This is a follow-up to my previous Toccata version played on my Axon AX100 guitar synth. Some of the commenters on the Toccata video asked me to do a guitar version without the synth organ sound, so here it is. Instead I’m using a pretty rare device this time; the Roland GR-100 Electronic Guitar, which is a “hexaphonic fuzz” unit that is controlled from my Roland G-505 “synth controller” guitar. It creates a soft “fuzz”-type overdrive, but it’s hexaphonic, so you can play any chord and hear all the notes clearly, unlike a regular fuzz/overdrive pedal. This was one of Roland’s early GR series of “guitar synth” units that came out in the early 80’s I think (pre-midi), but unlike the other Roland GR products this isn’t really a synth, it’s more like 6 fuzz pedals in one.. It’s a fully analog guitar signal, but it uses the guitar’s built-in hexaphonic pickup instead of the regular pickups. The GR-100 unit also has built-in Filter, Vibrato and Chorus effects, but I’m not using these here. The “hex. fuzz”is controlled from the Roland G-505 guitar’s built-in controls and switches. Although the built-in hex. pickup on my Roland guitar basically is the same type as Roland’s current GK pickups, it’s not compatible with current guitar synths because of the different type of connectors. The Roland G-505 uses a large 24-pin connector that was discontinued years ago, but today Roland and Axon synth guitar systems uses a much more convenient 13-pin connector. So that’s why I also have …

When the electric guitar was originally created back in the 1930s, the main intent was simply to create an instrument that could be heard over the increasingly large jazz orchestras. It is highly doubtful that the instruments inventors could ever have imagined the uses to which their creation would someday be put. The modern electric guitar is a source of an apparently unending array of tones, pitches and sounds. Artists have pushed the instruments limits in an attempt to find new and innovative noises, and they continue to do so. The sounds of the electric guitar have become an art form in and of them selves, so much so that specific devices have been invented to create them. Such devices are referred to as guitar effects, and they modify the tone, pitch and sound of the electric guitar to help create the sounds that define some modern music genres.

It would be almost impossible to cover the wide range of effects used by electric guitars, so only the most widely used will be covered herein. One group of very popular effects is distortion-related effects. Such effects are produced by distortion pedals, which distort, or clip the guitar signals waveform. Distortion effects fall into four main subcategories: overdrive/distortion, overdrive/crunch, fuzz and hi-gain. Some of these effects are often associated with specific genre or artists. Overdrive/crunch pedals, for example, produce sounds very similar to those in the music of Carlos Santana and Eddie Van Halen. Hi-gain pedals, on the other hand, create the sounds most often connected with the genre of heavy metal.

Then there are the volume-related effects. As with distortion effects, those related to volume are also created via a pedal. The guitarist is able to use this pedal to adjust an instruments volume during a performance; it can also be used to make a guitars notes or chords fade in and out. Such attributes are useful during human vocal sections, when the percussive plucking of strings needs to be softened or eliminated altogether. There are at least three different types of volume pedals, these being auto-volume/envelope volume, tremolo and compressor. Each type boasts specific attributes useful to different situations and musical genres.

Time-based effects include delay/echo, looping, and reverberation or reverb. The first, delay/echo, creates a copy of an incoming sound, delays it slightly and then repeats it either once for a slap effect or multiple times for an echo effect. Looping involves recording a phrase or passage and then accompanying that passage as it replays. This technique involves the use of extremely long time delays. Finally, reverb refers to the persistence of a sound in a particular space after the original sound is gone. In essence, it is a large and extended number of echoes.

Modulation-related effects include several devices, including the rotary speaker, the rotary speaker simulator, the vibrato pedal, the phase shifter and the flanger. The rotary speaker and its simulator offer something known as a Doppler effect, which is a change in a waves frequency and wavelength. A vibrato pedal reproduces the sound of the rotary speaker by synchronizing a standard speakers volume oscillation, frequency-specific volume oscillation, vibrato, phase shifting and chorusing. A phase shifter creates a complex frequency response that results in a whooshing noise, similar to that of a flying jet. And finally, if an artist wishes to simulate the sound originally created by slowing a tape down by holding something against the flange and then allowing the tape to speed up again, a flanger can produce such a sound.

When the electric guitar was earlier created back in the 1930s, the main intent was simply to create an instrumentate that could be heard over the increasingly large jazz orchestras. It is highly tentative that the instruments inventors could ever have notional the uses to which their institution would someday be put. The modern font electric guitar is a beginning of an apparently unending array of tones, pitches and sounds. Artists have pushed the instruments limits in an attack to find new and advanced noises, and they continue to do so. The sounds of the electric guitar have become an art form in and of them selves, so much so that specific devices have been fictional to create them. Such devices are referred to as guitar effects, and they modify the tone, pitch and sound of the electric guitar to help make the sounds that define some modern music genres.

It would be almost impossible to cover the wide range of effects used by electric guitars, so only the most wide used will be covered herein. One group of very popular effects is distortion-related effects. Such effects are produced by overrefinement pedals, which distort, or clip the guitar signals waveform. Distorted shape effects fall into four main subcategories: overdrive/distortion, overdrive/crunch, fuzz and hi-gain. Some of these personal effects are often associated with specific genre or artists. Overdrive/crunch pedals, for example, raise sounds very similar to those in the music of Carlos Santana and Eddie Van Halen. Hi-gain pedals, on the other hand, create the sounds most often connected with the genre of heavy metal.

Then there are the volume-related effects. As with distortion effects, those related to volume are also created via a pedal. The guitarist is able to use this pedal to adapt an instruments volume during a performance; it can also be used to make a guitars notes or chords fade in and out. Such attributes are useful during human vocal sections, when the percussive plucking of strings needs to be softened or eliminated altogether. There are at least three different types of loudness pedals, these being auto-volume/envelope volume, tremolo and compressor. Each type boasts particular attributes useful to different situations and musical genres.

Time-based effects include delay/echo, looping, and reverberation or reverb. The first, delay/echo, creates a copy of an entrance sound, delays it slightly and then repeats it either once for a slap consequence or multiple times for an echo effect. Looping involves transcription a phrase or handing over and then accompanying that passage as it replays. This technique involves the use of extremely long time delays. Finally, reverb refers to the persistence of a sound in a particular space after the original sound is gone. In essence, it is a large and lengthened phone number of echoes.

Modulation-related effects include several devices, including the circular speaker, the rotary utterer simulator, the vibrato pedal, the phase shifter and the flanger. The roundabout verbaliser and its simulator offer something known as a Doppler effect, which is a change in a waves oftenness and wavelength. A vibrato pedal reproduces the sound of the rotary speaker unit by synchronizing a standard speakers intensity oscillation, frequency-specific mass oscillation, vibrato, phase shifting and chorusing. A phase shifter creates a complex frequency response that results in a whooshing noise, similar to that of a flying jet. And finally, if an artist wishes to simulate the sound to begin with created by slowing a tape down by holding something against the flange and then allowing the tape to speed up again, a flanger can produce such a sound.

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About the Author (text)

Victor Epand is an expert consultant for guitars, drums, keyboards, sheet music, guitar tab, and home theater audio. You can find the best marketplace at these sites: www.4guitars.info , www.4sheetmusic.info, and www.theateraudio.info.

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Product DescriptionThe Silvertone Rockit 21 Electric Guitar Package comes complete with everything you need to start banging out the hits. This package is built around the super hot SRK1 Rockit double cutaway electric guitar, and the Silvertone SMART III lead guitar amp. The Smart III features 10 watts RMS of power, a 6″ speaker, switchable overdrive, 2-band EQ, a very convenient Tape/CD input, and even a headphone output. This is a great amp to start with – and a cool practice amp fo. . . More >>
Silvertone Rockit 21 Guitar Package, Liquid Black

Playing or practicing the guitar alone can be a frustrating thing for guitarists. Unless you are just into chords, playing lead guitar really requires some kind of backing going on so you can understand the timing as well as hearing how the lead  will eventually sound. This creates a problem as it can be often difficult to find people willing to just play backings over and over for you to play to. It’s also difficult to find specific backing tracks to suit your needs. I have been in this situation for years. Sometimes I have a good idea and think, I wish someone cold play this backing so I can jam over the top of it. Sometimes (though rarely) I am fortunate enough to have someone there that is prepared to do this. Sometimes I have the motivation to plug into to my recording devices and repeatedly record the backing then jam over it – though this does require a bit of effort which by the time I have set it all up, the inspiration has gone. Recently I decided I would check out the Boss RC-20XL pedal. The idea behind this is that you play a loop, phrase or even whole song and the pedal will then loop it in perfect time for you. This sounded great to me so I decided to buy one. The RC-20XL was quite expensive – £180 here in the UK although whilst I was in the states recently I did see it for $259 (why do you Americans always get things so cheap?) but never the less I decided it could well be worth it. Often with these types of pedals there are too many functions and buttons to ever learn how to use it properly but in this instance it was very easy. Simply tap the right pedal to set the tempo required, left button to begin recording and left button to stop. Immediately the loop you have just created starts playing. Being that I use the amps overdrive, I had to consider the placement of the pedal before plugging it in. Else there would be no possibility of having a clean sound as the backing with overdriven lead over the top. I added it in the final position of my effects loop. This does the job great but it should be a consideration for anyone who uses their amp for their overdriven sound but does not have an effects loop. Now since getting this up and running I have been having some amazing jams with myself. You can be the poorest rhythm player in the world, but get that loop right once, its played perfectly for as long as you need. I laid down 2 chords, picked gently, one to the other – once. This cycled and before I knew it I had been playing guitar over the top of this for about an hour. Over two chords! It really is amazing what you can teach yourself by having the opportunity to jam in this way. If you want more information on the Boss RX-20XL then do what I did and check out youtube – there are videos on here that really illustrate the power of creating loops in both a practice environment but also a live situation.

Guitar Effect Pedals

Guitar effects pedals are becoming a necessity for guitarists all over the world.

In the lives of several guitar players, a time comes when they find themselves unable to bring out the appropriate sound from their guitar and amp, regardless of the fine-tuning and tweaking. Therefore, guitarists often make use of guitar effects pedals to modify the sound of their instrument in specific manner. With the use of effects pedals, there are endless types of sound effects produced from the guitar.

Among various popular types of guitar effects pedals available, the most well liked form is overdrive or distortion. Many amplifiers provide ‘built-in distortion’ but according to many guitarists, ‘separate distortion’ units offer more tonal flexibility in the produced sound effect.

Once a guitarist has searched the appropriate market for a suitable guitar effects pedal, and found one within their price range, they must be prepared to face the real challenge: how to obtain most from their new guitar effects pedals.

There are some pedals that come with a steep learning curve and a guitarist may take several months, maybe years even to understand the full utilization of the pedal. A list of guitarists who have experienced several types of pedals are listed on several websites along with explanations of the best settings that worked for those players.

Although, the procedure of using effects pedals can become much simpler for a beginner if only a little research is done along with loads of experimentation, getting a gratifying outcome is likely for the well disciplined learner. Beginners can get a lot of help from the web as several websites explain the correct way to emulate the popular sound effect produced by famous guitarists using guitar effects pedals.

These days, guitar effects pedals are mostly used with electric guitars as they are able to produce versatile and wide array of sound effects. Guitar effects pedals are widely accepted and have successfully made their impact on many guitarists because of their use.

Whether the guitar is being played in a studio or the musician has to perform live on stage, www.TunnelVisionMusic.com has guitar effects pedals that can bring out one or a blend of effects to carry out amazing and different sounds with any electric guitar.

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Andy Farnsworth is the author of this article on Source for Top of the Line Boutique Guitar Effects Pedals!. Find more information about Source for Premium Boutique Guitar Effects Pedals! here.

Guitar pedals are on the market for electric guitar so that you can completely change the quality of your performance without much work on your part. It’s possible that you might not be the type of person that enjoys pedals, but some of them are essential for playing a near-flawless show. More and more guitar pedals are being created every day and it can be confusing to know what they all do to the sound of your electric guitar. Here is a short list of pedals for your electric guitar that can add more practicality, awesome style, or killer tone. 1. Go back to the 60s and 70s with a wah pedal. There’s a few signature electric guitar sounds that came out of the 60s and one of them was the unforgettable wah pedal. Connect your guitar to a wah pedal and you can transform your tones into psychedelic waves that can really get your crowd in the mood to protest. 2. Get rid of amplifier hum with a noise gate. Sometimes your guitar amplifier might have a very powerful distortion channel that hums and hisses in the background when your strings are not vibrating. To get rid of that hum, connect to a noise gate pedal and when you’re not playing your electric guitar, you’ll hear silence. 3. Check your string pitches live with a tuner pedal. Whether you like it or not, the pitches on your electric guitar are going to go out of tune at the worst times and you need to be prepared. Get a tuner pedal to hook up to your guitar live on stage and you won’t have to worry about crazy strings again. 4. Compression pedals will level the muscle you put into strumming. If you’re the type of guitarist that varies their strumming during a show, but wants almost all of the material to stay level, you might get a lot of use out of a compression pedal. Compressors not only give balance to the level of effort you use to strum, but can add some attack to your electric guitar’s notes as well. 5. Boost your distortion with an overdrive pedal. Sometimes an electric guitarist just needs some more distortion and buying an overdrive pedal is the way to solve that problem. The next time you feel you need more pump on a solo or raging verse, just stomp on your overdrive and blow the roof off the auditorium. 6. Mess around on stage with a loop pedal. If you’re a guitarist that likes to repeat sections often and then add new riffs over-top, then a loop pedal will be perfect for you. Imagine playing your electric guitar once and then having that section to play along with while it repeats over and over again. It’s your own personal back-up guitarist!Guitar pedals are easy to abuse since they can distort sounds, alter pitches, and block noise, but using them in their context is the most important part. Think about this list of guitar pedals for your electric guitar the next time that you go to the music store.