Choosing Your First Instrument | Effector

Historically speaking, “fuzz” was the first to appear in the 1960s. It offered a wide range of distinctive sounds, from cheap-sounding tones reminiscent of a broken transistor radio to intensely distorted sounds with astonishing sustain. Later in the late 1960s, Eric Clapton’s “Woman Tone”—created using a Marshall amp and a Les Paul guitar—gained significant attention.This was an “overdrive sound” achieved by cranking the volume of a tube amp to the max and overloading it. This led to the emergence of “distortion,” which replaced the extreme fuzz sounds of the past and offered a more natural tone that allowed for subtle expression by the guitarist. As time went on, by the late 70s, “overdrive” emerged—a sound closer to the natural “overdrive sound” produced by tube amps and guitars, offering even greater expressiveness.

For now, it might be easiest to remember it this way: light and natural distortion = overdrive; intense and heavy distortion = distortion; and more intense and distinctive distortion = fuzz.

Like a flanger, this effect adds modulation to a short delay to create a subtle waver Effector. It is characterized by a shorter delay time than a flanger, producing a pleasant and refreshing effect. In recent years, digital models have become more common, replacing the analog versions that used BBD chips.

This is the so-called "echo effect." It adds a delayed version of the original sound. A variety of effects can be achieved by adjusting the delay time and the number of repetitions. Depending on the design, there are different types such as tape echo, analog delay, and digital delay. Each has its own distinctive sound.

This is a filter-based device used to actively shape sound quality and tone, or to correct the sound. Based on their mechanisms, there are two main types: graphic equalizers (G-Eq) and parametric equalizers (P-Eq). A "G-Eq" features filters for each frequency band arranged in a straight line, making it visually intuitive, much like a frequency graph.In contrast, a "par-eq" works by allowing you to adjust the center frequency, level, and bandwidth to change the tone. While the concepts are a bit complex, it can be said that although the operating methods differ, the final effect is the same for both. The so-called "boomy" sound is achieved by using an equalizer to cut the midrange, thereby emphasizing the low and high frequencies to create a sound with a distinct dynamic range.

Also known as a phaser. It was originally invented to replicate the Doppler effect produced by a Leslie speaker. However, the effect is not identical, and it has established itself as a distinct effect in its own right. As the name suggests, it creates interference by adding a signal with a shifted phase to the original signal, giving the sound a undulating quality.The effect varies depending on the number of phase-shift stages in the circuit; the more stages there are, the finer and sharper the undulation becomes. Conversely, units with fewer stages are characterized by a loose, rough vintage sound.

A booster is simply a device designed to increase volume; one that amplifies the signal without altering the original tone is called a "clean booster." Using a booster makes it possible to easily overdrive an amp even with a guitar that has low output. A preamp controls tone and volume and can also be used as a booster.

This effect, created by volume-induced pulses, was commonly found in vintage amplifiers. The resulting effect varies depending on the signal waveform and the speed of the changes, ranging from a gentle effect to an intense, machine-gun-like effect.

While its effect is similar to that of a phase shifter, circuit-wise it belongs to the delay family. By adding modulation (a undulating effect created by varying the delay time) to a short delay, you can achieve a more pronounced jet-like effect and a stronger sense of modulation than with a phase shifter.

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

As is generally known from guitar playing techniques, this effect is achieved by modulating the pitch up and down. Some units achieve a similar auditory effect by using phase-shifter or chorus circuits.

Along with fuzz and other effects, the wah-wah has existed since the early days of Effector. It was originally developed to replicate the muted playing style of trumpet players. By operating the filter with the pedal, the peak frequency shifts from high to low, producing tone changes such as "wah-wah" or "woo-wah." The sound is controlled by the speed and depth of the pedal's movement.

It can be difficult to distinguish the difference between reverb and delay/echo, but reverb refers to “reverberation” or “after-sound.” For example, the pleasant echo you hear when singing in a bathroom is a classic example of the reverb effect. Originally, spring-type reverb built into amplifiers was common, but today, digital reverb makes it easy to achieve a wide variety of reverb effects, including hall, room, plate, gate, and the aforementioned spring reverb.

These devices use a VCA (Voltage-Controlled Amplifier) circuit. As the name suggests, they compress (squeeze) the sound to create a sustained effect. Not only does this extend the sound, but it also gives the moment the string is plucked (the attack) a unique character and adds body to the sound. Limiters also compress the sound, but they specifically suppress only the peak levels of the signal. They can be described as a more corrective tool.In recording studios and similar settings, rack-mounted models using vacuum tubes are the mainstream choice.

These are devices that reduce noise or shut out the signal when you’re not playing to prevent noise from being picked up. However, since they aren’t perfect, it’s important to set them up so they don’t affect the tone, and above all, to eliminate the source of the noise—such as the guitar, amp, or cable.

There are harmonic and phase types, and they are effective at bringing out sounds that tend to get lost in an ensemble. Unlike an equalizer, they are characterized by having little effect on the original sound.

The most extreme Effector?! By mixing the built-in oscillator with the guitar signal, it creates unpredictable pitch shifts, allowing you to produce unique sounds such as ringing tones and metallic sounds.

These devices reproduce the sound of guitar amplifiers, making it easy to achieve authentic tones for recording and other applications. Well-known models include Tech21’s SansAmp—often considered the original amp simulator—and Line6’s POD. The latter offers a wide variety of amp and cabinet types, allowing for detailed customization, from miking to effects.

These devices reproduce the body resonance and harmonics unique to acoustic guitars, allowing you to transform an electric guitar’s sound into an acoustic one. This makes it easy to incorporate an acoustic sound into your performance without having to switch instruments during live shows.

A pitch shifter is a device that changes pitch, and its evolved forms include the "harmonizer" and "wah-wah pedal." Octavers based on analog circuits cannot freely shift pitch and lack tracking stability, but they are popular for their distinctive, characterful tone.

Originally developed for steel guitar players in country music, these pedals allow you to control volume with your foot. You can also play in a way that mutes the attack, making the sound float, similar to the bowing technique used on a violin.

These are devices that alter the signal flow—such as those that switch input signals to change instruments, switch output signals to change amplifiers, or create signal loops to switch multiple Effectors at once.