So you’ve just bought an electric guitar and an amp of some sort. Now you’re thinking, those colourful stompbox things look pretty cool – but I have no idea what exactly they do…
Boy have you come to the right place! BOSS have been pioneers and innovators in the field of compact effects pedals since 1977. If there’s a type of effects pedal, we almost certainly make one (or two, or eight).
We’re going to give you a basic rundown of what each type of effect does and what it sounds like – from vibrato to vocoder, and chorus to crunchy distortion.
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These are the essentials. Before you start delving into whacky, crazy effects, you should make sure that you’ve nailed the foundation of your tone.
It’s not a sexy first purchase – it technically doesn’t make any sound at all. But everything DOES sound better when you’re in tune, especially if you want to play with other musicians or along to your favourite tracks! With support for extended range guitars/basses and flat tuning up to six semitones below standard guitar tuning pitch, the TU-3 is THE industry standard tuner, seen on countless stages across the world every day.
First, let’s talk about what “overdrive” means. Electric guitar music is full of the searing, stinging, crunching sounds of tube amplifiers being driven beyond their limits. In the early days of guitar amps, they were designed pretty much just for clean tones. But guitarists soon found out that if they turned the amps up – WAY up – beyond their original design limits, the valves got “overloaded” and would start to “clip” or
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As you can imagine, this can be difficult to achieve at a reasonable volume. This is where overdrive pedals come in. Overdrive pedals emulate the break-up of cranked tube amps, but in the easy, controllable form of a compact pedal.
There are two classic ways to use an overdrive pedal like the Super Overdrive. First, run it into a clean amp sound with the Drive control set to emulate the sound of an amplifier on the edge of breakup, yielding creamy blues tones all the way up to crunchy classic rock.
Amp, with the Drive control set low but the Level HIGH! This will give your amp a sonic kick in the teeth into screaming high gain, while simultaneously tightening up the bass and giving it that little bit of extra magic.
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If classic American combo sounds are more your thing, then the Blues Driver is what you need. American tube combo amps are often renowned for their sparkling clean sounds, but cranking these amps to break-up yields a stinging overdrive tone that has been used by many a bluesman to great effect. The BD-2 gives you sounds in this vein, with a tighter crunch and quicker attack than the SD-1.
Distortion pedals pick up where overdrives leave off, bringing a world of hard-edged, chunky palm mutes and saturated, soaring lead sounds. For those who need full on metal saturation and grind, but don’t have the budget for a high gain monster amplifier, a distortion pedal is what you need.
When it comes to your first distortion pedal, you can’t go past the classic Metal Zone, one of the best selling BOSS compacts OF ALL TIME. The sound of an MT-2 is smooth, scooped, chugging high gain. Be wary though – the controls are extremely powerful, so make small incremental changes to the EQ settings and follow your ears! It works best into a clean amp platform.
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The DS-1 is another classic BOSS distortion, used by everyone from Kurt Cobain to Steve Vai at various points. The sound of a DS-1 is more of a grainy, aggressive crunch. Equipped with a very powerful Tone control, it can either be used straight into a clean amp, or alternatively into an already cranked amp to push it even further into sonic mayhem. This way, the DS-1 imparts its aggressive character onto the base drive sound of your amp, while allowing you to fine tune with the Tone control.
Fuzz is another cousin of the overdrive/distortion family. While drive/distortion pedals usually sound smoother, fuzz is typified by a much more gnarly, jagged sound.
Modern fuzz pedals like the FZ-5 can cover a wide range of fuzz sounds, from glitchy, mid honk fuzz to thick woolly walls of sound.
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A delay pedal replicates the playing you feed into it, creating an echo effect. Short delay times or “slapback” are commonly used in country music while longer delay times can create cascading soundscapes and ambient textures.
A classic example of delay is the opening passages of Welcome To The Jungle, which features Slash’s guitar sound bouncing back at him over and over again.
In 1984, BOSS designed the FIRST ever digital delay in pedal form. Since then, the DD-3 has become a mainstay of artists all over the world – Tom Morello even has two on his pedalboard! Despite staying unchanged for the better part of 30 years (with no complaints), in 2019 we upgraded it with tap tempo functionality, resulting in the new DD-3T.
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If you want more different sounds, you might step up to the DD-8, which emulates vintage analog or tape delay machines as well as incorporating shimmer (great for worship and U2) and +reverb modes.
Tap tempo means that you can use your foot to tap in the tempo or speed of the song, and the delay pedal will then adapt the internal time of the delay repeats to make sure they all fall in line. In basic terms, if you set up a delay so it repeats twice every beat, having tap tempo means that even if you speed up the song in real life, you can tap in the new speed with your foot, and still have your repeats going twice every beat!
Reverberation, or reverb, is what you hear in an enclosed physical when sound bounces back to your ears off surfaces like walls and the ceiling. The amount of reverb that you hear relays to your brain the physical size of the space that the sound is occurring in – think about the difference between clapping your hands in a small room, compared to a cave, or a cathedral. A pedal like the RV-6 can take you from small room reflections to huge hall reverbs and much more, letting you conjure up huge ambient soundscapes!
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Chorus pedals like the classic CH-1 split your signal into multiple “voices, ” modulating their pitch and timbre, and delaying those voices slightly from the main signal. The result is a full and shimmery ensemble of “voices, ” simulating the sound of multiple instruments playing the same part. Like singing with a chorus group!
Now that we’ve gone through your first 5 pedals to start out with as a beginner guitar player, let’s take a look at what else you might think of adding to your pedalboard to start building more sonic flavours and textures.
Phaser and flanger effects operate on very similar underlying principles – take the original signal, delay it by very small amounts and mix it back with the dry signal. This creates a filtering effect, with the end result depending on how you control and process the time/mix of the delayed signal.
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We’re not here to get into the technical details. The easiest way to differentiate between the two is to hear it for yourself.
A great example of flanging is the bridge section of Lenny Kravitz’s Are You Gonna Go My Way. You can hear the slightly metallic, jet-plane swoosh of the effect very clearly.
On the other hand, phaser has a smoother, more organic sound that is a bit more “chewy”. You can hear it in the tapping section of Van Halen’s Eruption, where it doesn’t sit completely on top of the notes but instead just helps to create some “movement” to the repeating notes.
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Phasers can also yield a more “watery” sound, as often used by Mike Einziger of Incubus. In the song Pardon Me, he utilized a BOSS Super Phaser to create that swishing, watery sound, along with volume swells and delay to create an otherworldly atmospheric sound.
Tremolo is a modulation effect that creates a change in volume, taking your guitar signal and pulsing it louder/softer continuously at the rate that you choose.
With the TR-2, you can choose either end of this spectrum, or a blend somewhere in between, using the waveform control.
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Vibrato operates on a similar concept to tremolo, except that instead of varying the volume of the note, this time we’re varying the pitch. This results in a “wobbly” sounding effect – watch out for setting the pitch variation range too wide, you might end up feeling sea-sick!
COMPRESSOR A dynamic effect that smooths out the highest and lowest volume levels of your guitar signal to a more consistent level. In short, it brings out the quiet parts, and softens down the loud parts. Commonly used in country music to bring out the attack of chicken picking, or in funk music to even out the attack of fast funky strumming. Or you can use it to smooth
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