This collection of pedals is for the on-the-go musician — or the pedal geek who loses sleep at night over how much free space is left on his/her pedalboard. Each pedal sports a uniform light-weight aluminum chassis, true-bypass switching and a footprint of only 3 ½ x 1 ½ inches. Here’s a rundown of each pedal, followed by a SoundCloud playlist of sound clips.
Many guitar players — at some point — can't help but fall under the spell of the sounds found on classic rock albums of the mid- to late '60s. Players like Jimi Hendrix, Eric Clapton, Jeff Beck, Jimmy Page, Pete Townshend and Robby Krieger were synonymous with wah, fuzz, univibe and/or tremolo. Throw George Harrison and Brian Jones into the mix and you get sitars and other sound- (and mind-) altering effects. They were always experimenting, changing things up, trying to top each other.
Seymour Duncan recently shared a new demo video for its Dirty Deed distortion pedal, and you can check it out below. In early November, GuitarWorld.com posted an exclusive demo video for the new pedal, and you can check it out here.
The origin of guitar distortion goes back to the earliest electrified blues guitarists. They didn’t care that their primitive tube amps were breaking up and distorting, as long as they were loud. Soon, blues guitarists grew quite fond of those nasty, gnarly distorted tones, and they sought to replicate them by any means necessary.
As the holidays — and some much-needed time off — swiftly approach, I present to you my holiday gear wish list, all of which I hope Santa will be kind enough to leave under my tree. I know certain items on my wish list are somewhat pricey, but hey, that’s why I call it a wish list! Even so, if I don’t get it all, just receiving one will give me holiday cheer well into 2014.
Electro-Harmonix has announced the latest addition to its range of overdrive and distortion pedals: the Soul Food. This transparent overdrive can fatten a guitarist’s tone in all the right places without compromising or changing it.
Stevie Ray Vaughan’s guitar tone was as dry as a San Antonio summer and as sparkling clean as a Dallas debutante, the product of the natural sound of amps with ample clean headroom. However, Vaughan occasionally used pedals to augment his sound, mainly to boost the signal, although he occasionally employed a rotating speaker cabinet and wah pedals for added textural flair.
These videos are bonus content related to the January 2014 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now, or in our online store.