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Modulated Delay
A modulated delay is a digital delay with chorus added to the delays to produce a wider sound-
ing stereo delay.
Pong Delay
A pong delay’s repeats jump from side to side and requires a stereo setup.
Reverse Delay: The Reverse Delay senses the guitar’s input signal and plays the delayed guitar
backwards once it is sampled. Reverse delay used to be a studio trick, now with modern tech-
nology it exists in a stompbox!
Tape Delay
The tape delay effect produces a warm tone by limiting the frequency response and adding the
distortion that exists in a tape delay.
2-Tap Delay
While most delays are derived from a signal delay with one end tap, the 2-Tap Delay uses a single
delay line but with two endpoints that are spaced about at different ratios. Use this effect to add
more of a rhythmic quality to your delays.
Reverbs
EMT® 240 Plate Reverb
The EMT Plate Reverb is the reverence reverb to which all studio reverbs are compared to.
Using a large sheet of metal, one end of the “plate” was excited by a transducer and the sound
would then travel through the plate to the other side where the delayed tone was received. The
frequency response and dynamics of the signal would change when traveling through the plate
creating a reverb effect.
Lexicon® Ambience
The Lexicon Ambience reverb is full, bright and produces ambience around or behind your guitar
signal.
Lexicon Hall
The largest of the Lexicon reverbs, the Hall produces lush reverbs with a swirling decay unlike
any other reverbs today.
Lexicon Room
A great effect to produce a small room, the Lexicon Room produces that reverb found in many
isolation rooms in recording studios today.
Lexicon Studio
Larger than the Room reverb, the Studio Reverb is the Lexicon studio standard reverb algorithm.
Spring based on a Fender® Twin Reverb™
The tone and reaction of the spring reverb is captured! Surf’s up, the best setting is at maximum
- Cowabunga.
Distortions
Distortion and overdrive pedals were designed to give your guitar tone gain before it reaches
your amp. Many heavily distorted pedals such as the DigiTech Grunge™ were designed to pro-
vide most or all of the gain and run through a cleaner amp. Overdrives are great for boosting the
gain of your guitar sound and driving an already distorted amp giving your total tone, more gain
and a heavier feel. Overdrives on their own and ran into clean amps provide a bluesy tone.
Arbiter® Fuzz Face™
The Dallas Arbiter Fuzz Face surfaced in 1966 and used germanium transistors to get it’s unique
fuzzy sound and inspired many other fuzz pedals to follow. The Fuzz Face produces a thick wall
of edgy distortion and a very full low end. Perfect for creating ‘60s or modern stonerrock tones.