Effects unit
An effects unit, effects processor, or effects pedal is an electronic device that alters the sound of a musical instrument or other audio source through audio signal processing.
Common
Most modern effects use
Musicians, audio engineers and record producers use effects units during live performances or in the studio, typically with electric guitar, bass guitar, electronic keyboard or electric piano. While effects are most frequently used with electric or electronic instruments, they can be used with any audio source, such as acoustic instruments, drums, and vocals.[3][4]
Terminology
An effects unit is also called an effect box, effects device, effects processor or simply an effect. The abbreviation F/X or FX is sometimes used. A pedal-style unit may be called a stomp box, stompbox, effects pedal or pedal. Unprocessed audio coming into an effects unit is referred to as dry, while the processed audio output is referred to as wet.[5]
A musician bringing many pedals to a live show or recording session often mounts the pedals on a
Form factors
Effects units are available in a variety of form factors. Stompboxes are used in both live performance and studio recording. Rackmount devices saw a heavy usage during the later 20th century, due to their superior processing power and desirable tones as compared to pedal-style units. However, by the 21st century, with the advent of digital plugins and more powerful stompboxes for live usage, the use of rack-mounted effect units has declined.[6][failed verification] An effects unit can consist of analog or digital electronics or a combination of the two. During a live performance, the effect is plugged into the electrical signal path of the instrument. In the studio, an instrument or another sound source — possibly an auxiliary output of a mixer or a DAW — is patched into the effect.[7][8] Whatever the form factor, effects units are part of a studio or musician's outboard gear.[9]
Stompboxes
Stompboxes are small plastic or metal chassis that usually lie on the floor or in a
An effects chain is formed by connecting two or more stompboxes forming a signal chain. Effect chains are typically created between the guitar and the amp or between the preamplifier and the power amp. When a pedal is off or inactive, the electric audio signal coming into the pedal diverts onto a bypass, an unaltered dry signal that continues on to other effects down the chain. In this way, a musician can combine effects within a chain in a variety of ways without having to reconnect boxes during a performance.[11] A controller or effects management system lets the musician create multiple effect chains, so they can select one or several chains by tapping a single switch. The switches are usually organized in a row or a simple grid.[12]
It is common to put
Rackmounts
Rackmount effects units are typically built in a thin metal chassis with rack ears designed to be screw-mounted into the rack rails of a 19-inch rack that is standard to the music technology industry. Rackmount effects have a standardized 19-inch width, and height of 1 or more rack unit(s). Devices that are less than 19 inches wide can sometimes be made rackmount-compatible via special rackmount adapters.[15]
A rackmount effects unit may contain electronic circuitry identical to a stompbox's, although its circuits are typically more complex. Unlike stompboxes, rackmounts usually have several different types of effects.[16] Rackmount effects units are controlled by knobs, switches or buttons on their front panel, and often remote-controllable by a MIDI digital control interface or pedal-style foot controller.[17]
Rackmount effects units are most commonly used in recording studios and front of house live sound mixing situations. Musicians may use them in place of stompboxes, as use of a rack can offer space for conveniently mounting additional rackmount equipment or accessories. Rackmounted effects units are typically mounted in a rack, which may be housed within a road case, a durable case with removable access 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
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
Effects are often incorporated into instrument amplifiers and even some types of instruments. Electric guitar amplifiers typically 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
Instruments with built-in effects include
History
Studio effects and early stand-alone units
The earliest sound effects were strictly used in studio productions. Microphones placed in
Amplifiers
Effects built into
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
The electronic
Warwick Electronics manufactured the first
In the 1980s, digital
Effects and effects units—stompboxes in particular—have been celebrated by pop and rock musicians in album titles, songs and band names. The
Techniques
Distortion
Distortion, overdrive, and fuzz effects units add a warm, gritty, or fuzzy character to an audio signal by re-shaping or
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 effects units 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
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.
Dynamics
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:
Noise gate effects: Boss NS-2 Noise Suppressor.
Filter
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 effects: Boss GE-7 Equalizer, MXR 10-band EQ Pedal.
Talk boxes:
Wah effects: Dunlop Cry Baby,[77] Morley Power Wah, Vox.[78]
Auto-wah: A filter effect that is controlled by the volume of the input signal.[79] The most common filter type used for this effect pedal is the low-pass filter, although many pedal designs include a toggle for band-pass or high-pass filters as well. Additionally, most envelope filters pedal boxes can switch between a down filter mode and an up filter. This effect is commonly used in funk, reggae and jam band music.
Envelope filter effects:
Modulation
Modulation, in general electronics, means the altering of signal strength. In audio devices, modulation is a control feature that varies the strength of some effect over time to alter tonal properties. Some modulation effects mix ("modulate") an instrument's audio signal with a signal generated by the effect called a carrier wave.[80] Other modulation effects split an instrument's audio signal in two, altering one portion of the signal and mixing it with the unaltered portion.[81]
Chorus effects: Boss CE-1 Chorus Ensemble, Electro-Harmonix Small Clone, TC Electronic Stereo Chorus.
Flanger effects: Electro-Harmonix Electric Mistress, MXR Flanger, Boss BF-3 Flanger.
Phase shift effects: Uni-Vibe, Electro-Harmonix Small Stone, MXR Phase 90.
Ring modulator effects: Moogerfooger MF-102 Ring Modulator.
Tremolo effects: Demeter TRM-1 Tremulator, Fender Tremolux.
Vibrato effects: Boss VB-2 Vibrato.
Pitch/frequency
Pitch/frequency effects modify
A harmonizer is a type of sophisticated pitch shifter that combines the altered pitch with the original pitch to create a two note harmony based on the original pitch, or even with some pedals, three note harmony. Some hamonizers are able to create chorus-like effects by adding very tiny shifts in pitch.[96]
Pitch shift effects: DigiTech Whammy, Electro-Harmonix POG.
Time-based
Time-based effects delay the sound signal, add reverb or echos, or, if a long delay is possible, enable musicians to record "loops".
Delay effects:
Looper pedal: A looper pedal or "phrase looper" allows a performer to record and later replay a phrase,
Reverb effects: Electro-Harmonix Holy Grail, Fender Reverb Unit.
Feedback/sustain
Other handheld and mounted guitar and bass resonators have been on the market since the early 1990s, produced in Germany under the SRG brand, which ceased production in 2016, and were available in both monophonic (one string at a time) and polyphonic (multiple strings at a time) models, which 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.[103] 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, slightly prolonging the duration of the note.[104] 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
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.[105][106]
Simulators: Simulators enable electric guitars to mimic the sound of other instruments such as
Bitcrusher filters: Bitcrushers rely on conversion of the audio signal into a digital format (ADC) and the reduction of sound fidelity by utilising bit (and sometimes sample) rates low enough to cause significant colouration and filtering within the audible frequency range.
Rotating speakers are specially constructed amplifier or loudspeakers used to create special audio effects using the Doppler effect by rotating the speakers or a sound-directing duct. The rotating speaker 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 Leslie Speaker and the Hammond Organ brands are currently owned by Suzuki Musical Instrument Corporation.
The
Bass effects
Boutique pedals
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.
Some boutique pedal manufacturers include:
.Modification
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.[113][114] 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.[113][115][116]
Other pedals and rackmount units
Not all stompboxes and rackmounted electronic devices designed for musicians are effects.
Guitar amplifiers and
See also
- 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
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