We’ve heard a lot of people ask if they can use our effects pedals with acoustic guitar. The answer is absolutely! All of ourpedals offera 20Hz to 20kHz frequency response, perfectly suiting themas effects for acoustic guitar, as well as other acoustic instruments.
We’ve also receivedquite a few requests to hear audio examples of oureffects pedals along with acousticguitars.So here you go! We just put together threenew videos featuringour blueSkyReverberator, DIGDual Digital Delay, and FlintTremolo & Reverbpedals along with two beautiful Martin acoustics, their OMC-28E and DC-18E, both of which feature built-in electronics. Take a listen below!
Whether you’re a classic spring reverb fan or a studio rack aficionado, you’ll find your mojo here. blueSky provides three different reverb types, each with three modes, for a total of nine completely unique reverb experiences. blueSky even delivers an extremely versatile plate reverb, a rarity for a stompbox pedal. A full pre-delay and damping section provide deep reverb tone shaping. Add the mod and shimmer modes and you’re in store for unending reverb bliss. Couple that with 24-bit 96kHz converters and 115dB typical signal to noise, blueSky is equally at home on top of a studio console as it is in front of a tube amp.
Gear Review: Fender Preverb And Smolder Od Stompboxes Bring Practicality And Fun To Acoustic Players
DIG unearths the true soul of digital delay and doubles it—two simultaneous, integrated delays with the captivating rack delay voicings from the 1980s and today, for incredible expressive potential.Effortlessly create your own world of intricate and synchronized echoes, along with hypnotic and atmospheric repeats that blur the line between delay and reverb. Stretch your sonic horizons with five musically satisfying rhythmic subdivisions and three dual delay routing options. Go from syncopated, pulsating delay patterns, to evocative, spaced-out echo trails all in a compact, pedalboard-friendly format.
The magical combination of tremolo and reverb is the earliest example of a perfect guitar effects marriage. First pioneered within historic amplifiers of the 1960s, this harmonious coexistence has made it’s way onto countless records and performances—from early surf, swampy bayou blues, spaghetti westerns, film noir soundtracks, to modern day indie rock. There are certain things in life that just belong together—the blend of tremolo and reverb create the perfect pair.We carefully studied our favorite classic tremolo and reverb circuits, examined the sonic complexities, and faithfully accounted for every detail in our hand-crafted algorithms.
An Orchestra, acoustic-electric cutaway, the OMC-28E is crafted with solid Sitka spruce top, East Indian rosewood back and sides, black ebony fingerboard and bridge and a complementing black pickguard. Fishman® Aura® VT Enhance™ electronics make this the guitar that reminds you why you fell in love with us in the first place. Learn more here.
Creative Soundscapes: Using Effects Pedals With Acoustic And Classical Guitar — Juan's World
The warm tones of the genuine mahogany back and sides combined with a Sitka spruce top make this Dreadnought, acoustic-electric cutaway model truly sing. A solid black ebony fingerboard and bridge, tortoise color binding and matching pickguard adorn this model. Fishman® Aura® VT Enhance™ electronics uses discreet, soundhole-mounted controls for volume and tone preserving the pure and unique acoustic tone of each model. This is a classic Martin with contemporary playability, a modern take on the classic D-18 that was the instrument of choice for Hank Williams. Learn more here.
Audio examples in these videos are performed by our friends Rogerio Peixoto and Matt Piper, along with DSPEngineerPete Celi and Marketing Nerd Ethan Tufts.
Ethan Tufts is ’s marketing guy and noisemaker. He spends most of his time using loopers and drenching everything in delay. He has owned 29 cars and is actively looking for his 30th.
Carl Martin's Acoustic Gig Might Be The Only Acoustic Pedal You Need
A few weeks back we were hanging with our pal Mason Stoops and he mentioned that Flint was one of his all time favorite pedals.
New York based guitarist/composer Ben Monderhas released sixalbums of his own so far, and has appeared on over 200 albumsas a sideman. Most recently, Monder
One of the insanely great things about being part of the small team is writing and recording a lot of the music that appearsThe sound of a steel-string acoustic or classical guitar, played on the couch, strummed around a campfire, or performed in a concert hall, is perhaps unparalleled in beauty and harmonic richness, as most readers of this magazine can attest. Efforts to amplify acoustic and classical guitar for performance often focus on projecting a natural, uncolored sound. Nevertheless, creative breakthroughs and new approaches to your acoustic guitar playing can be found through experimentation with effects pedals, or stompboxes, that are often associated with electric guitar and bass.
Moen Ac Dl Compact Acoustic Guitar Delay Pedal
Guitar pedals designed to help acoustic guitarists accurately project the natural sound of their guitar, such as the LR Baggs Align Series, the Fishman Aura, and a wide variety of others, are frequently reviewed in
And elsewhere. Here, we’ll explore creative ways to use stompboxes on acoustic guitar, to add texture to live-streaming performance, break out of a creative rut, perhaps, and inspire improvisation and songwriting.
Begin with an acoustic or classical guitar that has a good quality pickup, which, although not absolutely necessary, will help you to run your guitar through effects pedals. A vast variety of different pickups are available, including under-saddle piezos, soundboard transducers, and soundhole pickups; LR Baggs Anthem , for example, combines a pickup and internal microphone. Some pickups may sound brittle or be prone to feedback if not conditioned by a preamp, compressor or DI box. If your guitar sound is not “clean” before feeding it into effects pedals, the results will be less then desirable.
Mooer Baby Water Acoustic Guitar Delay & Chorus Pedal
It’s easy to swap around a couple of pedals, but as your effects chain grows, your tone can get muddy or sound boomy without the right approach. Tuners are generally placed right after your instrument. Compressors are typically placed near the front of the chain, but often after effects like pitch, fuzz, distortion or overdrive, if using, to get full dynamic response from these effects. Modulation effects, which introduce instability and change over time, are often best placed later in the chain. Delay generally goes before reverb. Reverb is usually best at the end of the chain as it diffuses and dissolves the sound. Loopers, and experimental time effects like freeze, granular, and glitch, are flexible, placed last to record your instrument through the entire chain, or anywhere at all. These guidelines may be helpful in ordering your effects from instrument to output, but find the approach that works for you, your instrument, and your musical style. Tip: Try placing certain effects, such as delay and reverb, in your amp’s effect loop, after its preamp, while running other effects from instrument to amp.
Guitar pedalboard: (from top right): Peterson StroboStomp HD; Gurus Optivalve MKII; LR Baggs Align Series Equalizer; Keely Electronics Dark Side; Dawner Prince Boonar Delay; Electro-Harmonix Grand Canyon Delay/Looper; Hologram Electronics Microcosm; Walrus Audio Slö; Death By Audio Reverberation Machine. Guitar: Yamamoto OMY
Compressors control your tone’s dynamic range, making the quiet notes louder and the louder notes quieter, for a smoother listening experience and improved sustain. A good compressor may even sound like it’s not doing anything, until you turn it off and notice the difference. The Gurus Optivalve or Effectrode PC-2A are tube-based compressors that sound stunning with acoustic guitar. Tip: Overuse of a compressor can squash your instrument’s dynamics, while judicious use can help you play more dynamically and avoid sharp or harsh transients.
Haze Cube Baby Rechargeable Multi Effects Pedal For Acoustic Guitar Re
Freeze, essentially a very short loop, allows you to produce sustain, latch a chord beneath your playing, or stack layers of sounds for floating polyphony or ambient “pad” effects. Dedicated freeze or sustain pedals include the Electro-Harmonix Superego+ and Gamechanger Audio’s Plus Pedal, among others. Many reverb pedals, including the Walrus Audio Slö, Cusack Music Resound, and Chase Bliss Audio Dark World, offer the ability to produce sustain or latching, pad-like sounds, via a momentary footswitch. Tip: Pair freeze with modulation to create movement that provides harmonic interest and change in your frozen sound.
Modulation is a family of a variety of effects, but what unites them is movement. Waveforms, and their shapes, such as triangle, sine, square, saw, and ramp, form the heart of modulation effects. Low frequency modulators (LFOs) create movement by adjusting parameters such as depth and rate. Tremolo is the modulation of volume (not to be confused with the classical guitar technique), while vibrato is pitch modulation; some pedals allow you to alternate or mix these two. Flanger can create psychedelic sounds, but can be subtle and naturally-sounding as well. Phaser is a bit more refined, producing pleasing and even dreamlike phase cancellation. Rotary and vibe are gateways to swirly modulation. Chorus, ubiquitous in the 80s, doubles your signal, and can make your six-string sound like a twelve-string guitar. Many reverb and delay pedals also include modulation effects to create movement. Tip: Use creative modulation such as detuning, random modulation, glitch, and more, to add momentary interest or provide the basis for loops.
Delays—comprised of a recording buffer and feedback loop—produce copies or echoes of your playing that trail behind you and create ambiance. The late Scottish guitarist John Martyn pioneered the use of the Echoplex, a tape delay, to create massive soundscapes of his acoustic (and electric) guitar playing.
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