Create, record and perform with guitar in new ways.

Les pédales de la série Expression d'Ernie Ball proposent certains des effets les plus populaire présentés dans des boîtiers similaires à nos pédales de volume.

Microcosm reinterprets your sound in exciting ways using various granular sampling, delay, pitch-shifting and micro-looping techniques. Create ambient, glitch, and other wild sounds with your guitar, synthesizer, or other instrument. Features include Stereo In/Out, MIDI sync, tap tempo, hold sampler, and built-in looper.

MS-3: Switcher Multi-effets - Évolution de l’intégration en pedalboard

V3 UPDATE IS AVAILABLE NOW ENDORPHIN.ES × ANDREW HUANG MULTI – DIMENSIONAL EFFECTS CHAIN PROCESSOR From earth shaking subharmonics and distorted drones to angelic shimmer reverbs and random glitches in between, GHOST is a PEDAL for the adventurous sound designers and the most demanding guitar an

Multi-effects-JOYO

Tone Bender 1.5 #2 with bias control. Turret board circuit construction sporting Mullard OC72 and OC42 germanium transistors. ...

Probably the main thing to understand about effects order is that an effect modifies the sound it receives. This means if you plug your guitar into a fuzz box, the fuzz box gives you a fuzzy guitar sound - pretty obvious, huh? If you then plug the fuzz output into a wah pedal input, then the wah works on the fuzz sound, giving you a synth-like wah sound.

If you plug first into the wah, then into the fuzz, it gives a completely different sound. That's because the fuzz is working on a guitar sound that already has a wah effect. You may know that distortion effects like fuzz have more effect on loud sounds than quiet ones (that's why they sound cleaner when you roll off the guitar volume). And a wah pedal makes different notes and frequencies louder and softer as you rock the pedal, so rocking the pedal also now controls the amount of fuzz as well, giving what most players prefer as a more interesting effect.

There are no rules on effects order. You won't break any pedals by putting them in a 'wrong' order. In fact, experimenting is the best way to learn, and in doing so, you can come up with many unusual and interesting sounds. There is, however, a typical order of effects that I've listed below.

Before we get into the order, though, you might like to consider why, when & how you use effects. My most deep piece of wisdom to pass on is that the subtle use of effects is suitable for long periods of use, while intense effects have most impact when used briefly.

For example, light phasing or chorus can be used for an entire song, adding some texture to backing rhythm. Dramatic effects like strong delay, wah, or even playing techniques such as continuous fast picking without a rest, become tiresome when overused.

I think the most special effects are those that you can only just detect are turned on. In the late 70's, I had many people trying to figure out how I got a such a special overdrive sound for my solos. All I did was to use a faulty (weak-sounding) phaser set to a slow speed before the overdrive, to give just a hint of movement. You can use understated effects easily to craft your own signature sounds.

The Reverberation Machine is a synthetic atmosphere creator. Use the effect on any instrument to add depth and simulate different environments. Experiment and combine a variety of settings to obtain the perfect ambiance for your sound.

The controls on this pedal are straightforward. Volume, Altitude, Reverb Blend and two distinct reverb flavors: Bright Sunshine and Dark Star. Altitude adjusts the gain structure of the reverb and the clean simultaneously creating exciting new reverberation soundscapes that span from subtle to wild.

Although the controls are extremely easy to use and intuitive, there is a vast array of sounds. Everything from simulations of vintage amp verb, playing in a cave, large concert halls, and space ships being sucked into wormholes.

The Sonar™ is a “tremolo” pedal, but this one’s different. This unit has the ability to chop up any signal you send into or out of it. Unlike most other tremolos, it can cut down your high gain signal to silence. It can also sound gorgeously transparent like a traditional tremolo. It does other fun stuff like increase or decrease tempo, duty cycle (amount of time the trem is ON in a given cycle), or both simultaneously on the fly. It also has tap tempo and a slew of advanced features (attack, release, and depth controls). Lastly, and perhaps most importantly, it has aZVEX Machine™ circuit built right into the box.