We’re going to try to give you a quick consider the major types of effects for guitar players. In part 1 we’ll cover the basic principles.

We understand that there are a million websites offering insight to this topic, nonetheless its been our experience that they’re authored by engineers, not musicians… they read like microwave manuals instead of a helpful resource… Anyway… off we go.


I can’t really milk greater than a few lines out of this topic. It’s pretty cut and dry- an enhancement pedal will provide your signal a volume boost – or cut, depending on how you’ve got it set. Most boost pedals act as a master volume control allowing you a fairly number of use.

So why do I want an enhancement pedal? To create your guitar volume up over the remainder of the band during the solo, to get your amp harder by feeding it a hotter signal, to have a set volume change with the press of a button.


When most guitarists discuss overdrive, they are making reference to the smooth ‘distortion’ produced by their tube amps when driven to begin breaking up. Overdrive pedals are designed to either replicate this tone (with limited success) or drive a tube amp into overdrive, creating those screaming tubes beyond anything they normally would be able to do without wall shaking volume.

Why do I want an overdrive pedal? Overdrive pedals bring an increase pedal- therefore you get those inherent benefits, you’ll find some good added girth for your tone from your distortion produced by the pedal. Most overdrive pedals have tone control offering you wider tone shaping possibilities.


Based upon our above meaning of overdrive, distortion is how overdrive leaves off. In the rock guitar world think Van Halen and beyond for a clear demonstration of distorted guitar tone. Distortion pedals often emulate high gain amps that create thick walls of sound small tube amps will not be capable of creating. If you’re lucky enough to have got a large Marshall, Mesa Boogie, Diezel or any other monster amplifier to create your distortion you will possibly not require a distortion pedal. But for the remainder of us mere mortals, guitar pedal reviews are essential to modern guitar tone.

So why do I would like a distortion pedal? You need to be relevant don’t you? Despite large amps, like those stated earlier, distortion pedals play a key role in modern music. They provide flexibility that boosts and overdrives are unable to rival.


God bless Ike Turner along with the Kinks. Both acts achieved their landmark tones through the use of abused speaker cabinets. Ike dropped his about the street walking in to Sun Records to record Rocket 88, the Kinks cut their speakers with knives approximately the legends get it. Irrespective of how they got it, their tone changed the globe. Some refer to it as distortion, some call it fuzz, however, seeing the progression readily available damaged speakers to the fuzz boxes created to emulate those tones, I do believe its safest to call what Turner and Davies created/stumbled upon was fuzz.

Why do I want a fuzz pedal? Ya like Hendrix, don’t ya? In most honesty, the fuzz pedal is seeing resurgence in popular music nowadays. Bands like Nine Inch Nails, Marilyn Manson, Muse as well as the White Stripes rely heavily on classic designs on recent releases.


The position of any compressor is usually to deliver an even volume output. It can make the soft parts louder, as well as the loud parts softer. Current country music guitar tone is driven through compression.

Why do you need a compressor? Improved sustain, increased clarity during low volume playing.



The earliest “flanger” effects were created in the studio by playing 2 tape decks, both playing the same sounds, while an engineer would decrease or accelerate the playback of one of several dupe signals. This is how you might produce wooshing jet streams. The edge of your old fashioned tape reels is called the flange.

So why do I would like a flanger? A flanger will offer a whole new color to your tonal palette. You may tolerate out one, but you’ll never get a few of the nuance coloring from the Van Halen’s, Pink Floyd’s, or Rush’s around the globe.

Phase shifter

The phase shifter bridges the space between Flanger and Chorus. Early phasers were intended to recreate the spinning speaker of a Leslie. Phase shifting’s over use may be heard throughout the first couple of Van Halen albums.

Exactly why do I need a phase shifter? See Flangers answer.


Chorus pedals split your signal in 2, modulates one by slowing it down and detuning it, then mixes it in with the original signal. The impact is supposed to sound dexspky30 several guitarists playing the same thing at the same time, creating a wide swelling sound, however i don’t listen to it. You are doing get yourself a thicker more lush tone, however it doesn’t sound like a chorus of players if you ask me.

Exactly why do I want a chorus? Because Andy Summers uses one, and Paul Raven says so… that ought to be sufficient.


Like a kid, would you ever play with the amount knob in the TV or even the radio manically turning it up and down? Yeah? Well you had been a tremolo effect.

How come I need a tremolo pedal? 6 words for ya: The Smiths ‘How Soon Is Now’


A delay pedal produces a copy of your incoming signal and slightly time-delays its replay. You can use it to create a “slap back” (single repetition) or perhaps echo (multiple repetitions) effect. Who amongst us can’t appreciate The Sides use of rock guitar effects delay throughout U2s career?

Exactly why do I would like a delay pedal? See Flangers answer.


A variable band-pass frequency filter… Screw everything- you know what a wah wah is… its po-rn music! It’s Hendrix! It’s Hammett. It’s Wylde. It’s Slash.