Choosing Your First Instrument｜Effector

Historically speaking, the first to appear in the 60s was the "fuzz." It offered more distinctive sounds, ranging from cheap-sounding ones like a broken transistor radio to those delivering intense distortion and astonishing sustain. Later in the 60s, Eric Clapton's "Woman Tone," created using a Marshall amp and a Les Paul guitar, gained attention.This was the "overdrive sound," achieved by cranking the volume of a tube amp to its limit, creating an overloaded effect. This then gave way to "distortion," which replaced the extreme fuzz of earlier times, offering a more natural sound that allowed for the guitarist's subtle expression. As time passed further, by the late 70s, "overdrive" emerged, offering a sound closer to the natural "overdrive sound" produced by tube amps and guitars, while enhancing expressive capabilities.

For now, remember it like this: Light, natural distortion: Overdrive Intense, heavy distortion: Distortion More intense, distinctive distortion: Fuzz

Just like with a flanger, apply modulation to a short delay to create a subtle shimmer.EffectorIts characteristic feature is a shorter delay time than flanger, producing a pleasantly refreshing effect. In recent years, digital models have increasingly replaced analog ones using BBD elements.

This is what's known as the "echo effect." It involves adding a delayed version of the original sound. By varying the delay time and the number of repetitions, a wide range of effects can be achieved. Additionally, depending on the structural design, there are different types such as tape echo, analog delay, and digital delay. Each possesses its own distinctive sound characteristics.

Filters that actively shape sound quality/timbre or correct soundEffectorThere are two types based on their mechanisms: graphic equalizers (graico) and parametric equalizers (paraico). A "graico" features filters for each frequency band arranged in a straight line, making it visually intuitive like a frequency graph. In contrast, a "paraico" changes the tone by individually setting the center frequency, level, and bandwidth.It's a bit complicated, but while their operating methods differ, the final effect is essentially the same. The so-called "bass-heavy sound" is achieved by using an equalizer to cut the midrange frequencies, thereby emphasizing the low and high frequencies to create a punchy, dynamic sound.

It's also called a Faeser. It was originally invented to reproduce the Leslie speaker, a device that produces a Doppler effect.EffectorHowever, the effects cannot be said to be the same, and they are independent.EffectorIt is established as a phase-shift effect. True to its name, it creates interference by adding a signal shifted in phase to the original signal, imparting a swirling quality to the sound. The number of stages in the phase-shift circuit determines the effect's character; more stages yield a finer, sharper swirl. Conversely, fewer stages produce a looser, rougher vintage sound.

A booster is simply intended to increase volume.EffectorA "clean booster" specifically refers to one that amplifies without altering the original sound. Using a booster allows even low-output guitars to easily drive an amplifier into overdrive. A preamp controls tone and volume and can also function as a booster.

A pulse effect based on volume changes, commonly found in vintage amplifiers. The effect varies depending on the signal waveform and rate of change, ranging from subtle effects to intense, machine-gun-like effects.

Effectively similar to a phase shifter, but circuit-wise it belongs to the delay family. By adding modulation (creating a wobble effect by varying the delay time) to a short delay, you can achieve a more pronounced jet effect or a stronger sense of modulation than with a phase shifter.

The filter activates according to the input signal level, creating a dynamic and percussive wah effect.

As commonly known in guitar playing techniques, this effect is achieved by oscillating pitch up and down. Some devices achieve a similar auditory effect using phase shifter circuits or chorus circuits.

along with fuzz, etc.EffectorOriginating from the early days, it was developed to replicate the muted playing technique originally performed by trumpet players. By operating the filter with the pedal, the peak frequency shifts from high to low, producing tonal changes like "wah-wah" or "woo-woo." The speed and depth of the pedal movement control the sound.

The difference between delay and echo can be confusing, but reverb refers to "residual sound" or "afterglow." For example, that pleasant echo you get when singing in the bathroom is precisely the reverb effect. Originally, spring-loaded reverb built into amplifiers was common, but today digital reverb makes it easy to achieve a wide variety of effects like hall, room, plate, gate, and the aforementioned spring reverb.

This circuit uses a VCA (Voltage Controlled Amplifier), and as the name suggests, it compresses (crushes) the sound to create a sustained effect. Beyond just sustaining the sound, it also uniquely shapes the moment the string is plucked (the attack), giving the sound a tautness. A limiter also compresses the sound similarly, but it specifically suppresses only the peak signals. It is more corrective in nature.EffectorIt can be said that rack-mounted tube amplifiers are the mainstream choice in recording studios and similar environments.

This device reduces noise or shuts off the signal when you're not playing to prevent noise from getting mixed in. However, it's not perfect, so it's important to set it up so it doesn't affect the tone, and above all, to eliminate the sources of noise like the guitar, amp, and shielded cables.

There are harmonic and phase types, which have the effect of bringing out sounds that tend to get buried in an ensemble. Unlike equalizers, they are characterized by having minimal impact on the original sound.

The most extremeEffectorBy mixing the built-in transmitter with the guitar signal, it creates unexpected pitch shifts, producing unique sounds like ringing or metallic tones.

These devices reproduce the sound of guitar amplifiers, making it easy to achieve a realistic sound for recording and other purposes. Well-known examples include Tech21's SansAmp and Line6's POD, considered pioneers in amp simulation. The latter offers a wide variety of amp and cabinet types, allowing for meticulous settings down to mic placement and effects.

It reproduces the unique body resonance and overtones of an acoustic guitar, transforming the sound of an electric guitar into that of an acoustic. This allows you to easily incorporate acoustic guitar sound into your performance without switching instruments during live shows.

A pitch shifter changes the pitch.EffectorAnd then there are the evolved versions: the "Harmonizer" and the "Wah-Wah pedal." Analog-circuit octavers cannot freely change pitch and lack tracking stability, but they remain popular for their distinctive, flavorful tone.

Originally developed for steel guitar players in country music, it allows volume control via pedal operation. Like bowing techniques on the violin, it enables playing that suppresses attack to make the sound float.

You can switch input signals to change instruments or switch output signals to change amplifiers, or create signal loops to connect multipleEffectordevices that switch signals all at once, etc., which function to alter the flow of signalsEffectoris.