (2004). Guitar Eects Pedals: The Practical
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[48] Thomas E. Oberheim (May 1970). A Ring Modulator
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[49] Serve the Servants: Unlocking the Secrets of Grunge
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[54] Ross, Michael (1998). Getting Great Guitar Sounds. Hal
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[60] Manning, Peter (2004). Electronic and Computer Music.

Oxford University Press US. p. 170. ISBN 0-19-5144848.
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[62] Reese, David; Gross, Lynne; Gross, Brian (2009). Audio
Production Worktext: Concepts, Techniques, and Equipment. Focal Press. p. 149. ISBN 0-240-81098-8.
[63] Hunter, D (2004). Guitar Eects Pedals: The Practical
Handbook. Hal Leonard. p. 23.
[64] Louie, Gary J.; White, Glenn D. (2005). The Audio Dictionary, University of Washington Press. p. 171.
[65] Flans, Robyn Classic Tracks: Phil Collins 'In the Air
Tonight' ", Mix, 1 May 2005.
[66] Rudolph, Thomas; Leonard, Vincent (2001) Recording in
the Digital World: Complete Guide to Studio Gear and Software, Hal Leonard . p. 192.
[67] Strong, Je (2005). PC Recording Studios for Dummies.
For Dummies. p. 25.
[68] Dyers, Jon (21 March 2008). The Talkbox Will Never
Die: A Talkbox Playlist. Dyers. Retrieved 20 September
2010.
[69] McCarron, Brett. The Talkbox FAQ. Retrieved 10
September 2010.
[70] Denton, Dailey J. (2011).
Springer. p. 183.

Electronics for Guitarists.

[71] Schneider, John (1985). The Contemporary Guitar, University of California Press. p. 202.
[72] Zlzer, Udo; Amatriain, Xavier (2002). DAFX: Digital
Audio Eects. John Wiley and Sons. p. 76.
[73] Coulter, Doug. (2001). Digital Audio Processing, Focal
Press. p. 271.
[74] Perkins, Chad (2009). The After Eects Illusionist: All the
Eects in One Complete Guide. Focal Press. p. 37. ISBN
0-240-81145-3.

[55] Aikin, Jim (2004). Power Tools for Synthesizer Programming, Hal Leonard. p. 171.

[75] Kurasaki, Kurt (2005). Power Tools for Reason 3.0: Master the Worlds Most Popular Virtual Studio. Hal Leonard.
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[56] Zlzer, Udo; Amatriain, Xavier (2002). DAFX: Digital

Audio Eects. John Wiley and Sons. p. 117.

[76] Louie, G; White, G (2005). The Audio Dictionary, University of Washington Press. p. 153.

[57] Brewster, David M. (2001), Introduction to Guitar Tone

and Eects: A Manual for Getting the Sounds from Electric Guitars, Ampliers, Eects Pedals and Processors, Hal
Leonard, p. 18

[77] Electro Harmonix Deluxe Electric Mistress Review. Internet Guitar Database. Retrieved 19 September 2001.

[58] Platt, Charles (2009). MAKE: Electronics: Learning

Through Discovery O'Reilly Media. p. 257.

[78] Brewster, David M. (2001), Introduction to Guitar Tone

and Eects: A Manual for Getting the Sounds from Electric Guitars, Ampliers, Eects Pedals and Processors, Hal
Leonard, p. 29

[59] Holmes, Thom (2006). The Routledge Guide to Music

Technology. CRC Press. p. 177. ISBN 0-415-97324-4.

[79] Louie, G; White, G. (2005). The Audio Dictionary, University of Washington Press. p. 288.

13

[80] Moog, Robert (1984), Pitch Blending, Modulation, and [101] Hunter, Dave (2004). Guitar Eects Pedals: The Practical
Expression, Synthesizer technique, Keyboard Synthesizer
Handbook. Hal Leonard. p. 204.
Library, Vol. 2, Hal Leonard, p. 52, ISBN 0-88188-290[102] What is True Bypass?". Dunlop News. Retrieved 18
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[109] Delaney, Martin (2007). Ableton Live 6 Tips and Tricks.
[86] Fischer, Peter (2000), Rock Guitar Secrets, Mel Bay. p.
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[87] Izhaki, Roey (2007). Mixing Audio: Concepts, Practices
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[93] Amelar, Chris (1997). The Guitar F/X Cookbook, Hal
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[95] White, G, Louie, G (2005). The Audio Dictionary Instruments. University of Washington Press. p. 138.
[96] Hopper, J (2009). The Girls Guide to Rocking Out. Workman Publishing. p. 33.
[97] Bartlett, B; Bartlett, J (2008). Practical Recording Techniques: The Step-by-step Approach to Professional Audio
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[98] Brice, Richard (2001). Music Engineering, Newnes. p.
413.
[99] Boss GT-8 Floor Guitar Eects Processor. Retrieved
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[100] Batt-O-Meter : Where to Buy. Keith McMillen Instruments. Retrieved 18 September 2010.

10 External links
Guitar pedals Buying Guides.

14

11

11
11.1

TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

Text and image sources, contributors, and licenses

Text

Eects unit Source: https://en.wikipedia.org/wiki/Effects_unit?oldid=734486668 Contributors: Tzartzam, Edward, Ronz, Andrewa,

Iain, Mbstone, Hyacinth, Omegatron, Nagelfar, No Guru, Chowbok, Jafro, CALR, YUL89YYZ, Bender235, Cymsdale, Viriditas,
Woohookitty, Tabletop, Graham87, Deltabeignet, BD2412, Ucucha, GreyCat, Chobot, Wavelength, RussBot, TimNelson, J.H, Gaius
Cornelius, Rsrikanth05, Emersoni, Rwalker, Nlu, DerekL, Jogers, Daviq, GraemeL, MrBook, Fram, Maxcap, SmackBot, Eveningmist, Steve carlson, Deon Steyn, Jagged 85, 3guk, Brossow, Lindosland, Cavie78, Chris the speller, Jprg1966, DarthInsinuate, JONJONAUG, Cralize, Zephyrad, Can't sleep, clown will eat me, Wine Guy, Radagast83, Martijn Hoekstra, Derek R Bullamore, Joeyramoney, Ck lostsword, Rigadoun, BurnDownBabylon, Ndrly, Mr Stephen, Chickencha, Kvng, Dl2000, OnBeyondZebrax, Courcelles,
Deansolo, Willd88, CmdrObot, Morgantzp, Requestion, Salamander4000, Jai Raj, Thijs!bot, Wikid77, Qwyrxian, Peternewman, Dysenterymatt, JustAGal, Eddyspeeder, Jhsounds, Alphachimpbot, Tmoxness, JAnDbot, Dulcimerist, MegX, Y2kcrazyjoker4, .anacondabot,
Magioladitis, MichaelSHoman, Srice13, 0612, Sigmundg, R'n'B, Guyvanzandt, Eectrode, Wonderjenny, KylieTastic, Funandtrvl,
Thomas.W, Snowfreak91287, Danobeavis, Jampfeer, BotKung, Steve7950, Randombee, Butterscotch, Kilmer-san, Jeamm, Ralph Morris, WereSpielChequers, Jcbereznay, Sue Wallace, Cigaromn, Jameschanguitars, Cyfal, Bloodzombie, ClueBot, Binksternet, Witchwooder,
Frantone, Mild Bill Hiccup, Auntof6, Museum of Making Music, Jusdafax, Conical Johnson, Zaxo~enwiki, RobML, XLinkBot, Maslisko,
EastTN, WikHead, Redheylin, Favonian, OlEnglish, Legobot, Luckas-bot, Yobot, C5813, Uikku, 1exec1, ManningBartlett, Bjorn Elenfors, DriveShaft 815, Mpvibes, Boyband625, Krinkle, FrescoBot, LucienBOT, Jukka Tarvonen, Moogolplex, LittleWink, Tom.Reding,
Buglen, Xstring, Yawaraey, Colchester121891, Ticklewickleukulele, Billeindani, Professorbenji, Matman67b, Shythe, Is there any username not used?, John of Reading, 3dec3, GoingBatty, Gdoubledub, Clusternote, Elvenmuse, K6ka, Theyoungidea, Akerans, Ironcroz,
Wayne Slam, Jfusion10, Charlessellers, Mrgretalcat, Atlantictire, ClamDip, Therewillbehotcake, Lyssipos, Here Lies The Fire, Mjbmrbot, Mikhail Ryazanov, ClueBot NG, CactusBot, Commons Guitarpop, Steveg99962, Bjames092, Helpful Pixie Bot, Mataresephotos,
BG19bot, Mark Arsten, Vintage-Rev, EricEnfermero, Bjornage1, ChrisGualtieri, Laberkiste, Khazar2, SebrinaVegha, Asmetr, Synthwave.94, Kimdevylder, Monkbot, Vieque, Skimel, Manuel Vazq, KyryllK, 123lazyg, Mjack487, Jsabe82, Glennsblin and Anonymous:
224

11.2

Images

File:Bass_effects_-_EH,_fulltone,_MXR,_Demeter,_AMT.jpg Source:
https://upload.wikimedia.org/wikipedia/commons/4/4a/
Bass_effects_-_EH%2C_fulltone%2C_MXR%2C_Demeter%2C_AMT.jpg License: CC BY-SA 2.0 Contributors: Flickr: 16102009407
Original artist: RIchie Adiyat
File:BossFX.JPG Source: https://upload.wikimedia.org/wikipedia/commons/c/c5/BossFX.JPG License: CC BY-SA 3.0 Contributors:
Own work Original artist: ZngZng
File:Boss_ME_50_Multi_Effects_Pedal.jpg Source:
Effects_Pedal.jpg License: CC BY 2.0 Contributors:

https://upload.wikimedia.org/wikipedia/commons/4/4a/Boss_ME_50_Multi_

Guitar_Eects_by_roomiccube.jpg Original artist: Guitar_Eects_by_roomiccube.jpg: Shane Gavin

File:Clipping_waveform.svg Source: https://upload.wikimedia.org/wikipedia/commons/c/ca/Clipping_waveform.svg License: CC
BY 3.0 Contributors: This le was derived from Clipping compared to limiting.svg: <a href='//commons.wikimedia.org/wiki/File:
Clipping_compared_to_limiting.svg' class='image'><img alt='Clipping compared to limiting.svg' src='https://upload.wikimedia.
org/wikipedia/commons/thumb/2/2a/Clipping_compared_to_limiting.svg/50px-Clipping_compared_to_limiting.svg.png'
width='50'
height='33' srcset='https://upload.wikimedia.org/wikipedia/commons/thumb/2/2a/Clipping_compared_to_limiting.svg/75px-Clipping_
compared_to_limiting.svg.png 1.5x, https://upload.wikimedia.org/wikipedia/commons/thumb/2/2a/Clipping_compared_to_limiting.svg/
100px-Clipping_compared_to_limiting.svg.png 2x' data-le-width='1000' data-le-height='650' /></a>
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Andrewa at en.wikipedia
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EH_POG.jpg Original artist: EH_POG.jpg: *Pedalboard_(995939579).jpg: Michael Morel from Barcelona, Spain
File:FOH_Racks-2.jpg Source: https://upload.wikimedia.org/wikipedia/commons/7/7e/FOH_Racks-2.jpg License: Public domain Contributors:
FOH_Racks.jpg Original artist: FOH_Racks.jpg: PM - PhilyG talk .
File:Flanging_effect.ogg Source: https://upload.wikimedia.org/wikipedia/commons/5/56/Flanging_effect.ogg License: Public domain
Contributors: ? Original artist: ?
File:Flute-delay.ogg Source: https://upload.wikimedia.org/wikipedia/commons/8/85/Flute-delay.ogg License: Public domain Contributors: Own work Original artist: Chris Roddy
File:FuzzFace_Effect_Pedal.jpg Source: https://upload.wikimedia.org/wikipedia/commons/4/46/FuzzFace_Effect_Pedal.jpg License:
CC BY-SA 3.0 Contributors: Own work (Djdaedalus)
Original artist: Djdaedalus at en.wikipedia

11.3

Content license

15

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