Effect : Reverb , Delay, Looper pedal , Flanging, phasing
Effect Time-based : Reverb , Delay, Looper pedal , Flanging, phasing, echo effects
Delay Effect
First used by Les Paul, e.g. I'm Forever Blowing Bubbles. Paul achieved time delay by stretching audiotape between two reel-to-reel tape decks spaced several feet apart. The first modern digital delay was the Eventide Harmonizer, which involved sound waves being converted from analog to digital signals, and clocked through large banks of RAM memory. The Edge of U2 is a notable user of this effect in his music. A well-k
nown example of this is the song "Where the Streets Have No Name".
Reverb Effect
Simulates the persistence of sound in a hall or room after the original sound is removed The first reverb effects created for recordings were created by piping the recorded sound into a real physical space such as a tiled bathroom, thus creating a natural echo chamber. In the 1950s and 1960s, portable reverb effects were created, such as the plate and spring reverb systems. A plate reverb system uses an electromechanical transducer to create vibration in a large plate of sheet metal. Spring reverb systems, which are often used in guitar amplifiers, use a transducer at one end of a spring and a pickup at the other.
Some tape echo effects from the 1950s and 1960s could also produce a reverb effect. Digital reverb effects use various signal processing algorithms in order to create the reverb effect, often by using multiple feedback delay circuits.
Flanging Effect
Uses very short variable delays to cause a changing comb filter effect. First notable uses were in "Itchycoo Park" by Small Faces, and "Sky Pilot" by The Animals. It creates a "sweeping" effect that is similar to the sound of a plane coming in for a landing or the swirling sound of water going down a drain. The flanger was a studio effect at first created by slowing one of the tape flanges in a reel-to-reel tape in regular time.
Phase shifting (phasing)
Modulates the phase of the signal. Popular during the 1970s; examples include the guitar from the Three's Company theme, and keyboard part of Paul Simon's "Slip-Slidin' Away". High phasing speeds produce an "underwater" effect, as used by Jimi Hendrix in "1983... (A Merman I Should Turn to Be)".
Looper pedal Effect
Also called a "phrase looper", this pedal stores and plays back short loops or phrases, which allows a single performer to solo or "jam" over a backing part. As with the delay effect, the first forms of loop effects were created with reel-to-reel tape using a tape loop. High-end boutique tape loop effects are still used by some studios who want the vintage sound. Digital loop effects recreate this effect using an electronic memory. In the 1990s, digital effects could typically only store a few seconds; by the mid-2000s, some loop effects such as the Gibson Echoplex Digital Pro could store several minutes of sound, and flash memory-based effects such as the Electro-Harmonix 2880 could store nearly an hour of music in one or multiple loops. The DigiTech JamMan Looper Pedal can store up to 6.5 hours of samples, audio clips, or backing tracks.
Echo Effect
Uses short, effected delays to simulate an echo. Early echo effects such as the 1959 Echoplex used a tape loop. The length of delay was adjusted by changing the distance between the tape record and playback heads. By the 1970s, many echo units used solid state circuitry. In the 1990s and 2000s, digital echo effects were widely used in mixers and effect pedals.
Delay Effect
First used by Les Paul, e.g. I'm Forever Blowing Bubbles. Paul achieved time delay by stretching audiotape between two reel-to-reel tape decks spaced several feet apart. The first modern digital delay was the Eventide Harmonizer, which involved sound waves being converted from analog to digital signals, and clocked through large banks of RAM memory. The Edge of U2 is a notable user of this effect in his music. A well-k
nown example of this is the song "Where the Streets Have No Name".Reverb Effect
Simulates the persistence of sound in a hall or room after the original sound is removed The first reverb effects created for recordings were created by piping the recorded sound into a real physical space such as a tiled bathroom, thus creating a natural echo chamber. In the 1950s and 1960s, portable reverb effects were created, such as the plate and spring reverb systems. A plate reverb system uses an electromechanical transducer to create vibration in a large plate of sheet metal. Spring reverb systems, which are often used in guitar amplifiers, use a transducer at one end of a spring and a pickup at the other.
Some tape echo effects from the 1950s and 1960s could also produce a reverb effect. Digital reverb effects use various signal processing algorithms in order to create the reverb effect, often by using multiple feedback delay circuits.
Flanging Effect
Uses very short variable delays to cause a changing comb filter effect. First notable uses were in "Itchycoo Park" by Small Faces, and "Sky Pilot" by The Animals. It creates a "sweeping" effect that is similar to the sound of a plane coming in for a landing or the swirling sound of water going down a drain. The flanger was a studio effect at first created by slowing one of the tape flanges in a reel-to-reel tape in regular time.
Phase shifting (phasing)
Modulates the phase of the signal. Popular during the 1970s; examples include the guitar from the Three's Company theme, and keyboard part of Paul Simon's "Slip-Slidin' Away". High phasing speeds produce an "underwater" effect, as used by Jimi Hendrix in "1983... (A Merman I Should Turn to Be)".
Looper pedal Effect
Also called a "phrase looper", this pedal stores and plays back short loops or phrases, which allows a single performer to solo or "jam" over a backing part. As with the delay effect, the first forms of loop effects were created with reel-to-reel tape using a tape loop. High-end boutique tape loop effects are still used by some studios who want the vintage sound. Digital loop effects recreate this effect using an electronic memory. In the 1990s, digital effects could typically only store a few seconds; by the mid-2000s, some loop effects such as the Gibson Echoplex Digital Pro could store several minutes of sound, and flash memory-based effects such as the Electro-Harmonix 2880 could store nearly an hour of music in one or multiple loops. The DigiTech JamMan Looper Pedal can store up to 6.5 hours of samples, audio clips, or backing tracks.
Echo Effect
Uses short, effected delays to simulate an echo. Early echo effects such as the 1959 Echoplex used a tape loop. The length of delay was adjusted by changing the distance between the tape record and playback heads. By the 1970s, many echo units used solid state circuitry. In the 1990s and 2000s, digital echo effects were widely used in mixers and effect pedals.