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ccess panels that protect the equipment within during transportation because of this rackmount effect units are not always designed with durable protective features such as corner protectors which are used on stompboxes and amps that are designed to be transported as standalone units multi effects and tabletop units edit boss me 5 multi effects from 1988 included several pedal effects in one unit with the ability to write and recall presets a multi effects mfx device is a single electronics effects pedal or rackmount device that contains many different electronic effects multi effects devices allow users to preset combinations of different effects allowing musicians quick on stage access to different effects combinations 18 multi effects units typically have a range of distortion chorus flanger phaser delay looper and reverb effects pedal style multi effects range from fairly inexpensive stompboxes that contain two pedals and a few knobs to control the effects to large expensive floor units with many pedals and knobs rack mounted multi effects units may be mounted in the same rack as preamplifiers and power amplifiers a tabletop unit is a type of multi effects device that sits on a desk and is controlled manually one such example is the pod guitar amplifier modeler digital effects designed for djs are often sold in tabletop models so that the units can be placed alongside a dj mixer turntables and scratching gear 19 built in units edit a 1968 fender bandmaster amplifier note the four inputs two for regular sound and two which are run through the onboard tremolo effect unit effects are often incorporated into instrument amplifiers and even some types of instruments electric guitar amplifiers often have built in reverb chorus and distortion while acoustic guitar and keyboard amplifiers tend to only have built in reverb some acoustic instrument amplifiers have reverb chorus compression and equalization bass and treble effects vintage guitar amps typically have tremolo and vibrato effects and sometimes reverb the fender bandmaster reverb amp for example had built in reverb and vibrato built in effects may offer the user less control than standalone pedals or rackmounted units for example on some lower to mid priced bass amplifiers the only control on the audio compression effect is a button or switch to turn it on or off or a single knob in contrast a pedal or rackmounted unit would typically provide ratio threshold and attack controls or other options to allow the user additional control over the compression some guitar amplifiers have built in multi effects units or digital amplifier modeling effects bass amplifiers are less likely to have built in effects although some may have a compressor limiter or fuzz bass effect 20 better source needed instruments with built in effects include hammond organs electronic organs electronic pianos and digital synthesizers 21 built in effects for keyboards typically include reverb chorus and for hammond organ vibrato many clonewheel organs include an overdrive effect occasionally acoustic electric and electric guitars will have built in effects such as a preamp or equalizer 22 23 history edit studio effects and early stand alone units edit the earliest sound effects were strictly used in studio productions microphones placed in echo chambers with specially designed acoustic properties simulated the sound of live performances in different environments in the mid to late 1940s recording engineers and experimental musicians such as les paul began manipulating reel to reel recording tape to create echo effects and unusual futuristic sounds 24 25 in 1941 dearmond released the model 601 tremolo control 26 the first commercially available stand alone effects unit this device produced a tremolo by passing an instrument s electrical signal through a water based electrolytic fluid 27 most stand alone effects of the 1950s and early 1960s 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 stand alone units were not especially in demand as many effects came built into amplifiers the first popular stand alone was the 1958 watkins copicat a relatively portable tape echo effect made famous by the british band the shadows 28 29 amplifiers edit a fender vibrolux reverb amp and a ross amp effects built into tube powered guitar amplifiers were the first effects that musicians used regularly outside the studio from the late 1940s onward the gibson began including vibrato circuits in combo amplifiers that incorporated one or more speakers with the amp the 1950 ray butts echosonic amp was the first to feature a tape echo 30 which quickly became popular with guitarists such as chet atkins carl perkins scotty moore luther perkins and roy orbison 31 both premier and gibson built amplifiers with spring reverb fender began manufacturing the tremolo amps tremolux in 1955 and vibrolux in 1956 32 distortion was not an effect originally intended by amplifier manufacturers but could often easily be achieved by overdriving the power supply in early tube amplifiers in the 1950s guitarists began deliberately increasing gain beyond its intended levels to achieve warm distorted sounds 33 among the first musicians to experiment with distortion were willie johnson of howlin wolf 33 goree carter 34 joe hill louis 35 36 ike turner 37 guitar slim 38 and chuck berry 39 in 1954 pat hare produced heavily distorted power chords for several recordings including james cotton s cotton crop blues creating a grittier nastier more ferocious electric guitar sound 40 accomplished by turning the volume knob on his amplifier all the way to the right until the speaker was screaming 41 link wray s 1958 recording rumble inspired young musicians such as pete townshend of the who jimmy page of led zeppelin jeff beck dave davies of the kinks and neil young to explore distortion by various means 42 in 1966 the british company marshall amplification began producing the marshall 1963 a guitar amplifier capable of producing the distorted crunch that rock musicians were starting to seek 43 44 stompboxes edit the fuzz face effect pedal the electronic transistor finally made it possible to fit effects circuitry into highly portable stompbox units transistors replaced vacuum tubes allowing for much more compact formats and greater stability the first transistorized guitar effect was the 1962 maestro fuzz tone pedal which became a sensation after its use in the 1965 rolling stones hit i can t get no satisfaction 45 46 warwick electronics manufactured the first wah wah pedal 47 the clyde mccoy in 1967 and that same year roger mayer developed the first octave effect which jimi hendrix named octavio 48 upon first hearing the octavia hendrix reportedly rushed back to the studio and immediately used it to record the guitar solos on purple haze and fire 49 in 1968 univox began marketing shin ei s uni vibe pedal an effect designed by noted audio engineer fumio mieda that mimicked the odd phase shift and chorus effects of the leslie rotating speakers used in hammond organs the pedals soon became favorite effects of guitarists jimi hendrix and robin trower in 1976 roland subsidiary boss corporation released the ce 1 chorus ensemble the first chorus pedal created by taking a chorus circuit from an amplifier and putting it into a stompbox 50 by the mid 1970s a variety of solid state effects pedals including flangers chorus pedals ring modulators and phase shifters were available 51 52 several boss pedals connected together in the 1980s digital rackmount units began replacing stompboxes as the effects format of choice often musicians would record dry unaltered tracks in the studio and effects would be added in post production citation needed 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 amplifier 53 throughout the 1990s musicians committed to a lo fi aesthetic such as j mascis of dinosaur jr stephen malkmus of pavement and robert pollard of guided by voices continued to use analog effects pedals 54 effects and effects units stompboxes in particular have been celebrated by pop and rock musicians in album titles songs and band names the big muff a fuzzbox manufactured by electro harmonix 55 is commemorated by the depeche mode song big muff and the mudhoney ep superfuzz bigmuff nine inch nails pink floyd george harrison they might be giants and joy division are among the many musicians who have referenced effects units in their music 56 techniques edit for broader coverage of this topic see sound effect techniques jim o rourke kneeling while operating two stompboxes with his hands distortion edit main article distortion music distortion effect electric guitar played first clean no effects then with distortion pedal problems playing this file see media help clipping an instrument s audio signal produces distortion distortion overdrive and fuzz effects units add a warm gritty or fuzzy character to an audio signal by re shaping or clipping it which distorts the shape of its waveform by flattening its peaks creating warm sounds by adding harmonics or gritty sounds by adding inharmonic overtones distortion effects are sometimes called gain effects as distorted guitar sounds were first achieved by increasing the gain of tube amplifiers 57 58 59 while distortion effects units produce perfectly flattened peaks or hard clipping overdrive effects units produce soft tube like distortion by compressing the waveform without completely flattening it much like guitar tube amplifiers overdrive effects units are capable of producing clean sounds at lower volumes and distorted warm sounds at higher volumes 60 61 notable examples of distortion and overdrive pedals include the boss ds 1 distortion ibanez tube screamer marshall shredmaster mxr distortion and pro co rat a fuzz pedal or fuzzbox is a type of overdrive effects unit that clips a signal until it is nearly a square wave resulting in a heavily distorted or fuzzy sound 59 62 fuzzboxes may contain frequency multiplier circuitry to achieve a harsh timbre by adding complex harmonics 63 64 the rolling stones song i can t get no satisfaction with a fuzz effect featured prominently on the main electric guitar riff played by keith richards greatly popularized the use of fuzz effects 65 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 notable examples of fuzz effect units include the arbiter fuzz face electro harmonix big muff shin ei companion fy 2 univox super fuzz vox tone bender z vex fuzz factory while distortion effect units are most associated with electric and bass guitar they are also commonly used on keyboard instruments i e synthesizers combo and tonewheel organs electric piano as well as drums and vocals dynamics edit a rack of rackmount audio compressors in a recording studio from top to bottom retro instruments gates sta level spectra sonic dbx 162 dbx 165 empirical labs distressor smart research c2 chandler limited tg1 daking fet 91579 and altec 436c also called volume and amplitude effects dynamics effects modify the volume of an instrument dynamics effects were among the first effects introduced to guitarists 1 boost volume pedal when activated a boost or clean boost pedal amplifies the volume of an instrument by increasing the amplitude of its audio signal these units are generally used for boosting volume during solos and preventing signal loss in long effects chains a guitarist switching from rhythm guitar to lead guitar for a guitar solo may use a boost to increase the volume of their solo 66 volume effects electro harmonix lpb 1 fender volume pedal mxr micro amp ernie ball volume pedal treadle based volume pedals are used by electric instrument players guitar bass keyboards to adjust the volume of their instrument with one foot while their hands are being used to play their instrument treadle style volume pedals are often also used to create swelling effects by removing the attack of a note or chord as popularised by pedal steel guitar players this enables electric guitar and pedal steel players to imitate the soft swelling sound that an orchestra string section can produce in which a note or chord starts very softly and then grows in volume treadle based volume pedals do not usually have batteries or require external power compressor compressors make loud sounds quieter and quiet sounds louder by decreasing or compressing the dynamic range of an audio signal 67 a compressor is often used to stabilize volume and alter the sound of a note s attack with extreme settings of its controls a compressor can function as a limiter 68 compressor effects keeley compressor mxr dyna comp boss cs 3 compression sustainer noise gate noise gates attenuate hum hiss and static in the signal by greatly diminishing the volume when the signal falls below a set threshold noise gates are expanders meaning that unlike compressors they increase the dynamic range of an audio signal to make quiet sounds even quieter 67 if used with extreme settings and combined with reverb they can create unusual sounds such as the gated drum effect used in 1980s pop songs a style popularized by the phil collins song in the air tonight 69 70 noise gate effects boss ns 2 noise suppressor filter edit filter effects alter the frequency content of an audio signal that passes through them by either boosting or weakening specific frequencies or frequency regions equalizer an equalizer is a set of linear filters that strengthen boost or weaken cut specific frequency regions while basic home stereos often have equalizers for two bands to adjust bass and treble professional graphic equalizers offer much more targeted control over the audio frequency spectrum 71 audio engineers use highly sophisticated equalizers to eliminate unwanted sounds make an instrument or voice more prominent and enhance particular aspects of an instrument s tone 72 equalizer effects boss ge 7 equalizer mxr 10 band eq pedal peter frampton s talk box talk box a talk box directs the sound from an electric guitar or synthesizer into the mouth of a performer using a tube allowing the sound to be shaped into vowels and consonants with movements of the mouth the modified sound is then picked up by a microphone in this way the guitarist is able create the effect that the guitar is talking some famous uses of the talkbox include bon jovi s livin on a prayer stevie wonder s black man mötley crüe 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 73 74 talk boxes dunlop ht1 heil talk box rocktron banshee thomas organ cry baby wah wah pedal 1970 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