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How To Chain Your Guitar Effects Pedals - Guitar | Roland

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How To Chain Your Guitar Effects Pedals

Advice on how to line up your effects pedals with the goal of helping you get your rig sounding just right
By Roland US

So you decided to play electric guitar. Once you get a guitar and an amp, the next step is to explore effects. Effects pedals can be separated
into groups based on their functions. Understanding the different pedal groups is the key to getting the best sound when chaining them
together. The largest pedal group is probably overdrives and distortions, and BOSS currently makes 16 different guitar effects pedals in this
category. For our example pedal board, well pick the ST-2 Power Stack. Another category with many choices is modulation.These are
effects like flanger, phaser, chorus, tremolo, and others. Lets use the most versatile of thesethe BF-3 Flanger. Another group is ambience
effects, such as delays and reverbs. Well use one of each: a DD-7 Digital Delay and the FRV-1 63 Fender Reverb. There are some pedal
effects that can add notes or alter the pitch of what youre playing. For want of a more esoteric name, well call these pitch-altering pedals.
From this category, lets throw in a BOSS OC-3 Octave. BOSS also has a few pedals that make your instrument sound like some other
instrument. The AC-3 Acoustic Simulator will do the job. Some effects change your sound with filtering. This effect type can be used in
different places in the signal path, so well use the GE-7 Graphic EQ. A few BOSS effects defy categorization, but are nevertheless very
useful in any signal path. The most common of these is the CS-3 Compression/Sustainer. Loopers fall into this category also, so lets add an
RC-3 Loop Station to the mix. And you might want the NS-2 Noise Suppressor to kill the noise in your rig, so lets add that in, too. What
about a tuner? The TU-3 is the most popular pedal tuner in the world.
So, where does each pedal go in the signal path? Here are some tips to keep in mind before you start plugging pedals together:

Rule 1There are no rules. The sound youre after might not be made by what we could call the appropriate or logical signal path, but thats
not always the issue. The issue is this: what does it sound like? If it makes the sound youre after, then its rightalthough, you may have to
do something about the noise. Traditional pedal board arrangements were designed for certain reasons, and keeping the noise down is one
biggie. Following the principles of how sound is made in physical space is another (see Rule 4 coming up). But the final choice is yours. As a
very wise man said: if it works, dont fix it.

Rule 2Some pedal types work better in certain parts of the signal path than in others. Octave pedals or tuners, for example, dont work as
well with a distorted signal as with an undistorted signal, so they should be placed before the distortion.

Rule 3Noise can be a problem, particularly with high-gain distortion sounds. Pedals that can add volumesuch as compressors, wahs,
EQs, and overdrive/distortionswill also amplify any noise created by the effects placed before them.
Rule 4Taking sound-making devices like stompbox pedals out of the equation, theres an order to the way sounds naturally occur in
physical space. For example, guitar amp distortion is made in physical space by turning an amp up enough to cause its circuits to overload,
and any echo you might hear happens after the distorted sound hits walls or ceilings and bounces back to your ears. Therefore, logic says
that your reverb and/or delay pedals should be last in the signal path, since that is how the sounds they produce actually occur in threedimensional space.

file://C:\Users\MG\Desktop\Chain BOSS\how-to-chain-your-guitar-effects-pedals.htm


How To Chain Your Guitar Effects Pedals - Guitar | Roland

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In keeping with these rulesokay, they arent really rules, so lets compromise and call them guidelineshere are some essential concepts
for lining your pedals up:
 Pedals that amplify or add noise should go near the beginning of the signal path. This includes overdrive/distortion effects,

compressors, and wah pedals. If theyre later in the signal path, they will amplify the noise of everything before them, which can be
difficult to control.
 Pedals that produce tone go before things that modify tone. This is logical, because you want to create your basic sound first, then

tweak it with some kind of modifying effect. For example, this means that overdrives go before chorus effects.
 Pedals that create ambience go last. This goes back to the how does sound actually occur in physical space idea. So, delay and

reverb should go after all other effects.

Lets connect our pedals together

Using our basic guidelines, lets connect our pedalboard together:

That is one rockin pedalboard! But why is this the suggested signal path? Follow along as we go pedal by pedal.
The tuner goes first. This one is pretty easy. It doesnt want to hear an effected signal; it wants to see the direct input from the guitar. Another
reason for putting the tuner first is that if youre using any true-bypass pedals, the TU-3 will give them a buffered signal, which will protect
your tone from loss of signal in the cables when other pedals are off. This is another one of the reasons there as so many TU tuners in
pedalboards worldwide, even ones using nothing else but boutique true-bypass stompers.
The next three pedals PW-10, AC-3, and OC-3 change the basic tone of the guitar. For the most variety of sound, you want all the
other pedals to have a shot at the sound from these pedals, so its best to have them as close to the guitar as possible.
After these is the overdrive/distortion, in this case our ST-2 Power Stack. The CS-3 Compression/Sustainer (and the PW-10 V-Wah) can
improve the ST-2s sustain and tone by increasing the signal to it, so theyre placed before the ST-2. Many players use a compressor just for
this reason, and the fixed wah sound, which is a wah pedal turned on but not continuously swept, is very common in rock and metal lead
The GE-7 Graphic Equalizer is good to have after the overdrive in case you want to use it to scoop mids or bump certain frequencies for
solos. (To show that these are not hard rules, it also works pretty well if the EQ is after the compressor but before the overdrive. But this
changes how the EQ sounds, since you would be distorting it with the overdrive, so try it in the suggested position first.) Also, its good to
have the EQ before the noise suppressor, since EQs can add noise as they boost tone at various points in the frequency spectrum, including
any noise that is already there.

The NS-2 Noise Suppressor is best used in the middle, so it can take out the noise created by the amplifying pedals before the signal moves
into the modulation and ambience pedals.
Modulation stompboxes like our BF-3 Flanger should be after the tone-producing effects like distortion, wah, etc. so they can process and
modify the tone built by the pedals before it. If you put it before the distortion, then you are distorting the sound of the flanger. Maybe thats
what youre after, but in general, put the BF-3 and other modulation effects after the tone-shaping (and noiseproducing) pedals. And then
there are the ambience effects: delay and reverb. As we discussed earlier, reverband sometimes delay, depending on the spaceis the
last thing that happens before the sound reaches your ears in a physical space, so these go last. Delaying reverb can sound muddy, so its

file://C:\Users\MG\Desktop\Chain BOSS\how-to-chain-your-guitar-effects-pedals.htm


How To Chain Your Guitar Effects Pedals - Guitar | Roland

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usually better to have the reverb after the delay.

And last, but certainly not least, is the Loop Station. Loopers arent effectstheyre recorders. Normally, youll want the looper to be able to
record and playback any of your sounds. Of course, this means you should place it at the very end of the chain so it can hear and record
whatever pedal combinations you use.
So there it is. To recap, while there are no rules for creating tones, these basic principles will help you achieve tone nirvana. By following the
guidelines weve laid out here, you will:
 keep the noise to a minimum.
 achieve the most tonal flexibility.
 produce tone in the most natural, organic way, as close as possible to how tone is created without effects.

At the same time, experiment! Maybe the tone you seek is made by the wah after the distortionits noisy, but sounds cool. Ultimately, the
only rule is this: what sounds best is best, so get your BOSS pedals and grab your tone. Its what we make them for!


boss, boss pedal, fx, guitar, guitar pedal, guitar pedals

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Please note that published comments do not represent the views of Roland UK


Allen Balaz
on June 7, 2013 at 11:45 am said:
Very useful article I own a LOT of BOSS pedals and found details in this column (e.g., placement of OC-3 Octave earlier in
the chain, putting the TU before the wah) that I hadnt discovered by my own experiments or heard/read on vairous youtube
demos and gear freak blogs.

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