![]() The time-based effects are free to affect the signal without being limited by the volume pedal. You can therefore gradually increase the volume of an overdriven or modulated signal while leaving the reverb and delay pedals unaffected in terms of their dynamics. Having the volume pedal positioned before delay and reverb, but after all the other pedals provides you with complete dominion over your timing-based effect levels. This slight modification produces notably different results. Rather than using the volume pedal to control the level before it enters the distortion, modulation, and reverb effects, it is placed nearer the end of the chain. This pedal order shares similarities with the one I previously described, except there is one significant difference. Guitar > Compressor > Wah > Overdrive > Phaser > Chorus > Volume > Delay > Reverb > Amp This pedal order also uses the conventional method of placing delay and reverb after gain and modulation, which prevents the tone from becoming muddy when you engage multiple pedal types simultaneously. The volume pedal can be used to reduce or increase the level depending on the subsequent effects you’re using at any time.įuzz, distortion, and overdrive pedals increase the gain of the signal and therefore having the volume pedal before these effects allow you to compensate for this by lowering the level accordingly. The above setup is assembled to provide you with complete control over the dynamics of your signal before it reaches distortion, modulation, and timing-based pedals.īy positioning the compressor and volume pedal early in the chain, the guitar’s level is optimally prepared to ensure that it is dynamically consistent throughout the pedalboard. Guitar > Compressor > Volume > Wah > Fuzz > Chorus > Vibrato > Delay > Reverb > Amp Modulation Effects (Chorus, Flanger, Phaser, Vibrato, Ring Modulator).Gain Effects (Overdrive, Distortion, Fuzz).Pitch Effects (Tuner, Pitch Shift, Octaver, Octave Fuzz, Harmonizer).Filter Effects (EQ, Wah, Talk Box, Envelope Filter).Dynamics (Compressor, Limiter, Noise Gate).Here’s a breakdown of the various categories of effects: It’s useful to become familiar with the different groups of effects pedals as they are often deliberately positioned in the signal chain according to the category they belong to. Effects pedals are categorized based on the way that they interact with the signal of a guitar, bass, or another instrument. In this definitive guide, we’ll analyze the different ways that you can order your pedals in the signal chain and the sonic results they will provide.īefore we get into the various effects orders you can use, it’s important to discuss the main pedal groups. It’s a case of understanding which combinations you should use to produce the sounds that you’re aiming for. Tone is subjective, and there is no definitive right or wrong way to order your pedals in an effects signal chain. Each different guitar pedal order produces a varying result which impacts the way the effects interact with one another, and how they impact your tone. So, a 500 ms setting would take half a second to transpose from the original pitch to the new one.Due to the vast range of effects pedals for musicians to choose from, determining the best way to assemble them in the signal chain can be a difficult task. The slide’s duration depends on the Shift Time parameter (0.0 to 8.00 seconds). It’s like hitting a chord on a steel guitar, and then moving the bar up an octave. For example, if Interval is +12 and you enable the effect, the pitch changes to an octave higher. When enabled, the pitch slides up based on the Interval parameter (fig. Poly Pitch doesn’t do anything unless you enable or bypass it. Poly Pitch is also useful in situations with out-of-tune instruments. This effect can give pseudo-steel guitar effects, by sliding from one pitch to another over a specified period of time, and then sliding back down again. Here's some more info specifically about Poly Pitch: This gives a 12-string guitar’s personality, although I prefer to make my own 12-string presets based on the Poly Capo. For simply transposing your guitar, polyphonic capo is the best choice.ġ2-String. ![]() If your guitar doesn’t have a vibrato tailpiece…now it does. Use this for pedal-controlled pitch shifts. (The sliding is like a synthesizer’s polyphonic glide or portamento.) My favorite application is steel guitar-like bending effects. You can edit the slide’s duration, as well as a separate time to slide back to the non-transposed pitch after bypassing the Poly Pitch. When enabled, the pitch slides from the non-transposed pitch (i.e., the effect’s bypassed state) to a transposed pitch you specify. The poly processor has four different personalities: Here's an excerpt from Chapter 4 on "Poly Block Techniques" from my Helix book:
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