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Learn to Play Guitar: Special Tip on Effects

The electric guitar is one of the most versatile of modern music. You can create rhythmic / Percussive textures at a time, and smooth, singing sounds the next. Not only that, but an almost limitless combination of new sounds can be created only by playing with which effects, amplifiers and types of guitar get paired.

This sonic variety provides you a unique opportunity to create a "signature sound. "Unfortunately, most of the current curriculum for guitarists ignore these issues. The truth is that learning to play electric guitar is a process that continues beyond reach proficiency in music theory, much less the necessary motor skills to manipulate the strings rote.

For this reason, I decided create this quick tutorial on using effects pedals, hoping to help you get rid of the "three chords and some distortion" rut guitarists many are trapped inside

The long and short of this tutorial is: You must learn to 'chain' effects pedals

I'm aware of that some guitarists prefer all-in-one, multi-effects pedal units (eg, Series Digitech RP) for its ease, convenience and versatility, and they are wonderful devices in theory. There are many situations in which a multi-effects pedal is the right tool for the job.

The problem comes when you are tired of the limitations of any multi-effect unit you are using.

You may think, "is an effect an effect," but it just not true. The electronic circuit of any effect pedal can add / subtract from your overall tone in the same way that the type of wood your guitar is made, or the pickups he uses, will influence their tone.

That's why you see many professional players use a variety of pedals, and they often have a favorite model of a certain type of effect.

In order to "tune" your sound, you must understand the "Well" thread of effects pedals guitar to an amplifier. There is a loose collection of rules for placing different types of knock-on effects for the best "Signal to Noise ratio.

Although these rules are not absolute, you see that they are true of the general point of view, a majority of the time. As the saying, but you have to know the rules before you break them.

A string of positive effects

Guitar -> Wah -> Distortion -> Chorus -> Amp + Delay (sent separately through the end of the loop amplifier)

or

Guitar - Wah> - Distort> - Chorus -> Delay-Amp
As you can see above, delay is usually the latter effect on any chain. You must link from the delay (at the end of the chain) the input jack of your amplifier, if you're using an amplifier channel.

For two-channel amps, it is generally recommended to connect your string Guitar-Wah, Distortion, Chorus for the input jack when connecting the Delay (separate from the chain) to the amp "effects send / return loop.

Doing this gives you a more 'sound natural feeling, "because the delay will modulate the amplified signal, instead of adding noise (and potentially on the conduct of the amplifier), as happens when you allow the signal takes to be amplified.

Now, to "break" the rules, you need to learn more about what each of your effects really makes the sign put on it. It gets easier when you realize that there are only a handful of ways to shape a signal.

In general, you will find that the effect of their doing one (and sometimes more than one) of the following items for your sign:

1. Adding

2. Subtracting (or clipping) from it

3. By modulating

A distortion pedal, for example, creates noise (bias) by clipping. If you look at the shape of the waveform of a guitar signal is very close to a sine wave. The smoother the wave, smoother and clearer the signal.

Imagine if you cut the top of the "curve" to create something closer to square wave? Going to sound harsh and 'buzzier. In other words, he's going to sound distorted!

Likewise, imagine if you could modulate a signal so that the peaks and valleys (amplitude) were more extreme, their spacing (stage), or less regular response Peak frequency (tone) filtered in or out?

In the first case, you could affect volume. In the second case, you could affect the timing or regularity of the signal. In the third case, you would affect the clarity (as interpreted by the human ear) signal. These are all modulations.

Now, consider this: It would sound better to modulate a distorted signal, or distort a modulated signal?

In general practice, the answer is it depends on the modulation has less impact negligible in volume. Remember that the distortion is created by cutting the peak amplitude of a signal, which also volume effects.

So you have to look at the effects that cause the most significant attenuation in terms of volume, and then chain them in order of most to least. You take the 'hit', so say, in front instead of allowing all the processed signal to have a drastic reduction in the end of the chain.

Keep in mind also that you must also balance the volume location of the cuts (and increases) against the amount of noise introduced into the signal.

Again, this is not all cut and dried. Placement effect is very dependent not only of its kind, but how many are involved. Discover what works for you to shape the Their sound is one of the most exciting stages of learning to play electric guitar.

My hope is that this tutorial has given you enough background information to start experimenting with the purpose of placing itself, so you can find the exact sound you're looking for!

For this reason, I believe the guitar-centered music education should be revised to include lessons on how to shape your sound.

Unfortunately, most of the current curriculum for guitarists ignores these issues.

About the Author

Andreas Wahlstedt is committed to learn ordinary people play guitar.
Get his free report and mails here:

http://www.learnguitarin48hours.com/

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