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ing or they can be pre recorded by using a looper pedal a singer guitarist in a one person band can play the backing chords to a song loop them with the pedal and then sing and do a guitar solo over the chords some units allow a performer to layer multiple loops enabling the performer to create the effect of a full band 109 the first loop effects were created with reel to reel tape using a tape loop folded line spring reverberation reverb reverb units simulate the spacious sounds produced naturally in any acoustic space from hall or room to a huge stone cathedral this is done by creating a large number of echoes that gradually fade away in volume or decay one early technique for creating a reverb effect was to send an amplified signal of the music via a speaker to another room with reflective surfaces such as a tile bathroom and then record the natural reverberations that were produced a plate reverb system uses an electromechanical transducer to create vibrations in a plate of metal spring reverb systems which are often used in guitar amplifiers use a transducer to create vibrations in a spring digital reverb effects use various signal processing algorithms to create the reverb effect often by using multiple feedback delay circuits rockabilly and surf guitar are two genres that make heavy use of reverb 110 reverb effects electro harmonix holy grail fender reverb unit feedback and sustain edit audio feedback is an effect produced when amplified sound is picked up by a microphone or guitar pickup and played back through a guitar amplifier initiating a feedback loop which usually consists of high pitched sound feedback that occurs from a vocal mic into a pa system is almost always avoided however in some styles of rock music electric guitar players intentionally create feedback by playing their instrument directly in front of the speaker enclosure of a guitar amplifier set up with sufficient gain the creative use of feedback effects was pioneered by guitarists such as jimi hendrix in the 1960s this technique creates sustained high pitched overtones and unusual sounds not possible through regular playing techniques guitar feedback effects can be difficult to perform because it is difficult to determine the sound volume and guitar position relative to a guitar amp s loudspeaker necessary for achieving the desired feedback sound 111 112 guitar feedback effects are used in a number of rock genres including psychedelic rock heavy metal music and punk rock an ebow guitar string resonator ebow is a brand name of heet sound products of los angeles california for a small handheld battery powered resonator the ebow was invented by greg heet as a way to make a note on an electric guitar string resonate continuously creating an effect that sounds similar to cello or violin 113 the resonator uses a pickup feedback circuit including a sensor coil driver coil and amplifier to induce forced string resonance the ebow is monophonic so it drives only one string at a time 114 other handheld and mounted guitar and bass resonators produced in germany under the srg brand were on the market since the early 1990s through 2016 these were available in both monophonic one string at a time and polyphonic multiple strings at a time models and included multiple onboard trigger switch effects such as hpf high pass filter for enhancing harmonics and producing feedback effects and lpf low pass filter producing a bass boost with a cello sound on heavy gauge strings 115 later ebow models such as the plus ebow contain a mode slide switch on the back which allows the player to either produce just sustain or overtone feedback in addition to sustain 76 pedals such as the boss df 2 and fb 2 use an internally generated signal matched to the pitch of the guitar that can be sustained indefinitely by depressing the pedal many compressor pedals are often also marketed as sustainer pedals as a note is sustained it loses energy and volume due to diminishing vibration in the string the compressor pedal boosts its electrical signal to the specified dynamic range prolonging the duration of the note 116 this combined with heavy distortion and the close proximity of the guitar and the speaker cabinet can lead to infinite sustain at higher volumes other effects edit envelope follower an envelope follower activates an effect once a designated volume is reached one effect that uses an envelope follower is the auto wah which produces a wah effect depending on how loud or soft the notes are being played 117 118 a line 6 modeling amplifier shown from above note the various amplifier and speaker emulations selectable via the rotary knob on the left guitar amplifier modeling amplifier modeling is a digital effect that replicates the sound of various amplifiers most often vintage tube amplifiers and famous brands of speaker cabinets sophisticated modeling effects can simulate different types of speaker cabinets e g the sound of an 8x10 inch cabinet and miking techniques a rotary speaker simulator mimics the doppler and chorus effect sound of a vintage leslie speaker system by replicating its volume and pitch modulations overdrive capacity and phase shifts 119 pitch correction and related vocal effects pitch correction effects use signal processing algorithms to re tune faulty intonation in a vocalist s performance 120 or create unusual vocoder type vocal effects one of the best known examples of this is autotune a software program and effect unit which can be used to both correct pitch and add vocal effects simulators simulators enable electric guitars to mimic the sound of other instruments such as acoustic guitar electric bass and sitar pick up simulators used on guitars with single coil pick ups replicate the sound of guitars with humbucker pick ups or vice versa a de fretter is a bass guitar effect that simulates the sound of a fretless bass the effect uses an envelope controlled filter and voltage controlled amplifier to soften a note s attack both in volume and timbre 121 bitcrusher filters bitcrushers rely on an analog to digital conversion of the audio signal and the reduction of sound fidelity by utilizing bit depths and sample rates low enough to cause significant colouration and filtering within the audible frequency range a leslie rotary speaker in a clear plastic cabinet typically the leslie is housed in a wooden cabinet leslie speakers are specially constructed amplifier and loudspeakers used to create special audio effects by rotating the speakers or a sound directing duct to introduce the doppler effect and other sound reflections the rotating speaker baffle creates a chorus type effect named after its inventor donald leslie it is particularly associated with the hammond organ but is used with a variety of instruments as well as vocals the hammond leslie combination has become an element in many genres of music the korg kaoss pad is a small midi controller sampler and effects processor for audio and musical instruments the kaoss pad s touchpad can be used to control its internal effects engine which can be applied to a line in signal or to samples effects types include pitch shifting distortion filtering wah wah tremolo flanging delay reverberation auto panning gating phasing and ring modulation bass effects edit a selection of bass effect pedals at a music store main article bass effects bass effects are electronic effects units that are designed for use with the low pitches created by an electric bass or for an upright bass used with a bass amp or pa system two examples of bass effects are fuzz bass and bass chorus some bass amplifiers have built in effects such as overdrive or chorus upright bassists in jazz folk blues and similar genres may use a bass preamplifier a small electronic device that matches the impedance between the piezoelectric pickup and the amp or pa system bass preamps also allow for the gain of the signal to be boosted or cut some models also offer equalization controls a compressor and a di box connection boutique pedals edit t rex brand mudhoney overdrive pedal boutique pedals are designed by smaller independent companies and are typically produced in limited quantities some may even be hand made with hand soldered connections these pedals are mainly distributed online or through mail order or sold in a few music stores 122 they are often more expensive than mass produced pedals 123 and offer higher quality components innovative designs in house made knobs and hand painted artwork or etching some boutique companies focus on re creating classic or vintage effects 124 better source needed some boutique pedal manufacturers include bjfe pete cornish emlyn crowther death by audio robert keeley roger linn roger mayer strymon t rex engineering toadworks and z vex effects modification edit there is also a niche market for modifying or modding effects citation needed typically according to whom vendors provide either custom modification services or sell new effects pedals they have already modified citation needed the ibanez tube screamer boss ds 1 pro co rat and digitech whammy are some of the most often modified effects 125 126 common modifications include value changes in capacitors or resistors adding true bypass so that the effect s circuitry is no longer in the signal path substituting higher quality components replacing the unit s original operational amplifiers op amps or adding functions to the device such as allowing additional control of some factor or adding another output jack 125 127 128 other pedals and rackmount units edit some rock and pop guitarists and bassists use stompbox format electronic tuners not all stompboxes and rackmounted electronic devices designed for musicians are effects strobe tuner and regular electronic tuner pedals indicate whether a guitar string is too sharp or flat 129 stompbox format tuner pedals route the electric signal for the instrument through the unit via a 1 4 patch cable these pedal style tuners usually have an output so that the signal can be plugged into a guitar amp to produce sound rackmount power conditioner devices deliver a voltage of the proper level and characteristics to enable equipment to function properly e g by providing transient impulse protection a rackmounted wireless receiver unit is used to enable a guitarist or bassist to move around on stage without being connected to a cable a footswitch pedal such as the a b pedal routes a guitar signal to an amplifier or enables a performer to switch between two guitars or between two amplifiers this footswitch controls an effect distortion but it is not an effects pedal as the case does not contain effects circuitry it is just a switch guitar amplifiers and electronic keyboards may have switch pedals for turning built in reverb and distortion effects on and off the pedals contain only a switch with the circuitry for the effect being housed in the amplifier chassis 130 some musicians who use rackmounted effects or laptops employ a midi controller pedalboard or armband remote controls to trigger sound samples switch between different effects or control effect settings 131 132 133 a pedal keyboard uses pedals but it is not an effect unit it is a foot operated keyboard in which the pedals are typically used to play basslines notable manufacturers edit bjfe one control mad professor a chase bliss audio danelectro b darkglass electronics a dod electronics digitech dunlop manufacturing way huge cry baby mxr earthquaker devices electro harmonix a eventide inc fender b frantone electronics fulltone ibanez jhs pedals keeley electronics line 6 a maxon effects meris mesa boogie a mooer audio a morley pedals mu tron roland boss corporation a seymour duncan a source audio strymon supro t rex engineering tc electronic behringer a tech 21 universal audio vox b wampler pedals z vex effects zoom corporation a b c d e f g h i also an amplifier manufacturer a b c also an instrument and amplifier manufacturer no note indicates that the manufacturer specializes in effects only see also edit acoustic wave see also a list of non electronic audio effects category audio effects frequency divider frequency mixer nonlinear filter outboard gear effects units used in the context of audio mixing sound effect vintage musical equipment references edit a b the art of the stompbox the museum of making 2010 retrieved 13 september 2010 guitar effects trip atlas archived from the original on 8 december 2008 retrieved 18 september 2010 horne greg 2000 complete acoustic guitar method mastering acoustic guitar c alfred music p 92 isbn 9781457415043 yakabuski jim 2001 professional sound reinforcement techniques tips and tricks of a concert sound engineer hal leonard p 139 isbn 9781931140065 hodgson jay 2010 understanding records p 95 isbn 978 1 4411 5607 5 a b clement v 2007 how to succeed as a female guitarist alfred music p 30 31 gibson bill 2007 the ultimate live sound operator s handbook hal leonard p 366 isbn 9781423419716 mccormick tim rumsey francis 2009 sound and recording focal press p 131 isbn 9780240521633 editors guitar player magazine 2001 how to play guitar the basics beyond hal leonard p 82 mangum eric stubbs dean 2000 dod presents 100 superstar guitar sounds on a stompbox budget hal leonard p 8 egnater bruce 16 december 2009 bruce egnater on effects loops guitarplayer com archived from the original on 30 november 2018 kahn scott 2011 modern guitar rig the tone fanatic s guide to integrating amps and effects musicpro guides milwaukee hal leonard corporation p 146 isbn 978 1 4234 9944 2 ross michael 28 august 2020 pedal order by the numbers plus the pros on pedal order guitarplayer com rogers jerry 25 may 2010 your band s first gig getting the sound right jerry rogers isbn 9781445766249 retrieved 10 september 2010 ashton adrian 2006 the bass handbook hal leonard p 92 isbn 9780879308728 ashton adrian 2006 the bass handbook hal leonard pp 91 92 isbn 9780879308728 levitin dan 1992 from demo tape to record deal handy guide alfred music p 26 isbn 0 88284 494 6 hunter dave 2004 guitar effects pedals the practical handbook hal leonard p 125 bartlett bruce bartlett jenny 2008 practical recording techniques the step by step approach to professional audio recording focal press p 226 eiche jon fliegler ritchie 1993 amps the other half of rock n roll hal leonard p 25 40 52 74 reid gordon january 2004 synthesizing hammond organ effects part1 sound on sound retrieved 12 september 2010 pinksterboer hugo 2001 tipbook acoustic guitar hal leonard p 51 isbn 9789076192376 brewster david m 2003 introduction to guitar tone and effects a manual for getting the sounds from electric guitars amplifiers effects pedals and processors hal leonard p 7 isbn 9780634060465 tianen dave 13 august 2009 the wizard of waukesha pbs retrieved 13 september 2010 roads curtis 1996 the computer music tutorial mit press pp 437 476 isbn 9780262680820 presto music times august 1941 chester paul acoustic guita...
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