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Table Of Contents
Table Of Contents ..................................................................... 2 Introduction ............................................................................. 3 A Bit About Bypass on Pedals ................................................... 6 Order of effects ...................................................................... 29 Tremolo/Wah ......................................................................... 33 Amp stand or on the ground? ................................................. 35 Tube pedals vs. non-tube pedals ............................................ 36 Effect Pedal Mods ................................................................... 38 Multi effects vs. pedals ........................................................... 39 Finding YOUR Tone ................................................................. 40 General information................................................................ 45 In closing… ............................................................................ 47 AFFILIATES: ........................................................................... 48

Welcome to and’s “Introduction to Guitar Tone and Effects”! This is an essential manual for getting the best sounds from your electric guitars, your amps, effect pedals, digital processors and equipment. This book and the accompanied audio also features easy to follow instructions with tons of photos, teaching the basics of guitar tones, effects, amps and guitars. The CD or the provided link for the download provides many audio examples. Readers of this will learn all the different types of guitars, what type of music they are best suited for, who plays them, what different configurations of amps, what tones are best, rock or country. In the other books, we’ve discussed how you can modify your effect pedals for maximum tone without paying premium money as well as what some hot pros are using. Just like those books, I’ll also put everything in extreme detail for you. Not only that, I’ll also show you some of the best ways to set your effects, to achieve tonal bliss! To learn how you can modify your effect pedals for maximum tone, please click here:

Effect Pedal Types and Tones
What is an effect loop? Most amps today have more sockets than the one labeled "input". Chances are, your amp also has two- labeled "send" and "return" - the effect loop. The signal that "travels" through your amplifier normally takes the following way: Input - Preamp (generally responsible for sound and - if you want - overdrive) - Power amp (generally responsible for volume, although with tube power amps the sound is also shaped). Some effects (see the following Topics) work and sound better if they come after any distortion or gain that is applied to your guitar signal. Why? For example, it would not sound too good if you put the reverb before the overdrive. You want a reverb on your overdriven signal, not an overdriven reverb. Basic rules: 1) If the effect modulates the signal (see following Topics), put it behind any preamps or overdrive/distortion boxes. 2) It the effect boosts the signal, put it before overdrive. 3) There are no absolute rules! Break them, experiment! Normally, you put all your stomp boxes between your guitar and the input of the amp. But if you want to use your amp's overdrive channel, you get the problems described above. This is where the effect loop comes in. The guitar signal comes from your amp's preamp and through "send" goes into those effects that should be put behind any overdrive. The signal comes back into your amp through the "return" socket. Therefore, you should have all the stomp boxes that should come before overdrive between your guitar and the amp's input and all the boxes that should come after overdrive after your amp's preamp in the effect loop. The following Topics will give you information on which effects belong to which group. Some amps have a series, and others have a parallel effect loop. With a series effect loop, the guitar signal (your sound) comes from

The solution was the parallel loop: with the control. You decide with the parallel effect knob how much effect you want. runs through the inserted effect and comes back through the return jack. The "remaining" signal stays in your amp. . 100% of your signal goes through the effect. preserving much of your sound. but keep in mind that you won't hear much of the effects if you only put a tiny part of your signal through the effect box. "leaves" your amp through the send jack. So you can mix the dry (without effect) and the wet (with effects) signals. and is "joined" again by the signal coming back from the effect.the preamp of your amp. now with effects on it. The effects in the loop should be set so that they let out no original signal but 100% effect signal. you control how much of your original signal leaves the amp and passes through the effect.

Even worse.perhaps cheaper that are ran through multiple buffered (non-true bypassed) pedals may result in loss of full bodied tone. if I had to choose. Ibanez to name a few) instead of all true bypass. . I would go with non-true bypass pedals that have a good buffer (Visual Sound. though is the pedalboard that is ALL true bypass – the long lengths of cord NEED a buffer of some sort to push the signal through all of that resistance. For this reason.A Bit About Bypass on Pedals Many people have found that their sound suffers (great tube amps and . Boss.

after sounding a string on a guitar.making louder passages softer. the sound produced by the pickups gradually dies away. Sustain: Sets the length of the period during which weak signals are amplified. It reduces its gain when the signal level is too high . it tries to maintain a constant level of output by amplifying the incoming signal to maintain that constant level. Release: When the input level exceeded the threshold. if the signal is below a set threshold level it is made louder. the compressor again needs time to respond and increase the gain again. If the input signal is above a set threshold level. which is perceived as increased sustain. You might call a compressor a variable gain device. Therefore. This is the release time. Attack: The compressor takes a little time before the gain is adjusted to the new input level. The amount of time the compressor takes to decrease its gain when the input level rises above the threshold is called attack time. The instrument sounds smoother. the signal is made quieter. A little compression will keep the instrument's level from dropping too radically after it's plucked. the compressor kicked in. you most likely have one or more of these controls: -Level (controls volume level) -Tone (adds or removes high frequencies) . For example. When the input level falls under the threshold. the volume level is more consistent and sustain is increased. If the signal becomes too soft. The gain here is not perceived as "distortion"!! Controls: Threshold: Sets the level where the compressor kicks in to make the signal softer. If you are using a stompbox type compressor.COMPRESSOR A Compressor reduces the dynamic range of a signal.

Using an appropriate attack time. If attack and/or release time is too short.some funk songs for example. Some people say that if you hear that there's a compressor at work the effect was overdone. there will be distortion on the tape. If recording. This happens easily without a compressor because you normally set the input level in such a way that the average signal is loud enough.-Attack (adjusts how quick the compression kicks in) -Sustain (adjusts amount of compression desired) A compressor has to be used carefully. If you overuse it. the naturalness of an instrument's sound will get through before the compression sets in. For most guitarists though. you will be able to play faster notes and the notes will be more even sounding. you limit your own range of playing dynamics drastically. When do you need it? Sometimes a song or even a certain style requires the notes you play to fall in a certain (sometimes very narrow) dynamic range . One too strong pick attack and you've distortion on tape. The compressor helps here. ruining a whole track. you get very quick changes in gain. it's even more important: If your signal exceeds a certain peak. Set the threshold in a way that your signal does not exceed the point where distortion occurs. and sound smoother to the listener. It would be very hard if not impossible to achieve this just by controlling our picking hand . . a compressor is their ‘secret weapon’ – by cranking up the sustain and attack.especially at high speed. which is often perceived as "pumping" and generally not desirable.

.This setting will give you a bit of warmth. and smoothness to your tone.

This setting will give you incredible sustain – you will be able to hold a note for a long period of time. .

.This setting is how everyone starts out – everything dialed in at 12:00 and making little tweaks to get it to sound like you want it to.

This setting is excellent to use during prominent licks or solo’s. Examples of settings It also can be used as a booster for solos or to give your guitar sound more punch for playing .mp3 http://www.indyguitarist.

OVERDRIVE . The high input signals overloaded the tube preamp and output stage as well as the speakers.mp3 Overdrive: http://www. The names have been mixed up by companies producing Check out "Foxy Lady" or "Voodoo Child (Slight Return)" or the Beatles' "Sgt.indyguitarist. Overdrive: Simulates the sound of an overdriven tupe amp and responds to playing touch.FUZZ . A well known example is the Tube Screamer.mp3 . the nuances of the picking technique are still audible.indyguitarist. so your effect may produce something that's different from what its names says. The resulting distortion is warm and smooth. overdrive and distortion. there are three different types of effects for "distortion": fuzz. The fuzz was created very early.DISTORTION It all started in the 60s when the PA systems and amps weren't as powerful as today. Some people even say the sound reminds them of a circular Pepper's Lonely Hearts Club Band" or the Rolling Stones' "Satisfaction" for examples. resulting in distortion. By accident. Fuzz: http://www. guitarists discovered that the result didn't sound too Basically. The only thing you could do was to turn your amp up to 10. A characteristic of its sound is that it radically emphasizes harmonics. Fact is. that Jimi Hendrix used a fuzz (Fuzz Face) often.mp3 Distortion: http://www.


A guitar sound that really cuts through and screams is the result. Middle and Treble). you may even have controls for Bass. A few tips: Don't overdo it!! CLEAN BOOST MILD DISTORTION . use the "Gain" control (see below) sparingly and use "Level" to set the level of distortion. overdrives (and less often fuzz and distortion) can also be used to boost your guitar signal so that it actually overdrives your amp. Tone: Adjusts the highs and lows (if you have a more comfortable unit. Level: Adjusts the output volume of the effect unit. metallic distortion with many upper harmonics. Controls: Drive: Adjusts the distortion of the effect unit. If you do this. Besides producing an overdriven or distorted sound that your amp only amplifies. Boss DS1 (Distortion) or Boss HM3(Hyper Metal) are examples.Distortion: Produces harder.

Another disadvantage is that gain/distortion reduces your dynamic range. a compressor comes before a distortion device. A Compressor comes in handy here. the rhythm guitar was recorded twice or even more often to get that huge sound. Downside: A lower gain setting leads to less sustain. you seem to have not enough volume. . In the effect chain.HEAVY CREAMY DISTORTION HEAVY CRUNCH DISTORTION If you listen to Rhythm guitars on CDs you'll very often notice that the amount of distortion used is not that much. If you want your guitar to cut through in a band context. even if your amp volume is wide open. your sound becomes muddy. Very often. If you use too much. try using less distortion instead of turning up your amp and/or turning up the mids on your amp/pedal/eq. Another thing you perhaps have already experienced is this: You dial in a distortion sound you really like and as soon as you play together with other people.

Fuzz pedals still exist.Often used overdrive/distortion units are: Ibanez Tube Screamer (TS9). like the Arbiter Fuzz Face. Tech21 Sans Amp. . ProCo The Rat.

resulting in a thicker.CHORUS A chorus belongs to those effects that modulate and double sound. warrant. Controls (maybe with different names): Rate: the speed of the modulation Depth: how intensive the modulation is Filter: adjusts how much time there is between the original signal and the modulated one Effect level: volume of the modulated signal. This produces a swirling. but it's not a perfect imitation. This swirling effect makes the two signals sound slightly out of tune as they would be if there were two instruments. Some use it to imitate the sound of a 12string. slow song and you’ll .80 milliseconds) and pitch modulated signal with the original signal. DEEP. rich sound. RICH CHORUS SUBTLE WARM CHORUS Music example: Extreme chorus used throughout 80’s rock…listen to any dokken. shimmering effect. A stereo chorus adds spaciousness and dimension. skid row. slaughter. etc. It combines a slightly delayed (20 .

all these effects should come after overdrive/distortion! . phaser. In the effect chain. just as a flanger. reverb or a delay.definitely hear chorus! If you want to use your amp's overdrive. a chorus belongs in the effect loop.

Rate/Speed: Adjusts how quickly the notches move up and down the frequency spectrum. A tape machine was being used for a delay and someone touched the rim of a tape reel.50 milliseconds) and no feedback. the frequencies affected also change.FLANGER A Flanger creates a slight delay and combines it with the original signal for a "swirling doubled" effect. In some cases. you can also specify whether to add or subtract the feedback signal. Feedback/Regeneration: Only some units have this control. . If you listen to Van Halen's "Ain't talking 'bout love" you can hear a delay (about 100ms) and a flanger (slow spead. the other at its minimum). The rim of the reel is also known as the 'flange'. moderate depth with regeneration) in the intro riff. As the delay time changes. that characteristic flanging sound was created. Controls Depth: Maximum delay time added to the time you set with the Delay control (see below). The delay time is so short (1 to 10 or maybe 20 milliseconds) that you don't hear an echo. This creates "notches" in frequency response. Some frequencies are eliminated (one sine wave is at its maximum. A Flanger is very similar to a Chorus. but the Chorus has longer delay times (30 . delay changes). The length of the delay is constantly changing. one delayed for a short time). Instead. With it. With some more tinkering and mixing of signals. Other words to describe the effect are "whooshing" or "a jet plane flying overhead". you can take a portion of the flanger's output and route it to the input. Delay: Sets the minimum amount of delay (remember. the delayed signal interferes with frequencies of the original signal (picture two sine waves. Legend says it originated while the Beatles were producing an album. resulting in the typical sound of the flanger. A large amount of feedback can create a very 'metallic' and 'intense' sound. changing the pitch. hence the name 'flanging'.

a flanger belongs in the effect loop if you want to use your amp's Flanger: http://www. a flanger comes after the overdrive/distortion.Just like a chorus. In the effect chain.mp3 .

e. Depth: Sets how far the notches move up and down. sounds drier and has a shallower "whoosh". This creates the "notches" in frequency response. By putting more allpass filters in line. The Flanger indeed is a special kind of phaser. the delayed signal interferes with frequencies of the original signal . all frequencies pass through the filter (i. This control determines how much of the filter output is routed to the input again. If you now mix the two signals. the other at its minimum)and some are made weaker. As the name implies. The way the effect is produced differs a little bit from the flanger. The notches in the frequency spectrum are created by passing the signal through a special group of filters. called allpass filters. in my humble opinion. The MXR Phase 90 contains four stages for example.PHASER A phaser combines an out-of-phase signal with the original signal to produce a sound similar to the "spinning" sound of a rotary speaker. so only some are eliminated (one sine wave is at its maximum. But not all frequencies are delayed by the same amount. one delayed for a short time). Feedback/Resonance: The phase shifting effects can be made more intense by using feedback . Well. none is "absorbed") to the output.adding part of the filter output to the input again. But the signal needs a certain time to pass through the filters so it is "delayed" in comparison to the original signal. Controls Rate: Adjusts how often the notches move up and down the frequency spectrum per second. . more notches are created. a phaser sounds very much like a tamed flanger.just like the flanger (picture two sine waves. It does nearly the same (see "Flanger": creating notches in the frequency spectrum) but it uses a shorter delay (0-5ms).

Mix/Level: Sets how much of the filter output (the delayed signal) is added to the original. In the effect chain. Just like a chorus or flanger. Lenny Kravitz' "Are you gonna go my way" is an example for a phaser at work. A phaser is very often used for clean rhythm guitars in pop and funk Soundclip: http://www. a phaser belongs in the effect loop if you want to use your amp's overdrive.mp3 . a phaser comes after the overdrive/distortion.indyguitarist.

DELAY A Delay samples the original signal and plays it back delayed to simulate "echo". SLAPBACK ECHO .

Controls Delay time: Sets the time between original signal and delayed signal. often used effect. Reverb: Use about five delays at 100-200ms and set a low volume and you have a reverb-like sound. It's a very versatile. The result sounds similar to two guitars playing in unison => fatter sound. you can play notes at a constant speed and have a delayed signal right between those notes. "Cheat": Selecting a delay time that matches the song tempo (see below). Depending on the time between original signal and delayed signal. Feedback: How many delayed signals do you want? This control sets the number of repeats. creating the impression that you are . Doubling: Use a short delay time (50ms or less) and cut feedback so only a single delay is produced. the effect is quite different. Keeping the direct sound and delayed sound separate for a stereo effect makes it sound like recording left and right cannels separately.

Harmony: Using long delay (800ms or longer) is good for creating harmony: you play a note and the delay repeats this note at the same time you play another note that creates a musical interval with the first one (example: you play first a C. to "cheat" or to play harmony? Delay time for quarter notes =60/Tempo(bpm). a delay should be put after overdrive/distortion. Brian May often used a delay to play harmony lines with himself. Generally. If you want to use your amp's overdrive channel. listen to "Brighton Rock".indyguitarist.delay repeats note . but how do I calculate the delay time needed to fit the speed of the song.5 (500 ms) then divide by 4 (to get 16th)=125ms Examples: Generally.. the delay belongs in the effect loop. delay: http://www.mp3 . In the effect EG you want a 16th note delay at 120 BPM: 60/120=0. creating the impression of two guitars playing in harmony a third apart.your note .).. The Stray Cat's "Rock this town" provides an example for a slapback delay. then an E and finally a G: the delay repeats the C at the same time you sound the E and the E repeat sounds together with the G. U2's the Edge uses a lot of delay to make his sound fatter or to create the impression of playing twice as fast as he actually is (for rhythm and lead guitar.playing twice as fast (for example: play constant eight notes and have the delay set to repeat your eight note right between two of your notes => sounds like sixteenth notes being played: your note .120 ms) and no feedback and you have the sort of delay you hear on many rockabilly songs. if you allow more repeats than only one! Slapback: Use a short delay time (40 . You get the delay in seconds.delay repeats note . setting the delay so that it matches the speed of the song produces a highly musical effect! Ok. and then you just multiply or divide that to get the desired note value.) You get even more interesting results. check out "Pride (In the name of love)".

floor. In a room. They are also a little weaker. Thus.REVERB A reverb adds the natural acoustic ambience present in rooms and halls. Longer times mean that the sound stays in the room longer before being absorbed. After these early reflections. or the late reflections. the larger the room). furniture. This is called the diffuse reverberation. Reflected sounds arrive a little later at our ears as the directly heard signal. because walls and other surfaces absorb some of the signal. the rate of the arriving reflections increases greatly. and it decays exponentially in good concert halls. ceilings are made of also plays an important role: concrete or brick are highly reflective. curtains or people absorb a lot of the signal. every noise is reflected by walls. For a short period after the direct sound. as well as the position of the source and listener in the room. because they had to travel a little further. One measure used for the reverb in a room is reverberation time. an empty room will sound bigger whereas during the performance it will sound differently. BUT: The materials the walls. ceiling and the floor. Controls . that you can't discern any echoes anymore and you just hear a "reverb". This diffuse reverberation is considered to be the primary factor establishing a room's 'size'. carpets. there is a set of well-defined and directional reflections that are directly related to the shape and size of the room. The reflected signal is again reflected and so on until so many echoes are created. clapping or snipping loudly with your fingers works best. These reflections are more random and difficult to relate to the physical characteristics of the room. If you want to test the natural reverb of a room. with less reverberation. This is the time it takes for the sound intensity to 1/1 000 000th of its original value. Reverberation time is often associated with the size of the room (the longer the time. These are the early reflections.

After a certain amount of time. Here a sound is allowed only a certain number of reflections. Sometimes reverb units also contain controls like High Pass or Low Pass Filter. the response is cut off (in contrast to a normal reverb where it fades away). A special kind of reverb is the Gated Reverb. This time is the gate time. a reverb should be put after overdrive/ distortion.e. no matter if the reverb effect is between your guitar and amp input or in the effect loop). Direct level: Adjusts the volume of the direct signal. In the effect chain. Effect level: Adjusts the volume of the reverb. If you want to use your amp's overdrive channel. . No matter if you use your amp's overdrive or not (i. Reverb Time: Sets the duration for the reverb (see "reverberation time" above).Pre-delay: Sets the amount of time before the first reverberations of a signal are heard. it's best to have reverb as the last effect in the signal chain. the reverb belongs in the effect loop.

Volume Pedal (2) . I’d like to address the question in which order to put the effects. Phaser or Pitch Shift .Flanger.Delay . You might want to put a Noise Gate before the Compressor and/or after Flanger/Phaser/Pitch Shift.Wah (1) Distortion/Overdrive . The following order is one that I feel results in useable sounds. it influences the overdrive. but to have it all on one Topic I include them here.Equalizer . Also. It is also possible to put the Wah after the overdrive/distortion effect. There ARE more.Chorus .and on the first Topic you can find info on the effect loop.Order of effects By now we have covered most of the basic effects.Compressor . But let's assume that you want to put all your stomp boxes in line between your guitar and your amp. On the previous Topics I've already given some "rules" .Auto Wah .Reverb Notes: (1): If you put the Wah in front of the overdrive/distortion unit.remember that rules can be broken! . but these are the most common. controlling the intensity of the overdrive. This does not mean it is the only one possible. There are some effects mentioned that I haven't explained yet. .Octaver . guitar . (2) A Volume Pedal can also be put in front of the overdrive/distortion.

A graphic EQ normally offers you certain "bands" of frequency (for example: 100Hz. Some companies offer EQs as stomp boxes and most multi-effect units also contain extra EQ . Having an additional EQ is nearly like having a second amp.. You can't change the frequencies the graphic EQ offers you to cut or boost. METAL TONE ROCK/BLUES TONE . up to maybe 6. And I guess most of us have been frustrated because a) the controls are not as effective as we would like them to be b) the settings influence each other too much.our amp's EQ to get the sound we want..EQUALIZER Most of us use .besides the parameters for the preamp. The result is two sounds: one with the EQ turned off and .if you want .up to a certain amount (for example +/-15 dB).at least to a certain degree . 800Hz . With most "extra" EQs you have an enormous influence on your sound.4kHz) and the opportunity to boost/cut each of these bands individually . 200Hz. 400Hz.a completely different one if the EQ is turned on.

Some folks some like to use EQ before the preamp. some folks like to use EQ after the pre-amp. For overdriven solos boost the middle frequency bands slightly .6kHz. Its going to give you different tones. I’m just using the term ‘pre-amp’ generically. it’s the type of eq to use if your wanting to notch out a bit of hiss. as well as cut out feedback in a pa or guitar rig. and.NU-METAL TONE A parametric EQ lets you choose exactly which frequencies you want to boost or cut. or noise in your signal. You put it before. Now I say ‘pre-amp’ generically here what I mean is it could be a distortion pedal. an overdrive pedal or a fuzz pedal.make sure you put the EQ after the overdrive. its going to boost the . For a metal sound cut the middle bands around 800Hz and boost the lower and higher frequency bands. General guidelines: For sharp rhythm sounds cut the middle frequency bands around 800Hz and boost at around 1.

mp3 . It won’t boost the frequencies like bass. Soundclip: http://www. if you want to add bass. mids or treble.frequencies. treble or mids like it will behind it. you need to put it behind the preamp or even better in the effects loop.indyguitarist. more or less basically adding distortion.

This is probably one of the first effects ever for guitar.voodoo chile. and move your foot. Soundclip: http://www. A good example of wah use is jimi Hendrix. and then turn it down in steady patterns to create an effect.indyguitarist.mp3 A wah pedal changes the eq range of the pedal as you step on it. It can also give a very cool ‘staccato’ effect.Tremolo/Wah A tremolo will basically raise the volume in your . or alice in chains’ ‘man in the box’.

however. your guitar cable will actually suck even MORE tone from your guitar signal. running ‘a’ signal to your amp. is it hype or is it real? I believe it is kind of a selling point for some companies. You do not want that. and the ‘b ‘signal straight to your tuner or just put it in a true bypass box.Tuners Some guys like to use their tuner in their effects chain. If you really have to have a tuner in your chain. in an attempt to not color the tone. You will destroy your clean signal to your amp. I don’t like to and I recommend you don’t. instead of mechanically (like true bypass). and tuners…they will color your signal in a bad way if they are in the path of your guitar signal to your amp. the best thing may be to have a buffered pedal or two and much of them as you can true bypass. you basically want to do the same thing. which is why one or two buffered pedals work wonders – they help keep this from happening. A Buffered pedal is a pedal that switches the pedal on and off electronically. by using ALL true bypass pedals. It buffers the signal-meaning it boosts the level of the signal. Too many buffers or too many buffered pedals you are back to losing some high end off your tone. it will take some high end off. is wah pedals. Long guitar cables will also tend to take some high end (treble) off of the guitar signal. True Bypass While on the subject of true bypass. ten pedals. You are not going to have a pure guitar signal. however. I suggest that unless you true bypass your wah. You’ll take off some high end if you don’t have it true bypassed. you do not want that thing in your chain!! I suggest you use a true bypass box. The general exception. I don’t think its really necessary if you are only using one or two pedals but if you are using five or six pedals. Contrarily. . The buffer helps to correct this. If you have a wah pedal. I suggest you have an AB box. as well as boosting the signal so you don’t lose quality of tone when using long guitar cables.

to direct the sound towards your ears. take an electric guitar that’s not plugged in and lean it against a kitchen table that’s made out of wood and strum it a bit and you’ll notice its louder and plays a little bit fuller that’s just because it is resonating through that wood. With a regular metal amp stand. I prefer to have my amp sitting on the floor so it resonates through the floor. It colors the tone a bit but I feel it makes it a lot fuller and sound better. you are actually going to lose bass because it is not resonating through the floor plus the speaker is pointing directly at you so its going to sound kind of thin if you have the speaker facing you. For an example. and some amps (like the fender twin) come with legs that allow you to tilt it back. .Amp stand or on the ground? Some guys swear by amp stands.

non-tube pedals -Most tube pedals run 12 volts or less so the effect is not the same as a tube based amp.Tube pedals vs. what do you feel sounds better? . I say all in all a lot of its hype. This is basically because they are running more voltage and its more like true tube pre-amp. But. The real decision is what you like. Clipping diodes generally creates distortion of the overdrive but some of the tube pedals with the in internal transformers sound better than the ones with the ‘wall warts’.

mp3 .com/soundclips/tube_works_tube_driver__stock.indyguitarist.http://www.

Analog Man. but other ‘car enthusiasts’ like to fix them up.. Keeley’s mods are more geared like the original pedal. or the same reason folks buy a Les Paul instead of a rogue. nice wheels. There’s an easy to follow guide there that teaches you how to mod your own. His mods are more subtle. From what I’m told.guitartone. but SO MUCH MORE! Seriously. Keeley and Analog Man only offer certain mods. and Indy Guitarist. Some folks like their car just fine. The same reason Folks prefer a ferarri to a hyundai. you can always go to http://www.. put nice stereo systems in them.Effect Pedal Mods Why mod any pedal? I'm glad you asked! For the same reason folks buy a tube amp instead of a solid state amp. probably the top ones you hear the most about is Robert Keeley. you just might dig it! Which one? Listen to the mods. but a bit clearer. but if you approach it open-mindedly. they don’t do custom mods. Analog Man is very well known as well. If you like to work on your own equipment. etc. It’s not for everyone. He’s very well known for his original compressor its sort of like 'hot-rodding' your car. They mod almost anything and they do custom mods-turning your wimpy overdrive pedal into a beast!! So. Keeley and Analog Man are probably the most well known. Kind of made to sound more like a vintage type of tone. or just want to save money. . Tone Jam. It's everything the stock pedal is. basically you can tell them you want a Boss DS1 with nothing but more mid range and they’ll do it.htm and do your own mods. Tone Jam and Indy Guitarist are kind of the new breed of modders out.

To sum it up. A Multi effects generally is liked for the one footswitch to change a load of FX on/off in one quick tap of the toe! Some players prefer that when playing live. if they are using a ton of effects. you can’t beat a couple of premier or modded single effects. for some. use your ears-play on both and see what feels right and sounds right to YOU. and run them into a tube amp. however. pedals Pedals are ideal when you want to ‘flavor’ your original signal. With stomp boxes you have to do a tap dance turning on/off several FX-if say changing from a 80's style clean tone with Compression>Reverb>Chorus>Delay>EQ. If you wanted to go from this clean sound to a dry high gain lead sound or a rhythm crunch then you have to do the tap dance. . is debated daily! With a multi FX you can preset all your sounds into patches. This issue. Also.Multi effects vs.

The "ultimate" tone (The Tone) does not exist. I've gotten what I thought were perfect sounds from my guitar only to find that they didn't work at all when you take your sound out of your garage or bedroom. plus whoever else is in your band. venue. Say you join a band where the other guitarist plays a Strat and a Fender Twin. "Tone" is a shifting object that varies depending upon song. genre. Think about it this way. vocals. in isolation) but sits well in the mix or work well in comparison to some other guitar tone in the group. physical environment. Some of the "best" guitar sounds are rather lop-sided when analyzed in isolation.Finding YOUR Tone You ask…”how do I find the perfect tone??!!” There is no perfect tone. finding a thicker sound (say a Marshall-type middominated sound with humbuckers) and let the Strat guy have his sparkle and snap. a lot of the spectrum is taken by instruments and voices that would compete with another guitar. I hear players all the time say they finally found the perfect tone or they're still searching for the Holy Grail of tone. In short. audience. That might mean. bass. another guitarist. . Instead of looking for "The Tone" you need to think about finding your place within the frequency spectrum. With the addition of another vocalist. you can take any guitar and amp in good working order and get plenty of useful sounds. in the above context. The real discovery comes when they play with a band or try recording. emotional context. etc. Most of these people are sitting in their bedrooms or are gear collectors perpetually in search of excuses to buy more stuff. Are you going to shove another bright Strat into the mix? Why? Rather than trying to compete (‘VOLUME WARS!’) you've got to cooperate and find a space that you can occupy that does not step all over other people that might just mean finding a sound that you don't like (say. you've got your drummer pounding away.

in some situations. and then divide the relatively small portion of space left over between the guitars. and not just a guitarist. and the amount of people and sound absorbing objects in the room. a paper-thin guitar sound will cut through a mix that is heavy on bass and mids. Start there. your tone is going to be the product of being reasonable and considerate. you will be pretty much ignored. Be prepared to alter it based on the room. even if you use the exact same equipment and settings. You are the guitar player. Your tone will sound differently at practice. and every venue. Find a cool groove to get into with the drummer and the bassist. Cooperate with your band members. For Example. Your tone may sound like crap. but remember the whole is greater than the parts so what might sound like crap by itself could very well sound super in the total mix.500) + vintage TS808 Tube Screamer ($500) + vintage Marshall JTM45 ($1200) then you will have all the gear necessary to sound like EJ…note that I said you'd have the gear for the sound not the sound itself. the vocals and drums are going to be the least flexible elements.Likewise. pre-CBS Strat ($12. You will not be appreciated if your ‘awesome tone’ conflicts with what other people are doing. Unless you are also the singer or you are a featured guitar god.? If you want to sound like EJ or whoever then do not read this! Instead. What’s that? How do you sound like Eric Johnson/Eddie Van Halen/Yngwie etc. . lastly. let the bassist take the bottom. at sound check. if someone soloed your mixer channel. take out a loan on a vintage. So. two Fender Deluxe Reverbs and a vintage 50 Watt Marshall. in your band or when you record. And. you'll need two or three different sounds for different areas of the piece. And when the vocalists are singing select a sound that will compliment. you probably won’t sound exactly like Eric Johnson… Don't get me wrong. please realize that just because you own a 1954 Strat. temperature. When there is a vocal-free space you can go for something with more substance to it you might find that in any given song. That's how to be a musician. humidity.

your going to mic the amps anyways. then the matter is really pointless. B. That is a never-ending argument that will probably never be won. in Stern's case an ancient Yamaha G100. Be aware that different speaker sizes can radically affect your sound. and in King's case an old Gibson Lab Series amp. in and of itself. so loudness shouldn’t be so much a factor as some folks think. DO get something that sounds good to YOU! Do get an amp that will be reliable. But great tone comes from the heart. Try them all out and decide for yourself. If Mike Stern and B. If you are using a tube amp be sure that the tubes are in good shape. digital debate. so lower wattage amps tend to be favored. Equipment. I've seen many tube purists who couldn't tell the difference between solid state and tube when they had to rely solely on their ears.that would be a good starting point. Great sounds can be obtained . durable.e. rests in your hands and fingers. The remainder. Don't settle for the cheapest you can find. solid state vs. When playing within the context of a band. So. Wonder why I would say a thing like that? Read on! Amp/Effects Debates Don't get caught up in the tube vs. King can get their sounds out of. Great tones can be coaxed out of any kind of amp as long as it is well designed and in good working order. soul and fingers of the person playing. is only part of the battle.there are many of those amps that sound plenty bad. Tube amps are going to sound better cranked. the Fender Bassman sound) while others will only play through a 2X12 cabinet loaded with Celestion speakers. Some people swear that a 4X10 cabinet loaded with Jensen speakers is the only way to go (i. you'd be better off shelling out the bucks for some good ones. and versatile. literally. trust YOUR ears and don't get something merely because it has tubes -. and inspires you to play it! Don't worry so much about the power or wattage an amp has..

It all depends upon your sound. for at least six months or more. Some love it. Most of these reviews are posted by well-meaning folks just like you and me but most of them have been posted by people after just a few days of owning a piece of gear. and boa snake coverings. Effects sound best in moderation. chicken-head knobs. The current crop of periodicals has. you simply can't trust them.from all of them. incidentally. Though. Considerations like tweed. But for most folks. leopard skin. In short. Look for reviews from people who have owned and used the amp. Never base your equipment decisions on aesthetics. which can be accentuated by clipping the input way too far. You can’t accurately know the in’s/out’s. a closed-back cab like a big 4X12 will generally sound much darker than one with an open back configuration. over the last few years. Also. they get this terrible fuzz. Never base your amp purchase decisions on the reviews you find in guitar magazines. or metal armor should be secondary to the sound. Go to online resources for the reviews that real owners have posted. or guitar. in the pursuit of weird sounds it is fun to hook together an altogether immoderate quantity of effects. are paying their bills through advertising dollars). But. Try cutting back on what you use if you are practicing. and trying . become nothing but propaganda machines for manufacturers (who. A cab with 4X10s typically sounds punchier and more immediate while a cab loaded with 12s will sound looser and will allow for a more compressed sound. Sometimes it's cool to use old digital effects from the 80s and early 90s the ones that sound horrendous in their attempt to emulate tube preamps. the general rule is the fewer the better. and shortcomings of an amp that quickly. And every now and then you'll find people making second reviews of the same piece after some use. Effects can become a crutch for sloppy playing and a general lack of skill. you must be careful here as well.

or use a power source. but when you perform. . Try and keep fresh batteries in your effects. In this instance. no one will ever know the difference. Maybe you can-I can’t. Use the effects when you perform…you’ll get much better in a shorter period of time. and most tests won’t show an audible get better.' I can't tell the difference. better safe than sorry-use fresh power. Some people claim that weak batteries will get that 'vintage sound.

You might want to have this done down at your local guitar shop or. Try fretting the string different ways utilizing different finger angles and portions of the fingertip. This will diminish the amount of finger contact on the fretboard itself. play with the tips of your fingers. If you are looking for speedy speed. Keep your action up high enough that your strings don’t buzz while bending. Buy a guitar that is versatile. I think Pat Martino actually uses 15s or 16s! Ouch! Fusion players often use 11s or 12s. Versatility in the electronics area might mean . playability and comfort. Experiment with using larger gauges until you reach a happy balance between gauge. Spend the extra money to get a good instrument-you’ll never regret it. Jazz guitarists routinely play with 13s or 14s. Make sure that your guitar has been intonated properly. Also. you can do it yourself. while rock guitarists typically use 9's or 10s. Be sure that your pickups are adjusted to their proper height in relation to the strings. Or. or picks that feel most comfortable to you. feel free to experiment with pickup height. Find a pick. Make sure that your guitar is capable of being tuned and staying in tune. Heavier string gauges will help your guitar sound bigger and fuller. stays in tune. combine pick and fingers for a different sound. You could contact the factory to get the official specs or look it up in a good reference book that deals with setup and repair. if you own a really good tuner. Also. and is made with quality components and woods. try using your other fingers to pluck strings. Try using larger strings. physical things that you can do to help achieve a good guitar tone.General information There are some simple.

Know the gear that you own. and Beck each take turns playing through the same Fender Strat -. Single surprise. In an issue of Guitar Player he recounted an experience watching Page. and skill. Clapton. Humbucker scheme (H-S-H) with coilsplitting ability for the humbuckers. If you don't take the time to figure it out then you might be missing the perfect tone that is already in your amp. Great tones can be had from almost any kind of amp and guitar combination. . knowledge. Even Seymour Duncan admits as much. Guitar playing and getting "The Tone" is not about things but people.a Humbucker. The Absolute Truth The key to your tone is not in the equipment as much as it is in you. they each sounded different. Don't get too wrapped up in the gear thing.

skill. Ornette Coleman (one of the pioneers of free jazz) gigged with a plastic your touch. just like you would train if you were an athlete competing in sports. and listen to examples of what we’re discussing here. and then practice a bit more! Play along with jam tracks. set aside a set amount of time every day and just practice. To gain access to all of the free stuff the newsletter members have access to. I welcome anyone and everyone to email me with questions/comments/suggestions: Brian@indyguitarist. In closing. That's is very true!! Your tone is already there. in your mastery. and Skill…SO HOW DO YOU FIND YOUR TONE? The key to finding your tone is simple: stop looking for it.In closing… People. A master musician. Knowledge. plastic. please be sure you check out the soundclips included with this ebook. and knowledge get yourself some adequate tools like a dependable amp and guitar that work and stop worrying about searching day and night for the equipment that is finally going to set you free.its free to join! . If you concentrate on things like mastering the language and logic of music and mastering your instrument then the tone will develop. This illustrates my point. will always sound masterful. simply send a blank email to info@guitartone. Free your mind and your tone will follow! As simple as this seems -. playing masterfully. NOW you just need to DEVELOP it! How do you do that? Practice. YOUR TONE IS INSIDE YOU. For those interested in starting an online music business.theauctionsecret. Brian Wampler AFFILIATES: PS: INTERESTED in becoming an Affiliate and making 50% of our profit? Click Here to learn how to do this: http://www.brent-mason. I highly suggest this: or even just selling your original songs.guitartone.htm http://www.htm .Links: Thanks and take care.indyguitarist.