Discussion in 'Effects, Pedals, Strings & Things' started by 8len8, Jun 22, 2019.
Klon style boost for me.
just messing around enjoy it!
Tremolo and Vibrato. Just rarely had a need for it. Then I got a modulation pedal that did great trem and pitch shift vibrato. I still don't use it much, as a little goes a long ways, but it can be quite cool.
Yep. I like a few songs it’s used in, but in general I like my distortion to have less high frequency content
I still haven’t warmed to chorus, flanger, or phaser. I like a touch of mod on my delay and I love tremolo, but those other modulation style effects just don’t do it for me. Sounds good when others play it but everytime I try one I click it on, think hmmm, that sounds okay, and then click it back off.
I still have no idea if I will like it or not, but I definitely like fuzz when other players use it.....sort of like Strats, they sound great, but only when someone other than ME is playing them
I voted boost ... but the vote is actually for a treblebooster. The left side of my BAE Hot Fuzz is a trebleboost and for dirt all I use now is that pedal and a Greer Lightspeed. The Lightspeed gives me my "just-breaking-up" crunch tone, and then I slam it with the treble boost for really dirty rhythm / lead tones that slice through the mix. I've got the Fuzz side of the BAE for liquid sustained leads and ... well, fuzzy stuff. I never use the Treblebooster and Fuzz together but the boost into OD has become an essential part of my tone.
In the last 5-6 years.
I'm a long-time fuzz-fan, but I agree, it should be on the list.
My "other" is a looper-pedal which I've been half-assing around with lately.
Tap-tempo for delay/modulation is another...
I started using it for extended jams on one of my favorite jamming songs----Who Knows by Band of Gypsies. And Temptation by Prince, a little known song from 1985 that is an absolute FIRE BREATHER!!
There are several effects that I shunned for a long time but have come to appreciate over the last five or so years.
Compressor I disliked in concept, because I like the idea of having a large dynamic range and thought that a comp would work against this. I warmed to the idea of getting a very squashy comp for that highly effected clean funk sound, and gradually came to understand how comps can help me manage how dynamic range of timbre interacts with dynamic range of volume. I don't always use comp, but I can see myself making use of it in multiple parts of my signal chain at different times (first up, post gain, post everything).
Another effect I used to hate is chorus. I considered it a cheesy remnant of the 80s, but amusingly I wasn't particularly adept at identifying more subtle use of it in the music I listened to. I bought an ultra cheap chorus (20 nzd delivered) for joking around, but discovered that I was actually enjoying it quite a bit. I started investigating chorus options and found that I also quite liked some vibrato - it wasn't just for making seasick noises. I now have three different pedals on my board that I use for different shades of chorus or vibrato (Red Witch Empress chorus/vibrato, Boss SY-300, Strymon Deco) and the cheap chorus sits in the cupboard, having provided far more than its money worth.
Funnily enough, the thing that has probably taken me the longest time to warm up to is pedal dirt (including fuzz). For many years I subscribed to the "amp dirt is always better" philosophy. I now see it as "amp dirt is different" and that both are good. I've gone from using no pedal dirt to having five pedals on my board that I use for dirt (DOD Carcosa, DOD Gonkulator, Red Witch Fuzz God II, Boss SY-300, Strymon Deco).
I let the songs pick the sound. I think I've only never used a Univibe. I don't have my "own sound" except that the amp is always sweating a bit and I roll the volume back or up as needed; I want my sound to sit between pretty and ugly, and effects are really only the icing on the cake for me.
But I do have to look into a Univibe sort of thing, either from my MFX, or as a stand-alone. We're bringing "Bridge of Sighs" into our repertoire and I really need that effect in order to hear it right and reproduce it.
If I have an OD/boost, chorus, and delay, I'm usually good. It's not perfect, but I can focus on my playing -- and when you play like I do that is important.
All except Wah, Compression, Fuzz and Chorus(only cuz it was on my fender ultimate chorus amp years ago) I was a complete virgin to all effects accept the 3 above plus the amp chorus until the beginning of this year. And at that time I decided I should get into effects as inspiration for a new band and musical projects I had no pedals although I’d been playing since the early 90s .... this year alone I’ve bought almost 30 effects pedals and 17 of which I still own.
Im also gonna buy either an ehx octave multiplexer, a big muff circa 2001 ish or a ehx glove.... on Tuesday when cash comes in.... I just haven’t decided which one yet lol. I’m leaning towards the muff though. do that will put me back up to 18 lol.
Never impressed, needed, or cared about a Compressor until it hit the 80s pop scene.
If you're looking for ambience, keep your mix low and don't be afraid to give yourself some repeats. If you're looking for fleshing out a solo, a longer delay time -- again, with a low mix -- can add background and swirl.
The other use is specific hooks to a song, like what Andy Summers would do with the Police. Takes a bit more homework but it can really flesh out a skeleton. It also means you'll need to mix the effect a little more to the front.
They're fun to play with, delays.
I did catch "How Soon is Now" on the radio earlier, and Marr's sound on that is just amazing -- metallic edge and throbbing chords all rolled up together with fills that sound like aluminum foil. Somehow, it all works. It's got me thinking about what else is on that floorboard.
The Fuzz Mafia is onto you, brotha. Good luck and godspeed.
Somehow I got through the 80s without a compressor, but wish I'd tried some. My first good amp was a Lab Series L5. It had a built-in OTA based compressor, but it just made things sound worse to me, and turned me off to the whole concept of compression.
Even after I switched to a JC120, and got into effects more, I didn't think to try any compressors. I struggled for years to mimic the fluid clean parts I heard on records, wondering why many notes would get lost in the mix. Only in recent years, after rediscovering compression, have I realized how much easier and fun it can be to play those intricate clean parts.
It's not a crutch, it's a tool. It's like the difference between drawing a straight line freehand versus using a straight-edge.
Phaser. Been playing almost 30 years and I have only had a Phaser for the last 9-12 months... and I love it!
I'm gonna pile on the OP too... Fuzz. This tool is a different animal and I have become pretty addicted this year. Still learning to control it....Bought more pedals (...all fuzz...) this year because they all have their own character.... Been playing for 32 years and I missed this boat. I am catching up!
a local fuzz-user says:
“oi!, that’s why g-d invented the guitar’s tone-ctrls for ye!”