Who said pedals are exclusive to guitars? Get ready to find out everything you need to know about guitar pedals and how to use them with your synth to create incredible soundscapes and effects. Guitarists... you've been warned!
If you’ve been curiously looking at the colourful pedalboard of your guitarist friends and wondering how those cool boxes work and how they would sound plugged into your synth… look no further.
Guitar pedals are compact power machines, that are fundamental for enhancing your instrument’s unique sound. Pedals can add all kinds of effects, from distortion to reverb and can even be used to loop your sound. Guitar pedals aren’t just for guitars though, so let’s explore some of the different kinds of effects you can use and take a look at some of the best guitar pedals for synths available!
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Reverb occurs when a sound hits a surface that reflects it in different ways depending on the surface itself and the space where it’s located. Pedals emulate and exaggerate all these natural reverberations.
In a nutshell, reverb helps in creating depth and ambience around your sound. It can reproduce the reverb you’d get in a cathedral, or even in a cave! The first artificial reverb appeared in the 1940s in Hammond’s organs and soon became a compact reverb effect that was also licensed to other brands, such as Fender. The first reverb pedal dates back to 1976 and it’s the EMT 250 Electronic Reverberator Unit, by EMT and Dynatron. Nowadays, this is the most famous and used type of pedal.
The Strymon Big Sky is by far one of the most famous reverb pedals on the market, used by musicians encompassing every genre and instrument. It can be seen in Martin Garrix’s studio as well as in Justin Vernon’s (aka Bon Iver).
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Strymon have set the standard for powerful, multi-effect pedals and the BigSky is the living proof: you can get classics such as Spring and Plate reverbs, as well as glistening ambient textures thanks to Strymon’s own reverb engines. If you choose the Cloud mode, you’ll get a magical particle-like effect inspired by ambient reverbs of the ‘70s. Another favourite is the Magneto mode, a multi-head echo with all heads on, that blurs the line between delay and reverb.
If you’re into drones and cavernous soundscapes, the Freeze switch will be your best friend. Press it and the note will go on playing, forever, with each further note you hit adding to the reverb tail.
Big Sky is easy and intuitive to use despite its complex engine, thanks to a clear interface with all the parameters you need at your fingertips. If you really want a stompbox with everything you look for in a reverb pedal and more, this is the one.
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Strymon BigSky Reverb - synth audio demo Visit http://strymon.net/bigsky — Synth clips performed by State Shirt [http://youtube.com/stateshirt]. Ableton Live clips performed by Strymon's own Charles Etienne. Plug into BigSky and instantly lift your sound into the stratosphere. The world below you fades into the distance, and you're elevated into a glow of lush, glorious, radiant reverbs. To create a reverb experience as natural, beautiful, and immersive as BigSky required tremendous feats of sound engineering and artistic imagination. Using the fundamentals of acoustical science as our beacon, we carefully studied and scientifically analyzed reverb technology from the past fifty years. We faithfully captured the essence of these classic sounds, and forged ahead to dream up our vision of reverbs from the future. Feel the mechanical tension of the Spring reverbs. Hear the floating particles of the Cloud machine. Defy the laws of physics with the Nonlinear reverbs. Unleash the multi-head reverberations of the Magneto machine. BigSky gives you twelve studio-class reverb machines, each with simple yet powerful controls. We knew we must take reverb to a whole new level. With careful attention to detail, innovative analog circuitry design, an insanely powerful SHARC processor, and the utilization of top-shelf components, we've developed a reverb pedal that fits on your pedal board yet has better audio quality than many rack reverb units. This fusion of science with art has just one goal. To provide you with the most musically inspirational reverb experiences possible. === All product names in this video are trademarks of their respective owners, which are in no way affiliated with Strymon. These trademarks are listed solely to identify the products used to create the audio examples. https://i.ytimg.com/vi/Z8k35CUzVvM/default.jpg PT11M4S 2013-10-22T06:40:57Z
Delay happens when a sound source is recorded and repeated to simulate an echo. Echo occurs in nature when the original sound and the reflecting surface are far enough to make the reflection sound like a distinct separated repeat or tap of the original sound.
If the delay occurs in a short (milliseconds) period, it’s called a “slapback”, as the two sounds are almost overlapping. Any longer than that starts becoming a distinct delay.
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The first man-made delay was the tape echo, invented by Les Paul, who used tape to record a portion of guitar performance and to play it back. The first delay pedal to appear in history was the BOSS DD-2 in 1981, which featured the now famed bucket brigade chip (or BBD). It was the first chip that allowed the user to access delay without any moving parts. This was a major innovation, as tapes were often unreliable due to the complex moving mechanics involved.
A great modern version of a tape delay can be found in TC Electronic’s Flashback. This stompbox features both tape and analogue delay styles, with an algorithm that faithfully reproduces the flutters and warbles of the past (check here for more lo-fi pedal fun).
This multi-delay pedal is featured in countless pedalboards across the world and is a versatile and creative device with an incredible price point.
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One of our favourite features is TonePrint: a series of presets made by pro musicians around the world that you can download into your pedal using the USB port placed on top of it. Using the TonePrint app you’ll even be able to create your own presets!
The cool thing about Flashback is that it’s also a looper pedal. Setting the delay to LOOP mode, you’ll get access to the built-in recorder and will be able to record your performance and also overdub it!
Distortion occurs when an audio signal is too loud to handle for the output device. It sounds good because it adds harmonics and character to the sound that wasn’t originally there, making it more aggressive and perceptively louder.
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When we talk about distortion pedals, we can also refer to two other types of distortion: overdrive and fuzz. Overdrive is a subtler but still very powerful way to distort your signal, the difference is that it preserves more of the original sound, making it more natural.
Fuzz is the most extreme type of distortion, you can think of it as boosting your amp to the max and seeing what happens. It provides a very heavy and noisy signal, so much that the original tone can’t be clearly distinguished. In the synth-sphere, it’s ideal to create sinister beats with your drum machine.
The first distortion pedal was the Gibson Maestro Fuzz-Tone released in 1962, created to reproduce a bass signal distorted by accident by an output transistor.
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The Boss OD-3 is the ultimate pedal for overdrive and distortion. It combines great tone possibilities with an affordable price. Give your synth a crispy, warm distortion rich in harmonics, perfect to recreate valve-like sounds straight out of the ‘60s. Combine it with your favourite mono synth to get some warm, brutal bass and glitchy leads, or create wicked pads. It’s a musicians’ favourite and can be seen in the setup of many electronic artists like Rival Consoles.
Rival Consoles - In The Studio Ryan Lee West is one of the key artists on London’s Erased Tapes imprint, using analog synths to create icy and inventive IDM under the name Rival Consoles. A couple weeks ago, we traveled to Ryan’s south London studio to film his Against The Clock session. After filming he have us a full run down of his home studio and all the gear in it: his old and new synths, tape decks, guitar pedals, guitars, piano and more. If you’ve listened to his stunning recent Night Melody release and wondered how he achieves such chilling sounds, well, wonder no more – here’s the man himself to show you his set-up and how he uses it. — Subscribe to FACT on Youtube: http://www.youtube.com/Factmagazine Videos, daily editorial and more: http://www.factmag.com Facebook: http://fb.com/FACTmagazine Twitter: https://twitter.com/FACTmag Soundcloud: https://soundcloud.com/factmag Instagram: http://instagram.com/factofficial https://i.ytimg.com/vi/UQ1vvGM6Y0o/default.jpg PT3M51S 2016-09-26T14:30:38Z
The OD-3 will create smooth, warm saturated textures, with no excess even when it’s maxed out. The overdrive quality is a similar sound to a classic overdriven bass amp.
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Chorus is an effect that thickens your signal copying it numerous times, colouring the copied signals and playing them back slightly delayed. These split signals function as “voices”, whose timbre and pitch is modified to create a “chorus” impression, adding width to any sound.
Many synths, like the Korg Minilogue XD and the Juno, have a built-in chorus,
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