Gibson官方Blog关于效果器使用的教程
文章不错，短小精悍，但是我实在懒得翻译了……
The simple set-up of a good guitar played through a good tube amp can still provide the most compelling tones in popular music, but many players — and band situations — need something more in the sonic brew. Effects pedals can add texture, dynamics, space and motion to an otherwise “two dimensional” sound, and have become popular in almost every genre of electric guitar-based music. There’s an enormous range of sounds out there, and the only way to choose what will work for you is to sample as many as you can lay your hands on and determine what’s right for your music, your band and your playing style. Once you have done that, though, it pays to know a few things about connecting them between guitar and amp for optimum performance.
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Pedal-Connecting Order
Wherever there are rules, of course, there are also exceptions to the rules. Let’s get the rules down first, then look at the exceptions — as well as checking out a few ways that creative players have learned to break the rules entirely.
The rule of thumb for connecting pedals between guitar and amp holds that you place tone filters and EQs first (that is, the guitar plugs directly into them), gain-producing devices such as overdrive and distortion pedals second, modulation devices such as chorus and flanger pedals third, and delay devices such as echo and reverb last (and in that order, if you have both).
A common variation on this, one that works best with certain types of pedals, is to swap the middle two of these four stages. Some modulation devices such as vintage-style analog choruses, phasers or Uni-Vibes and their clones do their best work when put before overdrive or fuzz pedals. This is mostly because their function and sound includes an element of filtering-type tone shifting that can sound great going into an overdrive pedal, but pretty gnarly when working its magic on a signal that is already distorted.
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For our purposes here, consider wah-wah pedals as EQ or tone-filtering devices, which is really what they are. For most applications, they work best placed first in the chain, with your guitar going straight into them, and that’s the way that everyone from Jimi Hendrix to Eric Johnson to Yngwie Malmsteen to J. Mascis has used them. Some others, however, do things a little differently: Carlos Santana sticks a Tube Screamer before his wah-wah, Brian May puts his treble booster first, and Steve Vai has wahs both before and after his Boss DS-1 Distortion. The decision depends upon whether you want to distort the frequency-swept tone of the wah (ie wah first, overdrive second), or sweep the frequency of an already distorted tone. The only way to decide for yourself is to try both.
Fuzz pedals provide another fly in the ointment here: most vintage-style fuzz pedals interact best with your guitar — regarding dynamics, pick attack, and volume control — when they are connected first in the chain. For many wah-wah applications, however, you want the wah before them. Convention says you should put the wah-wah first, but again, decide for yourself.
Delay-based devices will usually go last in the chain because you want your fully overdriven and modulated tone to then be treated to the space-created effects of echo or reverb. Working in this order generally results in the highest fidelity and the greatest depth for each effect in the rig. Mixing it up, on the other hand, might create odd and unusual sounds that just happen to produce the sonic magic you were looking for, so don’t be afraid to experiment (but check your effects devices’ manuals first to make sure you won’t overload anything by running something else before it).
Once again, the functions of certain components will also sometimes force you to change the conventional running order here. For example, if you get your overdrive sound from the lead channel in a channel-switching amp rather than an overdrive or distortion pedal, and your reverb and/or echo sounds come from individual pedals or outboard units, you’re a little stuck. Many such amps have effects loops that you can run delay-based devices in — and that’s exactly what they’re intended for (again, read manuals to make sure FX loop levels won’t overload such devices, and adjust levels accordingly). If your amp has no effects loop but you still want to get your lead sound from its high-gain channel, you’ll just have to decide which compromise you want to make.
![]()
If you use more than one of each type of effects pedal, you will very likely have to compromise somewhere. Test, experiment, and work with what you’ve got to create the best sound for your own music. It helps to know convention, but don’t be bound by it if something a little out of left field actually helps to better produced the tones in your head. Even Jimi Hendrix had to compromise — and he certainly broke plenty of rules, too. His most legendary pedal set up ran guitar—> Vox Wah-Wah—> Fuzz Face—> Octavia—> Uni-Vibe. In other words, that’s filter/EQ, gain, filter, modulation. Did it work for him? You decide!
[ 本帖最后由 zakkchen 于 09-8-26 14:57 编辑 ]
The simple set-up of a good guitar played through a good tube amp can still provide the most compelling tones in popular music, but many players — and band situations — need something more in the sonic brew. Effects pedals can add texture, dynamics, space and motion to an otherwise “two dimensional” sound, and have become popular in almost every genre of electric guitar-based music. There’s an enormous range of sounds out there, and the only way to choose what will work for you is to sample as many as you can lay your hands on and determine what’s right for your music, your band and your playing style. Once you have done that, though, it pays to know a few things about connecting them between guitar and amp for optimum performance.
Pedal-Connecting Order
Wherever there are rules, of course, there are also exceptions to the rules. Let’s get the rules down first, then look at the exceptions — as well as checking out a few ways that creative players have learned to break the rules entirely.
The rule of thumb for connecting pedals between guitar and amp holds that you place tone filters and EQs first (that is, the guitar plugs directly into them), gain-producing devices such as overdrive and distortion pedals second, modulation devices such as chorus and flanger pedals third, and delay devices such as echo and reverb last (and in that order, if you have both).
A common variation on this, one that works best with certain types of pedals, is to swap the middle two of these four stages. Some modulation devices such as vintage-style analog choruses, phasers or Uni-Vibes and their clones do their best work when put before overdrive or fuzz pedals. This is mostly because their function and sound includes an element of filtering-type tone shifting that can sound great going into an overdrive pedal, but pretty gnarly when working its magic on a signal that is already distorted.
For our purposes here, consider wah-wah pedals as EQ or tone-filtering devices, which is really what they are. For most applications, they work best placed first in the chain, with your guitar going straight into them, and that’s the way that everyone from Jimi Hendrix to Eric Johnson to Yngwie Malmsteen to J. Mascis has used them. Some others, however, do things a little differently: Carlos Santana sticks a Tube Screamer before his wah-wah, Brian May puts his treble booster first, and Steve Vai has wahs both before and after his Boss DS-1 Distortion. The decision depends upon whether you want to distort the frequency-swept tone of the wah (ie wah first, overdrive second), or sweep the frequency of an already distorted tone. The only way to decide for yourself is to try both.
Fuzz pedals provide another fly in the ointment here: most vintage-style fuzz pedals interact best with your guitar — regarding dynamics, pick attack, and volume control — when they are connected first in the chain. For many wah-wah applications, however, you want the wah before them. Convention says you should put the wah-wah first, but again, decide for yourself.
Delay-based devices will usually go last in the chain because you want your fully overdriven and modulated tone to then be treated to the space-created effects of echo or reverb. Working in this order generally results in the highest fidelity and the greatest depth for each effect in the rig. Mixing it up, on the other hand, might create odd and unusual sounds that just happen to produce the sonic magic you were looking for, so don’t be afraid to experiment (but check your effects devices’ manuals first to make sure you won’t overload anything by running something else before it).
Once again, the functions of certain components will also sometimes force you to change the conventional running order here. For example, if you get your overdrive sound from the lead channel in a channel-switching amp rather than an overdrive or distortion pedal, and your reverb and/or echo sounds come from individual pedals or outboard units, you’re a little stuck. Many such amps have effects loops that you can run delay-based devices in — and that’s exactly what they’re intended for (again, read manuals to make sure FX loop levels won’t overload such devices, and adjust levels accordingly). If your amp has no effects loop but you still want to get your lead sound from its high-gain channel, you’ll just have to decide which compromise you want to make.
If you use more than one of each type of effects pedal, you will very likely have to compromise somewhere. Test, experiment, and work with what you’ve got to create the best sound for your own music. It helps to know convention, but don’t be bound by it if something a little out of left field actually helps to better produced the tones in your head. Even Jimi Hendrix had to compromise — and he certainly broke plenty of rules, too. His most legendary pedal set up ran guitar—> Vox Wah-Wah—> Fuzz Face—> Octavia—> Uni-Vibe. In other words, that’s filter/EQ, gain, filter, modulation. Did it work for him? You decide!
[ 本帖最后由 zakkchen 于 09-8-26 14:57 编辑 ]
Stereo Pedals
Many delay and chorus pedals, and a few others, come with stereo outputs that enable you to make the most of the wide soundstage that these effects can produce. If you only have one amp you will of course use only the mono output from such effects. With two amps and a single stereo pedal on the floor, you obviously just connect one to the left out and one to the right out, but often it’s not quite so simple. Effects chains with multiple pedals might throw up conflicts in connecting order — perhaps you have a stereo chorus or Uni-Vibe-style pedal that you prefer to use before your overdrive, but you also want to make use of the width of the stereo field. Ideally, you would connect any stereo pedal last in the chain, but in the above scenario you would have to decide either to run the overdrive after only one of the stereo outputs and keep the other output clean, or compromise your tonal ideals and put the overdrive before the stereo effect. That, or buy a second overdrive pedal … and deal with the tap dance of stepping on both at once!
Other conflicts arise when you have two stereo pedals in your setup. Sometimes more complex stereo delay and reverb units will have stereo inputs as well as outputs, and this makes it easy to — for example — connect a stereo chorus pedal before it and get the full stereo effect of both units. Otherwise, you will have to decide whether the sound of stereo chorus or stereo echo or stereo reverb, whatever the case may be, is most important to your sound. Try all the alternatives, and go with whatever feels like the least obtrusive compromise.
Split Chains
Sometimes it’s extremely useful to split your signal chain to achieve an asymmetrical, non-identical (ie non-stereo) sound from two amplifiers. For example, imagine your pedalboard runs compressor –> stereo vibe –> overdrive –> echo. With two amps to play through, you could split the left output of the vibe pedal to amp 1, and send the right output on to the rest of the effects chain and ultimately to amp 2. Now, when you step on the overdrive that’s after the vibe pedal, you get crunch and lead tones in amp 2, while amp 1 stays crisp and clean to retain better definition. Or, set amp 1 to always be a little crunchy, to beef up your clean and rhythm tones, then you’ll go into a thick, rich lead tone when you step on the overdrive, which will result in pedal-based clipping in amp 2, and milder amp-based clipping in amp 1.
If you have two non-identical amps, or one big amp and one smaller amp, try using the smaller, less powerful of the two in the amp 1 position (with the split from earlier in the effects chain) and cranking it up to achieve some natural tube distortion. Often this blend works great with a larger, cleaner amp (which, again, can still be kicked into overdrive with the use of a pedal). Many artists have achieved their signature tones with a similarly mismatched amp setup, notably Keith Richards of the Rolling Stones, who often paired a cranked Fender Champ and a cleaner Twin in the studio.
Parallel Paths
You can also make use of multiple signal paths with just one amplifier, providing that amp has two channels, or even two inputs. Say you want to maintain some definition and clarity in your tone, even when you’re using overdrive for leads, and the dirty amp/clean amp blend described above appeals to you. With a two-channel amp (that is, an amp with two independent channels, not a channel-switching amp), split your signal before your overdrive or distortion pedal, and run it to channel one set for clean, then send it on to the rest of the effects and out to channel 2. Even two channels in the same amp, but set with different gain and EQ levels, can yield a richer, more complex tone than just one channel. (Note: when doing this, ensure that the two channels are working in-phase of each other; if your sound is notably thin and “hollow” sounding when you try both channels together, one is most likely out of phase. Some effects pedals reverse phase signal between input and output, so splitting the signal before that pedal could cause such a reversal; many Fender blackface and silverface amps of the ’60s and ’70s have two channels that are out of phase with each other — splitting to different signal paths might cure this, or retain it. You will have to experiment to see what works. Also, you can often use input 1 and input 2 in a single-channel amp with two inputs to achieve some of the same results.)
Effects-Loop Pedals
Looper pedals, which are really just signal-chain-routing devices with footswitches to select either of one, two, or even more “loops,” can be very useful if you have a lot of effects on your board, and don’t want to run your signal through them at all times, thus potentially depleting its quality. If you use pedals that are notably noisy even when off, or that result in a loss of highs, lows, or general signal fidelity when they aren’t switched in, a looper is a great way of rectifying the situation. And you can use any number of pedals within even a single loop, to take them out of the signal path when not in use. Run a patch cable from the loop pedal’s “send” to the input of the first pedal in the loop and string the rest together as normal, concluding with a patch cable to the “return” of the loop pedal. Any pedals that you use frequently and which aren’t problematic regarding noise or tone sucking — a good overdrive or compressor, for example — can still go before the loop pedal (ie between guitar and loop pedal). If you have just one pedal in the loop, leave it on at all times, and let the loop footswitch take it in and out of the signal path. With more than one pedal in the loop, you’ll need to switch effects on at the start of the song that requires it (with the loop still off), and bring it in with the loop switch as needed, or use a looper with multiple loops to, once again, leave all the looped pedals on all the time.
Buffers
There’s a lot of talk about true-bypass pedals these days, and in many cases true bypass is a good feature. The term “true bypass” (also referred to as “hard-wired bypass”) means that a pedal routes the signal directly from input to output when switched off, and the feature is intended to preserve signal quality, rather than routing it through a portion of the effects circuitry even when “off,” as some pedals do. Using a lot of true-bypass pedals in a row can still deplete your signal, however, even when they’re all off (or, in fact, particularly when they’re all off), because they still route it through a lot of extra wire. Also, the use of a long guitar cord both before and after a string of true-bypass pedals adds up to a long distance for that signal to travel, with the result of some inevitable loss of fidelity. A quality buffer, either in the form of an individual unit or a buffer built within one of the pedals in your chain, can help to resolve this problem. Essentially a clean, unity gain (or low gain) preamp that is always on, a buffer enables your signal to travel through much greater lengths of wire without loosing volume level or tone. If you find your guitar sounds noticeably flatter and muddier when played through your chain of true bypass pedals (all switched off) than it does when plugged straight into the amp, a buffer might be the answer.
In the end, there are no fixed rules for the use of effects pedals, many, many variations in the “traditional” setups exist, and when rules do seem to exist, there are always exceptions. Experiment with whatever you can get your hands on, keep your mind open to the alternatives, and determine what works best for you and your music.
来自：http://www.gibson.com/en-us/Lifestyle/ProductSpotlight/Tone-Tips/back-to-basics-610/
http://www.gibson.com/en-us/Lifestyle/ProductSpotlight/Tone-Tips/back-to-basics-603/
Many delay and chorus pedals, and a few others, come with stereo outputs that enable you to make the most of the wide soundstage that these effects can produce. If you only have one amp you will of course use only the mono output from such effects. With two amps and a single stereo pedal on the floor, you obviously just connect one to the left out and one to the right out, but often it’s not quite so simple. Effects chains with multiple pedals might throw up conflicts in connecting order — perhaps you have a stereo chorus or Uni-Vibe-style pedal that you prefer to use before your overdrive, but you also want to make use of the width of the stereo field. Ideally, you would connect any stereo pedal last in the chain, but in the above scenario you would have to decide either to run the overdrive after only one of the stereo outputs and keep the other output clean, or compromise your tonal ideals and put the overdrive before the stereo effect. That, or buy a second overdrive pedal … and deal with the tap dance of stepping on both at once!
Other conflicts arise when you have two stereo pedals in your setup. Sometimes more complex stereo delay and reverb units will have stereo inputs as well as outputs, and this makes it easy to — for example — connect a stereo chorus pedal before it and get the full stereo effect of both units. Otherwise, you will have to decide whether the sound of stereo chorus or stereo echo or stereo reverb, whatever the case may be, is most important to your sound. Try all the alternatives, and go with whatever feels like the least obtrusive compromise.
Split Chains
Sometimes it’s extremely useful to split your signal chain to achieve an asymmetrical, non-identical (ie non-stereo) sound from two amplifiers. For example, imagine your pedalboard runs compressor –> stereo vibe –> overdrive –> echo. With two amps to play through, you could split the left output of the vibe pedal to amp 1, and send the right output on to the rest of the effects chain and ultimately to amp 2. Now, when you step on the overdrive that’s after the vibe pedal, you get crunch and lead tones in amp 2, while amp 1 stays crisp and clean to retain better definition. Or, set amp 1 to always be a little crunchy, to beef up your clean and rhythm tones, then you’ll go into a thick, rich lead tone when you step on the overdrive, which will result in pedal-based clipping in amp 2, and milder amp-based clipping in amp 1.
If you have two non-identical amps, or one big amp and one smaller amp, try using the smaller, less powerful of the two in the amp 1 position (with the split from earlier in the effects chain) and cranking it up to achieve some natural tube distortion. Often this blend works great with a larger, cleaner amp (which, again, can still be kicked into overdrive with the use of a pedal). Many artists have achieved their signature tones with a similarly mismatched amp setup, notably Keith Richards of the Rolling Stones, who often paired a cranked Fender Champ and a cleaner Twin in the studio.
Parallel Paths
You can also make use of multiple signal paths with just one amplifier, providing that amp has two channels, or even two inputs. Say you want to maintain some definition and clarity in your tone, even when you’re using overdrive for leads, and the dirty amp/clean amp blend described above appeals to you. With a two-channel amp (that is, an amp with two independent channels, not a channel-switching amp), split your signal before your overdrive or distortion pedal, and run it to channel one set for clean, then send it on to the rest of the effects and out to channel 2. Even two channels in the same amp, but set with different gain and EQ levels, can yield a richer, more complex tone than just one channel. (Note: when doing this, ensure that the two channels are working in-phase of each other; if your sound is notably thin and “hollow” sounding when you try both channels together, one is most likely out of phase. Some effects pedals reverse phase signal between input and output, so splitting the signal before that pedal could cause such a reversal; many Fender blackface and silverface amps of the ’60s and ’70s have two channels that are out of phase with each other — splitting to different signal paths might cure this, or retain it. You will have to experiment to see what works. Also, you can often use input 1 and input 2 in a single-channel amp with two inputs to achieve some of the same results.)
Effects-Loop Pedals
Looper pedals, which are really just signal-chain-routing devices with footswitches to select either of one, two, or even more “loops,” can be very useful if you have a lot of effects on your board, and don’t want to run your signal through them at all times, thus potentially depleting its quality. If you use pedals that are notably noisy even when off, or that result in a loss of highs, lows, or general signal fidelity when they aren’t switched in, a looper is a great way of rectifying the situation. And you can use any number of pedals within even a single loop, to take them out of the signal path when not in use. Run a patch cable from the loop pedal’s “send” to the input of the first pedal in the loop and string the rest together as normal, concluding with a patch cable to the “return” of the loop pedal. Any pedals that you use frequently and which aren’t problematic regarding noise or tone sucking — a good overdrive or compressor, for example — can still go before the loop pedal (ie between guitar and loop pedal). If you have just one pedal in the loop, leave it on at all times, and let the loop footswitch take it in and out of the signal path. With more than one pedal in the loop, you’ll need to switch effects on at the start of the song that requires it (with the loop still off), and bring it in with the loop switch as needed, or use a looper with multiple loops to, once again, leave all the looped pedals on all the time.
Buffers
There’s a lot of talk about true-bypass pedals these days, and in many cases true bypass is a good feature. The term “true bypass” (also referred to as “hard-wired bypass”) means that a pedal routes the signal directly from input to output when switched off, and the feature is intended to preserve signal quality, rather than routing it through a portion of the effects circuitry even when “off,” as some pedals do. Using a lot of true-bypass pedals in a row can still deplete your signal, however, even when they’re all off (or, in fact, particularly when they’re all off), because they still route it through a lot of extra wire. Also, the use of a long guitar cord both before and after a string of true-bypass pedals adds up to a long distance for that signal to travel, with the result of some inevitable loss of fidelity. A quality buffer, either in the form of an individual unit or a buffer built within one of the pedals in your chain, can help to resolve this problem. Essentially a clean, unity gain (or low gain) preamp that is always on, a buffer enables your signal to travel through much greater lengths of wire without loosing volume level or tone. If you find your guitar sounds noticeably flatter and muddier when played through your chain of true bypass pedals (all switched off) than it does when plugged straight into the amp, a buffer might be the answer.
In the end, there are no fixed rules for the use of effects pedals, many, many variations in the “traditional” setups exist, and when rules do seem to exist, there are always exceptions. Experiment with whatever you can get your hands on, keep your mind open to the alternatives, and determine what works best for you and your music.
来自：http://www.gibson.com/en-us/Lifestyle/ProductSpotlight/Tone-Tips/back-to-basics-610/
http://www.gibson.com/en-us/Lifestyle/ProductSpotlight/Tone-Tips/back-to-basics-603/
全部翻译要人命的，比上次那个cubase5的新闻还多……
我就牺牲一下吧，哈，哈哈，讲一下大意，文绉绉的翻译就算了：
前几段（别管是哪几段了，反正不会骗你）大意：讲的一般效果器的链接顺序，只是一般推荐的，不包括特殊的用法。基本就是 吉他->eq->失真->常用效果类（比如合唱，相位）->空间类（延迟、混响等）。这个是一般的用法，但是也有很多人不是这么排的（省略某些人的配置若干字）。这一段我想对于弹吉他的人来说其实可以不用翻译了。
然后（第几段别管了，我也懒得数）讲的是效果链。先说的是在有箱子的情况下用空间类的效果器，而且是在用失真的情况下。如果箱子有loop还好办，进了机头后，loop out出来接效果器，完了再回到loop in。但是如果箱子本身没有loop的话，而且必须用机头的失真，那么就不得不考虑在失真前用空间类效果器了。这个经验上来说是不太推荐的。这个时候委屈求全的办法是弄个单块失真，把空间类的放在机头之前，机头用清音通道。
下面就是讲效果链的各个种类，什么串联法啊，并联法啊，立体声的制造啊，缓冲啊（和True Bypass有关的）
至于串联法，并联法之类的东西，这个网上已经有人写过了，自己搜一下吧。
手累了
[ 本帖最后由 walkman 于 09-8-31 14:10 编辑 ]
我就牺牲一下吧，哈，哈哈，讲一下大意，文绉绉的翻译就算了：
前几段（别管是哪几段了，反正不会骗你）大意：讲的一般效果器的链接顺序，只是一般推荐的，不包括特殊的用法。基本就是 吉他->eq->失真->常用效果类（比如合唱，相位）->空间类（延迟、混响等）。这个是一般的用法，但是也有很多人不是这么排的（省略某些人的配置若干字）。这一段我想对于弹吉他的人来说其实可以不用翻译了。
然后（第几段别管了，我也懒得数）讲的是效果链。先说的是在有箱子的情况下用空间类的效果器，而且是在用失真的情况下。如果箱子有loop还好办，进了机头后，loop out出来接效果器，完了再回到loop in。但是如果箱子本身没有loop的话，而且必须用机头的失真，那么就不得不考虑在失真前用空间类效果器了。这个经验上来说是不太推荐的。这个时候委屈求全的办法是弄个单块失真，把空间类的放在机头之前，机头用清音通道。
下面就是讲效果链的各个种类，什么串联法啊，并联法啊，立体声的制造啊，缓冲啊（和True Bypass有关的）
至于串联法，并联法之类的东西，这个网上已经有人写过了，自己搜一下吧。
手累了
[ 本帖最后由 walkman 于 09-8-31 14:10 编辑 ]