Recording - July 2011 - 16

Foot Down!

Put Your

Of course, deciding which of these two ways to do this is “best” comes down to personal taste and whatever you’re trying to achieve with your sound. Experiment with these possibilities to help you find your own personal “voice”—there are no hard and fast rules here, go for what sounds good. If you’re using multiple types of distortion you’ll also want to consider their own order relative to each other. Certain types of fuzz pedals such as ones in the “fuzz face” category are designed to interact directly with the pickup circuitry on your guitar, so are best positioned as close to your guitar’s pickups in the chain as possible—preferably as the first pedal. This makes it more responsive to your playing dynamics, also giving it the ability to “clean up” the tone by backing off your guitar’s volume knobs. Similarly, where you place a wah pedal (should you have one) in relation to certain types of distortion and fuzz can have a very noticeable effect on the sound—some players prefer them

Here’s a small sample effects rig I used for a live show in 2010. Applying the principles I explain in this article, this chain of 14 pedals was wicked silent when I needed it to be, and could be configured for a huge variety of sounds. In order, from my guitar to the board (pedal signal runs right to left, as is common with stomp boxes): Pigtronix Philosoper’s Tone sustainer/ compressor; my three distortions (Catalinbread Ottava Magus octave-fuzz/ring multiplier, Zvex Vexter Series Fuzz Factory fuzz, Hardwire Metal Distortion); ISP Decimator noise reduction/gate; Boss AC-2 Acoustic Simulator. This is the “completion point” for this effects rig. After that we have two mono modulation pedals, a Seymour Duncan Shape Shifter tremolo and an Electro-Harmonix Small Stone phase shifter; then a Morley optical
16
RECORDING JULY 2011

volume pedal; then a Line 6 Verbzilla reverb, which has a stereo output. The rest of the effects chain is in stereo: Eventide PitchFactor harmonizer; Hardwire Stereo Chorus; TC Electronic Nova Delay; Boss DD20 GigaDelay (used for long delay-based looping), and then a stereo line to the console. High-quality Lava Cable ELC cables link the guitar to the first effect and the last effect to the mixer. The interconnects are conventional Hosas, which I’ll eventually

replace with more Lava Cables. Note the footswitches used to control extra features on some of the effects, like the PitchFactor. Also note the Peterson VS-II virtual strobe tuner; it was plugged in only when needed rather than on a switchable bypass line. This rig worked perfectly in concert, with one small exception: when we moved from the carpeted rehearsal space to the venue, which had a hardwood floor, the Morley pedal tended to slide away from me. Always sweat the seemingly small details!



Recording - July 2011

Table of Contents for the Digital Edition of Recording - July 2011

Recording - July 2011
Fade In
Contents
Talkback
Fast Forward
Put Your Foot Down!
A Guitar Gear Grab Bag
Fat Guitar Tones Without The Mud
Rupert Neve Designs Portico 5017
iOS Music Tools For Guitarists
Reviewed and Revisited: BOSS RC-30 Loop Station
Reviewed and Revisited: IK Multimedia AmpliTube 3.5
Tech21 Blonde
It’s Your Music—Know Your Rights. Chapter 16: Licensing Music For Video Games
Eventide Space
Recording’s Showcase of Sounds
TC Electronic Flashback, Shaker, and Hall Of Fame
Readers’ Tapes
Advertiser Index
Fade Out
Recording - July 2011 - Recording - July 2011
Recording - July 2011 - Cover2
Recording - July 2011 - 1
Recording - July 2011 - Fade In
Recording - July 2011 - 3
Recording - July 2011 - Contents
Recording - July 2011 - 5
Recording - July 2011 - Talkback
Recording - July 2011 - 7
Recording - July 2011 - Fast Forward
Recording - July 2011 - 9
Recording - July 2011 - 10
Recording - July 2011 - 11
Recording - July 2011 - Put Your Foot Down!
Recording - July 2011 - 13
Recording - July 2011 - 14
Recording - July 2011 - 15
Recording - July 2011 - 16
Recording - July 2011 - 17
Recording - July 2011 - 18
Recording - July 2011 - 19
Recording - July 2011 - 20
Recording - July 2011 - 21
Recording - July 2011 - A Guitar Gear Grab Bag
Recording - July 2011 - 23
Recording - July 2011 - 24
Recording - July 2011 - 25
Recording - July 2011 - 26
Recording - July 2011 - 27
Recording - July 2011 - 28
Recording - July 2011 - 29
Recording - July 2011 - 30
Recording - July 2011 - 31
Recording - July 2011 - 32
Recording - July 2011 - 33
Recording - July 2011 - Fat Guitar Tones Without The Mud
Recording - July 2011 - 35
Recording - July 2011 - 36
Recording - July 2011 - 37
Recording - July 2011 - Rupert Neve Designs Portico 5017
Recording - July 2011 - 39
Recording - July 2011 - iOS Music Tools For Guitarists
Recording - July 2011 - 41
Recording - July 2011 - 42
Recording - July 2011 - 43
Recording - July 2011 - Reviewed and Revisited: BOSS RC-30 Loop Station
Recording - July 2011 - 45
Recording - July 2011 - Reviewed and Revisited: IK Multimedia AmpliTube 3.5
Recording - July 2011 - 47
Recording - July 2011 - 48
Recording - July 2011 - 49
Recording - July 2011 - Tech21 Blonde
Recording - July 2011 - 51
Recording - July 2011 - 52
Recording - July 2011 - 53
Recording - July 2011 - 54
Recording - July 2011 - 55
Recording - July 2011 - It’s Your Music—Know Your Rights. Chapter 16: Licensing Music For Video Games
Recording - July 2011 - 57
Recording - July 2011 - Eventide Space
Recording - July 2011 - 59
Recording - July 2011 - Recording’s Showcase of Sounds
Recording - July 2011 - 61
Recording - July 2011 - TC Electronic Flashback, Shaker, and Hall Of Fame
Recording - July 2011 - 63
Recording - July 2011 - Readers’ Tapes
Recording - July 2011 - Advertiser Index
Recording - July 2011 - 66
Recording - July 2011 - 67
Recording - July 2011 - 68
Recording - July 2011 - 69
Recording - July 2011 - 70
Recording - July 2011 - 71
Recording - July 2011 - Fade Out
Recording - July 2011 - Cover3
Recording - July 2011 - Cover4
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