Distortion
What it is: Distortion reshapes (clips) your guitar’s waveform to add harmonics, sustain, and aggression.
Overdrive (soft clipping)
Simulates a cranked tube amp: it clips mainly when you hit the strings harder, staying touch-sensitive and dynamic.
Hear it: Stevie Ray Vaughan – “Pride and Joy”
Icons: Ibanez Tube Screamer (TS808/TS9), Klon Centaur/KTR, BOSS SD-1.
Cheat sheet (SRV Texas OD): Drive 11–1 o’clock • Tone 11 o’clock • Level at/above unity • Into Fender-style clean/edge • Neck pickup • Optional: light comp before.
Distortion (harder clipping)
Electronics force clipping at lower levels, then compression + makeup gain deliver a saturated, consistent tone.
Hear it: Nirvana – “Smells Like Teen Spirit”
Icons: ProCo RAT, BOSS DS-1, MXR Distortion+.
Cheat sheet (’90s alt rhythm): Gain 5–7/10 • Tone 4–6/10 • Add subtle chorus (Depth low, Rate slow) • Double-track L/R.
Fuzz (extreme clipping → near square wave)
Pushes the signal toward a square wave for buzzy, splatty sustain; volume-knob cleanup is part of the sound.
Hear it: Jimi Hendrix – “Purple Haze”
Icons: Dallas-Arbiter Fuzz Face, EHX Big Muff, ZVEX Fuzz Factory.
Cheat sheet (vintage fuzz lead): Fuzz 3 o’clock+ • Level to taste • Roll guitar volume 6–8 for cleanup • Try Uni-Vibe before fuzz for chew.
Dynamics (Compression & Limiter)
What they are: Both reduce dynamic range above a threshold. A compressor uses moderate ratios (e.g., 2:1–8:1) for control/sustain; a limiter uses very high ratios (10:1 to ∞:1) to stop peaks.
Compressor flavors: OTA (classic “country squish”), Optical (LA-2A-like smooth sustain), FET (1176/1178-style fast/punchy), VCA (dbx-style precise), Multiband (per-band control).
Controls: Threshold (start point), Ratio (how much), Attack (how quickly it clamps), Release (how quickly it lets go), Blend/Mix (parallel), Makeup/Level.
Chicken-pickin’ tone: snappy Tele attack, fast/medium clamp, bright and percussive.
Hear it: Brent Mason – “Hot Wired”
Singing lead: slower attack to let the pick pop, medium release, more sustain; pairs great with OD/delay.
Hear it: Pink Floyd – “Comfortably Numb”
Cheat sheet:
Chicken-pickin’: Ratio 8:1 • Threshold for 6–10 dB GR • Attack 1–5 ms • Release 100–200 ms • Blend 60–80% • Level to unity.
Singing lead: Ratio 4:1 • Threshold for 4–6 dB GR • Attack 20–40 ms • Release 200–400 ms • Optional +1–2 dB highs • Level +2 dB.
Limiter (funk comping): Ratio ≥10:1 • Fast attack • Release 100–150 ms • Blend ~50%.
EQ
Why pedals help: Amp Bass/Mid/Treble/Presence are fixed to specific center frequencies and Q (bandwidth). An EQ pedal lets you choose exact frequency/Q for surgical tone shaping.
Frequency: where you boost/cut (e.g., 800–1k Hz for mids). Q: width of the change (high Q = narrow).
Hear it (scooped rhythm crunch idea): Metallica – “Enter Sandman”
Hear it (mid-focused chime for delays): U2 – “Where The Streets Have No Name” (Live)
Cheat sheet (fast fixes):
Mud control: HPF 70–100 Hz • Woof @ rooms: −2 to −4 dB @ 200–250 Hz (Q medium)
Solo pop: +3–5 dB @ 800–1.2 kHz (Q ~1) • Icepick tame: −2–4 dB @ 3.5–5 kHz + LPF 6–8 kHz
Edge-style clarity: HPF 70–90 Hz • +2–4 dB @ 2–2.5 kHz • LPF 8–10 kHz
Modulation
One concept: an LFO moves time/phase/pitch, then blends with dry—hence “time-based” effects.
Chorus
Short, modulated delay that doubles/detunes for shimmer.
Hear it: Nirvana – “Come As You Are”
Cheat: Rate ~1–1.5 Hz • Depth 40–50% • Mix 35–45% • Tone slightly dark • After mild drive.
Flanger
Very short delay with feedback creates jet-plane sweeps.
Hear it: Van Halen – “Unchained”
Cheat: Manual noon • Depth 60% • Feedback 30–50% • Rate ~0.4–0.7 Hz • Into crunchy amp.
Phaser
Moving all-pass filters make vowel-like whoosh.
Hear it: Van Halen – “Ain’t Talkin’ ’Bout Love”
Cheat: 4-stage • Rate ~0.7–1 Hz • Depth 50–60% • Before drive.
Tremolo (volume modulation)
LFO turns volume up/down for chop or throb.
Hear it: The Smiths – “How Soon Is Now?”
Cheat: Triangle/sine • Rate to tempo (8ths) • Depth 70–90% • Pre-reverb.
Vibrato (pitch wobble)
All wet, true pitch modulation; subtle to seasick.
Hear it: My Bloody Valentine – “Sometimes”
Cheat: Rate 0.3–0.6 Hz • Depth 10–15% • Then big reverb for tape-warble pads.
Rotary/Leslie
Spinning horn/woofer simulation adds amplitude + Doppler movement.
Hear it: Cream – “Badge”
Cheat: Slow/Fast toggle • Mic distance medium • Drive low • Post-drive, pre-reverb.
Uni-Vibe
Asymmetrical phaser/chorus-vibrato hybrid with smoky throb.
Hear it: Jimi Hendrix – “Voodoo Child (Slight Return)” (Live)
Cheat: Vibe mode • Rate 2–3 Hz • Depth 50–70% • Try before fuzz.
Delay
Core idea: A delayed copy of your signal (often repeated via Feedback/Regeneration), blended with your dry tone. Controls that matter: Time, Feedback, Mix, Mod, Tone/Filters, Subdivisions, Trails.
2290/Digital (dotted-eighth)
Pristine repeats, tempo-sync’d patterns; the classic rhythmic echo.
Hear it: U2 – “Where The Streets Have No Name” (Live)
Cheat: Subdivision 1/8D • Mix 25–30% • Feedback 20–25% • HPF 200 Hz • LPF 4–6 kHz.
Reverse
Plays slices backwards for psychedelic swells.
Hear it: Jimi Hendrix – “Are You Experienced?”
Cheat: Time 400–700 ms • Mix 30–40% • Feedback 15–25% • Into long plate/hall.
Ping-Pong / Stereo
Repeats bounce left↔right for width.
Hear it: The Temper Trap – “Sweet Disposition”
Cheat: Time ~380–420 ms • Mix 35–40% • Feedback 35–45% • Stereo on • Gentle Mod 10–20%.
Modulated/Tape-like
Soft top end with subtle wobble for movement.
Hear it: The Police – “Walking on the Moon”
Cheat: Time 450–550 ms • Feedback 25–35% • Mix 25–30% • Mod depth low • LPF 5–6 kHz.
HALO (dual series delays)
Two delays in series create a lush “halo” around each note.
Hear it: Andy Timmons x Keeley – “HALO” demo
Cheat: A: 1/4 @ ~320 ms (Mix 15–20%, FB 15–20%) → B: 1/8D @ ~220 ms (Mix 20–25%, FB 25–30%) • Light Mod.
Reverb
What it is: Simulated space around the guitar—early reflections + decay tail. Controls: Decay/Time, Pre-Delay, Mix, Damping/Tone, Mod, Hi/Lo-cut.
Spring
Tank springs: splashy drips, surf staples.
Hear it: Dick Dale – “Misirlou”
Cheat: Mix 30–40% • Decay 2.5–3.5 s • Tone bright • After tremolo.
Plate
Smooth, dense studio sheen.
Hear it: Chris Isaak – “Wicked Game”
Cheat: Pre-delay 20–40 ms • Decay 2.0–2.5 s • Mix 15–20% • Hi-cut 6–8 kHz.
Room
Short ambience for “amp in a room.”
Hear it: The Strokes – “Last Nite”
Cheat: Short Decay 0.6–1.2 s • Mix 10–20% • HPF lows slightly.
Hall
Big, wide decays for atmosphere.
Hear it: U2 – “With or Without You”
Cheat: Pre-delay 10–20 ms • Decay 6–12 s • Mix 30–40% • HPF lows on the tail.
Shimmer
Octave-up inside the tail for angelic pads.
Hear it: The Black Keys” The Go Getter”
Cheat: Shimmer +1 octave low mix • Decay 8–15 s • Mix 25–40% • LPF 6–8 kHz.
Mod Reverb
Chorus in the tail for lush pads.
Hear it: The Cure – “Pictures of You”
Cheat: Decay 3–6 s • Mod Depth low-mid • Pre-delay 20–30 ms • Mix 20–30%.
Pitch / Synth
Whammy / Harmonizer
Real-time pitch shifting via treadle or set intervals (e.g., +1 Oct, +5th harmony).
Hear it: Muse – “Plug In Baby”
Cheat: +1 Oct Whammy (100% wet) for riffs • Harmonize +3rd/+5th ~50% for twin leads • After drives for stable tracking.
Octave
Adds sub-octave and/or octave-up to thicken lines or create a “virtual bass” on low strings.
Hear it: Royal Blood – “Out of the Black”
Cheat: Sub 100% • Dry 40–60% • LPF post to tame rasp • Before ambient FX.
Organ/Synth emulators
Re-synthesizes your note into organ/voice textures.
Hear it (organ): EHX B9 demo
Hear it (vocaloid fun): Korg Miku Stomp demo
Cheat: Comp before for tracking • Play cleanly (single notes or tidy chords) • Add Rotary + Plate after for organ vibe.
Filter (Envelope)
What it is: A filter opens/closes with your picking strength (envelope follower) for auto-wah/funk quack.
Hear it: John Mayer – “I Don’t Trust Myself (With Loving You)” • Grateful Dead – “Estimated Prophet”
Cheat: Sensitivity so normal picking opens filter • Low-Pass mode • Range low-mid • Peak/Resonance 10–11 o’clock • Before OD for percussive quack.
Wah
What it is: A treadle moves a band-pass filter for vocal-like sweeps (Vox, Dunlop Cry Baby, Morley optical).
Hear it: Jimi Hendrix – “Voodoo Child (Slight Return)” • Metallica – “Enter Sandman” (solo)
Cheat: Wah before drives for vowel growl • Heel-down for darker rhythms • Toe-down to cut through leads • Try expression-pedal assignment in modelers to reuse the treadle for other effects.
Amp
What it is: The preamp + power amp character of a guitar amplifier modeled in your unit. From clean headroom to saturated crunch.
Hear it (classic crunch): AC/DC – “Back In Black”
Cheat: Choose amp model → Set Master/Drive for desired breakup → Start with Bass/Mid/Treble noon → Adjust Presence to taste → Add a cab/IR (below).
Preamp
What it is: The input gain/EQ shaping stage—sets the core tone before power amplification.
Hear it (clean touch dynamics): John Mayer – “Slow Dancing in a Burning Room”
Cheat: Use preamp blocks when running to a power amp or as a tone shaper before IRs • Gain just at edge-of-breakup • Push mids for mix clarity.
Cab
What it is: Speaker cabinet simulation (1×12, 2×12, 4×12, etc.). Size, speaker model, and mic choice change low-end, mids, and “air.”
Hear it (4×12 rock heft): Metallica – “Enter Sandman”
Cheat: Start with 2×12 for mid punch / portability; 4×12 for deeper low-end • Mic SM57 on-axis + Ribbon off-axis blend • Low-cut 80–120 Hz • High-cut 6–8 kHz.
IR (Impulse Response)
What it is: A captured fingerprint of a specific cab + mic + position. Load IRs to “carry” studio cabs anywhere.
Hear it (IR demo): Celestion IR – demo/playthrough
Cheat: Audition several IRs at equal loudness • Use HPF/LPF at the end: 80–100 Hz / 7–9 kHz • Save presets per guitar (SC vs HB).
Volume / Pan
What it is: Volume pedals control level; panners/stereo splits place your sound across L/R. Swells are usually volume after drives, before ambience.
Hear it (swell/ambient): Explosions In The Sky – “Your Hand In Mine”
Cheat: Swell patch: light comp → volume pedal after drive → long hall (6–10 s) + mod delay • Simple stereo: dual cabs (4×12 L / 2×12 R) with small tonal offsets • WDW: dry center, 100% wet delays/reverbs hard L/R.
Send / Return (FX Loop)
Why it matters: If your amp provides distortion, place time-based effects in the loop (post-preamp) so repeats stay clear. Delay before a high-gain preamp = distorted repeats (lo-fi), which is sometimes cool but usually messy.
Cheat: With a loop: Drives → Send → Delay/Reverb/Mods → Return. No loop: keep delay mix low (10–20%), shorter times, lower feedback to avoid mush.
Looper
What it is: Records/overdubs layers (not to be confused with an amp’s FX loop). Loop switchers only turn pedal loops on/off—no audio looping.
Hear it: KT Tunstall – “Black Horse and the Cherry Tree” (Jools) • Ed Sheeran – “You Need Me, I Don’t Need You” (Loop Pedal)
Cheat: Map switches: A=Record/Overdub • B=Play/Stop • C=Undo/Clear • Separate inputs for mic/keys/guitar • Teaching: record I–vi–IV–V (G) and solo major pentatonic over I/IV, Em pentatonic over vi.
Cheat Section: Famous Signal Chains (with song refs)
- Hendrix (vibe + fuzz → Marshall): Guitar → Uni-Vibe → Fuzz Face → Marshall → plate/spring.
Songs: “Purple Haze”, “Voodoo Child (Slight Return)”. - SRV Texas Blues: Strat → Tube Screamer → Blackface Fender → spring reverb.
Song: “Pride and Joy”. - The Edge 2290 Stack: Guitar → light comp → low-/mid-gain OD → dotted-eighth digital delay → subtle mod → AC30-style amp.
Song: “Where The Streets Have No Name”. - Van Halen Mod Front, WDW Back: Guitar → Phaser/Flanger → high-gain amp (center dry) → split to stereo delays 100% wet → L/R cabs.
Songs: “Ain’t Talkin’ ’Bout Love”, “Unchained”. - Country Session King: Tele → fast comp (OTA/FET) → low-gain OD at edge → slapback 90–120 ms → clean amp.
Song: “Hot Wired”. - Ambient Worship/Shimmer: Light comp → (optional) light OD → dual delays (1/4 + 1/8D) → long shimmer → stereo.
Song: “Oceans”. - Royal Blood Duo (Octave-Bass): Comp → Octave-down (sub loud) → Fuzz/Dist → IR with LPF ~5–6 kHz.
Song: “Out of the Black”.
