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Effects Explained
Modulation Effects
Modulation effects will actively change the
sonic characteristics of the input sound, often changing cyclically over time,
or sometimes even controlled with an expression pedal of some form.
Chorus
A chorus effect creates a subtle shimmering
sound similar to the sound of multiple instruments playing at the same time, but
not perfectly in tune. It fattens the sound of the source, especially if it is a
stereo chorus. It works by splitting the input and slightly delaying and pitch
modulating one part and then recombining it with the unaffected part.
Controls
names of parameters may change from
manufacturer to manufacturer
Rate
Sets the speed with which the modulation occurs - use a slow setting for subtle
fattening and a faster speed for more extreme, bubbling effect.
Depth
Controls the intensity of the modulation effect
Flanger / Phaser
Phasers and Flangers are a bit like chorus
effects in that they work by splitting the input into two and delaying one part
and then recombining it. With a phaser, the phase of the recombined part is
constantly shifting in phase, creating a subtle swooshing effect, whereas with a
flanger, the length of the delay is modulated over time which creates a much
more pronounced effect. Flangers also include a feedback option where a bit of
the flanged signal is fed back into the input, allowing for the creation of some
very extreme effects.
Legend has it that the flanger was born when the Beatles were producing an
album. A tape machine was being used for a delay and someone touched the rim of
a tape reel, changing the pitch. With some more tinkering and mixing of signals,
that characteristic flanging sound was created. The rim of the reel is also
known as the 'flange', hence the name 'flanging'
Controls
names of parameters may change from
manufacturer to manufacturer
Flanger: Depth
Controls the maximum delay time that the flanger will use
Rate
Sets the speed with which the flanger swooshes up and down
Delay
Sets the minimum delay time, this controls the minimum level of intensity of the
effect.
Feedback
If your flanger has a feedback control, it means that you can route the output
signal back into the input of the effect, allowing for extreme levels of
modulation.
Phaser: Rate
Adjusts how often the notches move up and down the frequency spectrum per
second.
Depth Sets how far the notches move up and down.
Feedback/Resonance The phase shifting effects can be made more intense by
using feedback - adding part of the filter output to the input again. This
control determines how much of the filter output is routed to the input again.
Mix/Level Sets how much of the filter output (the delayed signal) is
added to the original.
Wah Wah
The wah wah derives its name from the
phonetic sound it makes, similar to someone saying the words wah wah wah. It was
originally developed on acoustic instruments such as trumpets though it is more
famous in its electronic format. First heard in 1945 on a pedal steel guitar
made by Leo Fender, the electronic Wah was simultaneously developed by a few
innovative manufacturers during the mid Twentieth Century, though was never
actually patented.
It works by moving the peak frequency of a resonant filter (a bit like a harsh
EQ) up and down - usually manually controlled by means of a rocking foot pedal.
When combined with a distortion or fuzz pedal (Hendrix's famous set up) a Wah
Wah adds tremendous expressiveness to your playing, especially for playing lead.
Wah is also used extensively in funk and other styles as a rhythm technique -
the infamous wacka wacka sound - produced by resting your left hand fingers on
the strings, but not actually making contact with the frets - thereby dampening
the strings, and then strumming and rocking the Wah backwards and forwards in
time with the music to create the effect.
Controls
The average Wah Wah pedal only has one
control - the pedal itself which is rocked forwards to give a high frequency
bias to the signal and rocked backwards to give a muffled low mid boost.
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