How to choose based on purpose and basic connection methods
EffectorLet's explain the different types!
EffectorThis guide provides a clear explanation of the different types of effects, from the basics of the five major categories—distortion, spatial effects, modulation, etc.—to how to choose the right effect for your desired sound, and the basics of connecting multiple effects units.
table of contents
1. First, get a grasp of the overall picture!EffectorThe five major systems and their roles
1-1. Distortion pedals (drive pedals)
1-2. Spatial system
1-3. Modulation effects (wobble/swaying effects)
1-4. Dynamics System
1-5. Filter System
2. [By Purpose] Recommended methods for producing the desired soundEffector
2-1. I want to make the guitar solo stand out and have it cut through the band's sound.
2-2. How to make clean tones sound more beautiful and ethereal.
2-3. To make the grains of the cut uniform and give it a crisp finish.
2-4. I want some tricky sounds that will add accent to the song.
3. The basics of "connection order" you should know when combining multiple devices.
3-1. Basic Theory
3-2. Changes in sound when the order is changed
4. Should I continue to collect compacts? MultiEffectorShould we make use of it?
4-1. CompactEffectorAdvantages and disadvantages
4-2. MultiEffectorAdvantages and disadvantages
summary
1. First, get a grasp of the overall picture!EffectorThe five major systems and their roles
EffectorThese can be broadly classified into "five categories" based on the nature of their effects.
1-1. Distortion pedals (drive pedals)
In rock and pop music, the most fundamental and central effect is the "distortion" effect. It intentionally creates the powerful, distorted sound that occurs when an amplifier is played at high volume.
Distortion pedals can be further divided into three main categories: overdrive, distortion, and fuzz. Overdrive is characterized by a warm sound that naturally distorts like a tube amplifier, allowing for nuanced picking. It's suitable for a wide range of genres, from blues to rock. Distortion produces a more artificial, deep, and intense distortion, making it ideal for the crunchy riffs and long-sustained solos required in hard rock and metal.
Fuzz is considered the original distortion pedal, characterized by its rough yet thick, buzzing, and crackling sound. It exudes a strong individuality, from classic 1960s rock to modern alternative rock.
OverdriveEffectorInventory List
DistortionEffectorInventory List
1-2. Spatial system
"Spatial effects" add spatial breadth, depth, and reverberation to the notes you play. By adding reverberation, you can create the illusion of playing in a concert hall or cathedral, even when playing in a small room.
Two of the most common effects are "delay" and "reverb." Delay is an effect that delays and repeats the sound you play, like an echo. It has a wide range of applications, such as creating rhythmic phrases by applying a dotted eighth note delay to the original sound, or adding thickness to the sound when applied subtly during a solo. Reverb simulates the reverberation sound that occurs when sound reflects off walls in a bathroom or hall. It is often built into amplifiers, but by introducing a pedal type, you can precisely control a more ethereal and deep reverberation.
1-3. Modulation effects (wobble/swaying effects)
Modulation effects, on the other hand, periodically fluctuate the waveform of a sound (pitch and volume), giving it a sense of undulation, breadth, and a unique character.
The quintessential "chorus" effect adds a layered sound with a slight delay and a fluctuating pitch compared to the original sound, creating a rich, multi-part feel and a sparkling transparency. It pairs exceptionally well with clean arpeggios.
"Phaser" and "flanger" create a shimmering or intense swell, like a jet plane passing by. Applying a phaser to cutting emphasizes a funky groove, while applying a flanger to distortion creates a psychedelic effect. "Tremolo" has the effect of periodically raising and lowering the volume, creating a retro, warm fluctuation similar to that found in vintage amplifiers.
1-4. Dynamics Systems
"Dynamics" pedals are the unsung heroes that adjust the volume (dynamics) level and cut/boost sounds at specific thresholds. Because they don't produce dramatic tonal changes, they tend to be avoided by beginners, but advanced players will come to appreciate their importance more and more.
The most popular is the "compressor." It compresses loud sounds and boosts quiet sounds, making the overall volume uniform. This improves the clarity of the cutting and extends the sustain, giving the effect of making the performance sound better.
This category also includes "noise gates" that cut out unwanted noise when you're not playing, and "clean boosters" that raise the overall volume level.
Clean Booster Inventory List
1-5. Filter System
Filters fundamentally alter the character (sound quality) of a sound by emphasizing or, conversely, reducing specific frequency bands.
An "equalizer (EQ)" is a pedal that allows you to finely adjust the volume of specific frequency ranges, such as low, mid, and high frequencies. It is useful for shaping subtle tones that cannot be achieved with the amplifier's EQ alone, and for boosting the mid-range frequencies to improve clarity during guitar solos.
A "wah pedal" is also a type of filter. By pressing down on the pedal with your foot, the frequency range that is emphasized shifts, creating a rich, expressive sound that resembles a human voice, known as a "wah-wah" sound.
Understanding these five major systems will reveal the vast amount of information available in the world.EffectorThis will also allow for classification.
TCGAKKIofEffectorInventory List
Staff comments
EffectorThere are many different types and effects, and the uses and applications are endless!
「EffectorIf your starting point is "I want to learn more about it" or "I want to create a rock sound," I recommend starting with distortion effects!
For beginners in sound design, starting with "overdrive" is recommended because it helps you solidify the basics of handling other distortion effects!
2. [By Purpose] Recommended methods for producing the desired soundEffector
Now that we've grasped the five basic types, let's move on to the practical application. We'll work backward from specific goals, such as "I feel like my current sound is somehow lacking" or "I want to improve the sound when playing this kind of phrase," and introduce recommended types to add to your pedalboard.
2-1. I want to make the guitar solo stand out and have it cut through the band's sound.
Many guitarists face the problem of their sound getting buried and inaudible when transitioning from backing to solos. To solve this, you need not only volume, but also "sound thickness" and "emphasis on specific frequency ranges."
Recommended approach: Booster + Delay
First, add a "booster (or overdrive)" either before or after your existing distortion pedal. Placing it before will increase the amount of distortion (gain) and sustain, while placing it after will significantly boost the overall volume. Using a TS-style overdrive, which emphasizes the mid-range frequencies, as a booster is a common technique frequently used by professionals. Next, lightly apply a "delay" effect. The echo effect adds depth and reverberation to the sound, making your solo phrases stand out in a three-dimensional way.
2-2. How to make clean tones sound more beautiful and ethereal.
When playing arpeggios or chord strums with a clean tone with distortion turned off, the sound from a direct connection to the amp tends to be somewhat bland and flat.
Recommended approach: Chorus + Reverb
For adding color to a clean sound, the king of modulation effects, "chorus," is ideal. It simultaneously provides a thickness as if the sound is layered two or three times, and a transparency like the shimmering surface of water. Then, by applying a deep "reverb" after the chorus, you can create an ambient sound as if you were performing in a vast hall. This combination is an essential element in everything from 80s pop to modern shoegaze and ambient music. Classic brands such as BOSS and Electro-Harmonix have released many iconic pieces of equipment using this combination.
2-3. To make the grains of the cut uniform and give it a crisp finish.
16-beat cutting is frequently used in funk and city pop. It's a rhythmic phrase with a "chaka-pok" sound, but if the picking dynamics are inconsistent, it inevitably sounds amateurish.
Recommended approach: Compressor + Phaser
This is where a dynamics-type "compressor" comes in handy. It tames overly strong attacks and boosts softly played notes, resulting in a more even resonance across all strings and bringing you closer to the crisp, articulate cutting sound of a professional. If you want to add even more character, try applying a "phaser" lightly. The shimmering filter effect intertwines with the cutting rhythm, creating a very groovy and funky sound.
2-4. I want some tricky sounds that will add accent to the song.
This is an approach for when you want to create a powerful hook that will grab the audience's attention at a crucial moment within the band's ensemble.
Recommended approach: Pitch shifter + Fuzz
Let's try using a "pitch shifter (or octaver)" that adds a note an octave higher or lower, or a note of a specific interval (such as a fifth), to the original sound. Adding an octave lower to a single-note riff will make it sound like a synth.BassIt produces a heavy, resonant sound, and adding an octave higher creates a hysterical, screeching sound. Combining this with a destructive distortion effect like "fuzz" allows you to create a vicious and tricky soundscape that hardly sounds like a guitar anymore.
Staff comments
The above is just one example!EffectorThere's an indescribable satisfaction in tweaking and manipulating it to get closer to the desired sound!
Please enjoy trying to figure out things like, "How can I make that kind of sound?" or "Which combinations should I use?"
3. The basics of "connection order" you should know when combining multiple devices.
EffectorAs you add more and more units—two, three, or more—you'll inevitably face the problem of connection order (routing): "In what order should I connect them?" The tone and noise levels change dramatically depending on the connection order. Here, we'll explain the most standard theory of connection order.
3-1. Basic Theory
guitar/BassThe "standard route" from where the signal originates to where it reaches the amplifier is as follows:
Guitar → ① Dynamics → ② Filter → ③ Distortion → ④ Modulation → ⑤ Spatial Effects → Amplifier
1. Dynamics effects (compressor, wah, etc.)Any effects that control the dynamics and frequency range of the original signal should be applied to the cleanest possible signal (immediately after the guitar). Applying compression after distortion will amplify even the noise. (Note: A wah pedal can sometimes be placed after the distortion, depending on preference.)
2. Distortion effects (overdrive, distortion, etc.)This is where the character of the sound is determined. When connecting multiple pedals, it is generally recommended to connect them in the order of "low distortion (booster) → high distortion".
3. Modulation effects (chorus, phaser, etc.)By "wobbling" the signal, which has been distorted and enriched with harmonic components, the effect becomes more clearly defined.
4. Spatial effects (delay, reverb, etc.)The final stage, after all the sound shaping is complete, is when we add "space (reverberation)." If you place a distortion pedal after the delay, all of the repeated reverberations will be distorted like an echo, resulting in a muddy and chaotic sound.
3-2. Changes in sound when the order is changed
The above theories are merely basic principles and not absolute rules that must be followed. By intentionally rearranging the order, you can create your own unique sound.
For example, what happens if you connect delay and distortion in the opposite order to the usual theory? The reverberation goes straight into the distortion pedal, resulting in a noisy, lo-fi sound that sounds like it's oscillating. This is a technique that is intentionally used in genres such as shoegaze. Also, if you connect phaser (modulation) and distortion in that order, the fluctuation effect is suppressed by the distortion, resulting in a more aggressive, edgy, and swirling sound. Van Halen's use of phaser in their "brown sound" is a classic example of this.
After understanding the theory, experimenting by rearranging the order of steps to find your own "correct answer" is also a valid approach.EffectorThis is one of the joys of building a pedalboard. If you end up with pedals that you no longer use due to equipment changes or upgrades,EffectorIt's a good idea to wisely utilize the trade-in and buyback services for your amplifiers and use the proceeds to fund your next piece of equipment.
TCGAKKIofEffectorAbout buying/selling
Staff comments
While there are theoretically established connection orders, they aren't strictly mandatory!
I haveEffectorAs you add more devices, try experimenting with different connection orders to enjoy the changes in sound!
4. Should I continue to collect compacts? MultiEffectorShould we make use of it?
EffectorWhen adding more features, another major branching point is "compactEffectorShould I buy them one by one, or should I buy multiple ones?EffectorThe choice is whether or not to implement it.
4-1. CompactEffectorAdvantages and disadvantages
compactEffectorThe biggest advantages are its "intuitive operation" and "unique sound characteristics as a one-of-a-kind instrument." Because it has physical knobs, you can quickly make fine adjustments to the sound even while playing by crouching down.
Furthermore, there's a strong sense of individuality and romance in the fact that "this sound can only be produced by this brand and this model," which also satisfies the desire to collect them as you line them up on your pedalboard. The downsides are that as the number of pedals increases, the board becomes huge and heavy, making it difficult to carry around. Also, there are costs associated with peripheral equipment other than the pedals themselves, such as patch cables and power supplies.
4-2. MultiEffectorAdvantages and disadvantages
Recent multiEffectorThanks to advancements in digital technology, the sound quality has improved to the point where it is used as main equipment even in professional settings. The biggest advantages are its "outstanding cost performance" and "convenience." One unit contains hundreds of different amplifier models andEffectorIt has built-in functions that can be switched instantly. There is no need to carry around a heavy pedalboard, and the connection order can be freely changed with on-screen controls. The downside is that, because there are so many functions, beginners can easily get lost in the sound creation process. Also, it is often difficult to quickly adjust specific parameters during a live performance, so careful planning and preparation beforehand are required.
Many guitarists and bassists follow a route where they first learn the characteristics of each effect and the function of the knobs using a compact pedal, and then move on to a multi-effects unit to make their system more compact. Choose the option that best suits your playing style and portability.
Staff comments
multiEffectorIts appeal lies in the fact that you can easily obtain a wide variety of sounds!
The firstEffectorIf you choose one, a simple multi-function device that is relatively easy to use intuitively is recommended.EffectorThat way, you'll have fewer doubts!
To match the newly required sound, we've been steadily working on making it more compact.EffectorIncreasing your understanding is also a good way to steadily improve your comprehension!
summary
EffectorBy understanding the roles of the five major signal systems and choosing the right type based on the sound you want to create, you can dramatically expand your sound-making possibilities. While adhering to the theory of connection order, try unconventional combinations from time to time to discover your own signature sound and enjoy an even richer musical life.
TCGAKKIofEffectorInventory List
The person who wrote this article：TCGAKKIStore Manager's Assistant, Sano - ManiacEffectorAppraiser
He is known as one of the industry's biggest record enthusiasts, specializing primarily in '70s hard rock and progressive rock. His favorite instrument is a Gibson Flying V. He is also well-known in the retro video game community as a collector.
TCGAKKIUnmovingEffectorAs the person in charge, I handle over 2,000 units per year.EffectorTo assess and inspectEffectorMaster.
Qualifications and experience: 20 years of experience as a musical instrument appraiser, contributing articles and supervision to Guitar Magazine and other publications.
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