Recording - July 2011 - 20

Foot Down!
now, imagine how your creative options could open up if you take the resulting sound coming out of that... and then send it off into another delay pedal! This brings us to another point: what’s perhaps even better than having a delay in your pedal chain? How about having two or more delays? For example, you could maybe have the first delay in your chain set to a relatively fast time with dotted eighth notes against quarter notes to create complex rhythmic patterns, a la U2’s “Where The Streets Have No Name”, or David Gilmour’s rotating sequencer-ish guitar pattern on Pete Townsend’s “Give Blood”—and then send that into a second, much longer delay to let you build up intricate looping layers of sound.

Put Your

and this makes a lot of sense when you think about it in a visual manner: it lets each one of those echoes fade away “into the foggy mists” of your reverb effect. Reverb usually tries to simulate some kind of acoustic environment (be it realistic or other-worldly), and in this chain order your delay is sending echoes into that “virtual physical space”. But let’s think about those fading echoes for a moment. Depending on what types of delay modes your pedal has available to you—like “analog” or “tape” that change eq and pitch over time—imagine how things could sound if you put the reverb before the delay. Suddenly each echo/repeat now contains that sound of the reverb’s “virtual space”, which itself can be drastically altered as each echo fades away! For example, imagine the sound of the “hall” that your reverb is set to gets slowly “worn down” by your delay that’s set to a “tape” mode. This is one of my personal favorite ways to create soundscapes that

By putting your dynamics processor at the very beginning of your pedal chain, you reduce the number of possible noisegenerating factors that could be boosted.
Here’s a tip: you will probably find it much easier to keep multiple delays like this synchronized if you use pedals that allow you to set their delay time by BPM (Beats Per Minute) as opposed to only by milliseconds or seconds—it’s then just a simple matter of setting each to multiples of each other’s BPM number. Going back to the previous example: you could perhaps set the faster delay generating the rhythmic patterns to something like 60 BPM, with the slower looping delay set to half its speed at 30 BPM. Additionally, if your pedals happen to have the ability to send and receive MIDI Clock data (such as the various ones made by Eventide)— you can sync them together while using one “master” pedal to set the others via tap tempo. Off the deep end Now, let’s look at some creative and unconventional options made available to you by daring to muck around with what might be consider the “traditional” way to position effects around your delay. Typically, delays are often placed close to the end of the effect chain, usually very close before some kind of reverb effect—
20
RECORDING JULY 2011

might start off sounding warm and pretty, but gradually “degrade” down over time into something that sounds downright nightmarish. And speaking of nightmarish: don’t be afraid to experiment with putting some kind of distortion pedal after delays and reverbs for more creative options! The results often won’t be pretty—but it could be exactly the unique kind of tone you’re looking for. As we finish up, take what we’ve discussed and step back to ask yourself: what are you personally trying to achieve with your chain of pedal effects? Your pedalboard should be a unique reflection on the sound that you hope to achieve, which is one of the many advantages of using individual effect pedals this way. Individuality is power. Use it. Har (har@recordingmag.com) is a recording guitarist/bassist/Chapman Stick player, splitting his time between playing experimental/electronic rock and ambient music featuring heavily effected string instruments. Learn more about his albums and the methods in his madness at www.ambientguitarist.com.


http://www.t-funk.com http://www.ambientguitarist.com http://www.t-funk.com

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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