Effects Ordering/Position - Revision history

Meambobbo at 02:21, 12 June 2015

2015-06-12T02:21:57Z

Meambobbo at 03:31, 13 April 2015

2015-04-13T03:31:02Z

Meambobbo: /* Noise Suppressors/Gates */

2015-04-09T20:03:15Z

‎Noise Suppressors/Gates

Meambobbo: /* Chorus/Phaser/Flanger */

2015-04-09T19:57:58Z

‎Chorus/Phaser/Flanger

Meambobbo: /* Pitch Shifters */

2015-04-09T19:57:03Z

‎Pitch Shifters

Meambobbo: /* EQ */

2015-04-09T19:55:44Z

‎EQ

Meambobbo: /* Noise Suppressors/Gates */

2015-04-09T19:54:14Z

‎Noise Suppressors/Gates

Meambobbo: /* Noise Suppressors/Gates */

2015-04-09T19:51:26Z

‎Noise Suppressors/Gates

Meambobbo: Created page with "Effects that affect dynamics or distortion are sensitive to what is being sent into them, compared to non-dynamic effects. Be aware of how ordering effects matters, and experi..."

2015-04-09T19:50:35Z

Created page with "Effects that affect dynamics or distortion are sensitive to what is being sent into them, compared to non-dynamic effects. Be aware of how ordering effects matters, and experi..."

New page

Effects that affect dynamics or distortion are sensitive to what is being sent into them, compared to non-dynamic effects. Be aware of how ordering effects matters, and experiment with each effect before or after a compression or distortion element. For instance, the whole section on distortion character was mostly about how the way a signal is EQ'ed impacts how distortion will operate. EQ before distortion sounds completely different from EQ after distortion. This equally applies to Wah pedals, phasers, choruses, and other effects. On the other hand, certain effects will operate virtually the same and have negligible impact on other effects independent of where it occurs in the effects chain, such as a pitch shifter.
Cannot find image.

The best advice is to experiment, but here are some general tips:
== Noise Suppressors/Gates ==

The general consensus is to make this the first effect in your chain. There it will simply mask your pickup noise when you are not playing. It has the most impact on tone at the end of the chain but can lead to unnatural sounding cut-off on notes. An interesting place for it is after a compressor but before distortion. Sometimes you can use two on each side of a compressor/gain stage to tighten up how effectively it works. This is how Periphery gets their very punchy tone, going quickly from searing power chords to complete silence. For more on noise gates, see [[Line_6_Pod_HD_Amp/Distortion_Tone#Noise_Gates|the noise gates section on the Amp/Distortion Tone page]].

== Chorus/Phaser/Flanger ==

Generally, you get the expected swooshing sound behind your distortion phase, but placing it beforehand can give a very difficult to describe but interesting sound. I kind of like it in this position, because it has less of a swooshing sound to it, which I find detracts from the actual music. It also makes your distortion character change, which makes it a bit more interesting, especially if you're playing a very repetitive part, such as straight palm-muted single notes. I use mod effects in both positions.

== EQ ==

As mentioned in the [[Line_6_Pod_HD_Amp/Distortion_Tone|amp/tone page]], EQ before distortion has a much larger effect on how the distortion operates than how the frequency response is changed. I generally use a single Studio EQ or Mid-Focus EQ to sculpt the distortion character, while I use multiple Parametric EQ's and/or a Mid-Focus EQ after distortion to dial in the desired frequency response in my final tone.

== Delay/Reverb ==

I don't know how anyone gets away with putting delay before a distortion phase. The distortion will compress it and cause the delayed signal to be just as loud or nearly as loud as what you are currently playing, sounding like two guitars fighting for space, playing different things at the same time. People have said EVH put his delay in front his amp distortion, but I can't get it to sound right. I think they're wrong and his echoplex was being used for tonal changes, not actual delay.

I generally put my delay and reverb last (or close to last) in the chain. I don't think it matters which goes first. Occasionally I'll use two delays.

== Pitch Shifters ==

(Octave, Whammy [Pitch Glide], Smart Harmony) - I like these in front my distortion phase usually. The whammy especially sounds more like a real whammy bar that way. Smart Harmony I like behind my distortion - then it sounds like you're playing with another guitarist or double-tracking it. When in front, it sounds more like you're playing double-stops. Experiment with the mix when pitch shifting, especially when you put it in front your distortion - low settings will subtly change your tone rather than sounding like you're adding another track at a lower volume.

[[Category:Gear]]
[[Category:Effects]]
[[Category:Signal Chain]]

← Older revision		Revision as of 02:21, 12 June 2015
Line 4:		Line 4:

	Effects that affect dynamics or distortion are sensitive to what is being sent into them, compared to non-dynamic effects. Be aware of how ordering effects matters, and experiment with each effect before or after a compression or distortion element. For instance, the whole section on distortion character was mostly about how the way a signal is EQ'ed impacts how distortion will operate. EQ before distortion sounds completely different from EQ after distortion. This equally applies to Wah pedals, phasers, choruses, and other effects. On the other hand, certain effects will operate virtually the same and have negligible impact on other effects independent of where it occurs in the effects chain, such as a pitch shifter.		Effects that affect dynamics or distortion are sensitive to what is being sent into them, compared to non-dynamic effects. Be aware of how ordering effects matters, and experiment with each effect before or after a compression or distortion element. For instance, the whole section on distortion character was mostly about how the way a signal is EQ'ed impacts how distortion will operate. EQ before distortion sounds completely different from EQ after distortion. This equally applies to Wah pedals, phasers, choruses, and other effects. On the other hand, certain effects will operate virtually the same and have negligible impact on other effects independent of where it occurs in the effects chain, such as a pitch shifter.
−	~~Cannot find image.~~

	The best advice is to experiment, but here are some general tips:		The best advice is to experiment, but here are some general tips:

← Older revision		Revision as of 20:03, 9 April 2015
Line 6:		Line 6:

	The general consensus is to make this the first effect in your chain. There it will simply mask your pickup noise when you are not playing. It has the most impact on tone at the end of the chain but can lead to unnatural sounding cut-off on notes. An interesting place for it is after a compressor but before distortion. Sometimes you can use two on each side of a compressor/gain stage to tighten up how effectively it works. This is how Periphery gets their very punchy tone, going quickly from searing power chords to complete silence. See also: [[Noise Gate]].		The general consensus is to make this the first effect in your chain. There it will simply mask your pickup noise when you are not playing. It has the most impact on tone at the end of the chain but can lead to unnatural sounding cut-off on notes. An interesting place for it is after a compressor but before distortion. Sometimes you can use two on each side of a compressor/gain stage to tighten up how effectively it works. This is how Periphery gets their very punchy tone, going quickly from searing power chords to complete silence. See also: [[Noise Gate]].
		+
		+	Note that the signal directly from your pickups is going to by the most dynamic, which makes it best for dialing in gate settings. If you only place a gate after some kind of compression, it will be difficult to find settings that let only let your playing through and not noise.

	== Compressors ==		== Compressors ==

@@ Line 5: / Line 5: @@
 == Noise Suppressors/Gates ==
-The general consensus is to make this the first effect in your chain. There it will simply mask your pickup noise when you are not playing. It has the most impact on tone at the end of the chain but can lead to unnatural sounding cut-off on notes. An interesting place for it is after a compressor but before distortion. Sometimes you can use two on each side of a compressor/gain stage to tighten up how effectively it works. This is how Periphery gets their very punchy tone, going quickly from searing power chords to complete silence. For more on noise gates, see [[Line_6_Pod_HD_Amp/Distortion_Tone#Noise_Gates|the noise gates section on the Amp/Distortion Tone page]].
+The general consensus is to make this the first effect in your chain. There it will simply mask your pickup noise when you are not playing. It has the most impact on tone at the end of the chain but can lead to unnatural sounding cut-off on notes. An interesting place for it is after a compressor but before distortion. Sometimes you can use two on each side of a compressor/gain stage to tighten up how effectively it works. This is how Periphery gets their very punchy tone, going quickly from searing power chords to complete silence. See also: [[Noise Gate]].
 == Compressors ==

← Older revision		Revision as of 19:51, 9 April 2015
Line 6:		Line 6:

	The general consensus is to make this the first effect in your chain. There it will simply mask your pickup noise when you are not playing. It has the most impact on tone at the end of the chain but can lead to unnatural sounding cut-off on notes. An interesting place for it is after a compressor but before distortion. Sometimes you can use two on each side of a compressor/gain stage to tighten up how effectively it works. This is how Periphery gets their very punchy tone, going quickly from searing power chords to complete silence. For more on noise gates, see [[Line_6_Pod_HD_Amp/Distortion_Tone#Noise_Gates\|the noise gates section on the Amp/Distortion Tone page]].		The general consensus is to make this the first effect in your chain. There it will simply mask your pickup noise when you are not playing. It has the most impact on tone at the end of the chain but can lead to unnatural sounding cut-off on notes. An interesting place for it is after a compressor but before distortion. Sometimes you can use two on each side of a compressor/gain stage to tighten up how effectively it works. This is how Periphery gets their very punchy tone, going quickly from searing power chords to complete silence. For more on noise gates, see [[Line_6_Pod_HD_Amp/Distortion_Tone#Noise_Gates\|the noise gates section on the Amp/Distortion Tone page]].
		+
		+	== Compressors ==
		+
		+	== Volume Pedals/Tremelo ==

	== Chorus/Phaser/Flanger ==		== Chorus/Phaser/Flanger ==

@@ Line 1: / Line 1: @@
 Effects that affect dynamics or distortion are sensitive to what is being sent into them, compared to non-dynamic effects. Be aware of how ordering effects matters, and experiment with each effect before or after a compression or distortion element. For instance, the whole section on distortion character was mostly about how the way a signal is EQ'ed impacts how distortion will operate. EQ before distortion sounds completely different from EQ after distortion. This equally applies to Wah pedals, phasers, choruses, and other effects. On the other hand, certain effects will operate virtually the same and have negligible impact on other effects independent of where it occurs in the effects chain, such as a pitch shifter.
 Cannot find image.
@@ Line 30: / Line 34: @@
 I like these in front my distortion phase usually. A whammy effect especially sounds more like a real whammy bar that way. Harmony pitch shifting I like behind my distortion - then it sounds like you're playing with another guitarist or double-tracking it. When in front, it sounds more like you're playing double-stops. Experiment with the mix when pitch shifting, especially when you put it in front your distortion - low settings will subtly change your tone rather than sounding like you're adding another track at a lower volume.
 [[Category:Gear]]
 [[Category:Effects]]
 [[Category:Signal Chain]]

@@ Line 13: / Line 13: @@
 == Chorus/Phaser/Flanger ==
-Generally, you get the expected swooshing sound behind your distortion phase, but placing it beforehand can give a very difficult to describe but interesting sound. I kind of like it in this position, because it has less of a swooshing sound to it, which I find detracts from the actual music. It also makes your distortion character change, which makes it a bit more interesting, especially if you're playing a very repetitive part, such as straight palm-muted single notes. I use mod effects in both positions.
+Generally, you get the expected swooshing sound behind your distortion phase, but placing it beforehand can give a very difficult to describe but interesting sound. I kind of like it in this position, because it has less of a swooshing sound to it, which I find detracts from the actual music. It also makes your distortion character change, which makes it a bit more interesting, especially if you're playing a very repetitive part, such as straight palm-muted single notes (listen to Van Halen's ''Unchained''). I use mod effects in both positions.
 == EQ ==

@@ Line 17: / Line 17: @@
 == EQ ==
-As mentioned in the [[Line_6_Pod_HD_Amp/Distortion_Tone|amp/tone page]], EQ before distortion has a much larger effect on how the distortion operates than how the frequency response is changed. I generally use a single Studio EQ or Mid-Focus EQ to sculpt the distortion character, while I use multiple Parametric EQ's and/or a Mid-Focus EQ after distortion to dial in the desired frequency response in my final tone.
+As mentioned in [[Dialing in Distortion Tone]], EQ before distortion has a much larger effect on how the distortion operates than how the frequency response is changed. I generally use EQ before the amp/distortion to sculpt the distortion character, while I use EQ after distortion to dial in the desired frequency response in my final tone.
 == Delay/Reverb ==