For a guitarist, the effect is probably one of the essential devices. So how to correctly connect different effects to get the best results becomes a knowledge that guitarists must understand. This problem may be more noticeable for monoblock effect users. However, for the user of the compositing effect, there is also a problem of the connection method. Although many compositing effects have a default connection method, there are many ways to allow the user to change the connection mode of the different effect modules. Here, we mainly discuss the monoblock effect as an example, but the conclusion is also practical for the synthetic effect.
First, the effect of the connection order
The order in which the effects are connected has certain basic rules, but it is not completely absolute. In theory, you can arrange them randomly, and different arrangements will bring different effects. So the first principle of the connection order of the effects is that there is no principle, or that you need to play the music you need.
Of course, in the usual use, you will find that some fixed connection order is more acceptable and acceptable. This is the common effect connection order we will talk about below. This ordering rule is centered on the distortion effector to arrange the position of other effects. Let's take a look at the order in which the effects are connected in order, but please note that there may be some special types of effects in each category, the order of which is changed.
1. Volume effects: such as the guitar volume knob and the volume pedal (Volume Pedal). Many guitarists like to control the change of the sound by changing the volume knob on the guitar, so we can also replace the volume pedal with the front, but please note that not all volume pedal models are properly connected to the front. Only those volume pedals with high input impedance can be connected to the first position.
2, frequency conversion effect: Transposition (Whammy), Octave (Octa), Harmony (Harmoniser), these are the effects of changing the frequency is the pitch. This kind of effect can also be placed behind the compression, the difference is not very obvious, but can not be placed behind the distortion, otherwise, when playing more than 2 notes at the same time, the sound will be chaotic.
3, compression effect: Compressor (Compressor) is usually placed in the front of the position to ensure that the signal is smoothly output to the subsequent effect processing. Normal compression is usually placed in front of the distortion, but the compression is placed in front of and behind the distortion. The individual feels that the overall effect is similar, and there is no particularly abnormal change. But compression is not suitable for the wah sound, especially when using the distortion effect, otherwise you will feel the wow effect becomes a bit strange, for example, the volume is weak, the effect is not obvious.
4. Filtering effects: such as Auto-Wah, Filter, Wah-Wah, Phase. Usually people are used to put the wah in front of the distortion, but there are also wah sounds placed behind the distortion. When the wah is in front of the distortion, the amplitude will be smaller, but the tone feels more normal, especially suitable for modern high-gain sounds. . The wah sound will be larger after the distortion, but it will feel the sound is not sticky enough to play, which is what you usually say is not the same. This method is suitable for the distortion is not too big, more traditional style. You can try it out and see which connection is best for your taste. The automatic wah, it is best to connect before compression, because such effects are closely related to the playing strength, the heavier you play, the more obvious the effect, and the compression is to average your playing strength. , so the automatic wah-like effect is not suitable for compression.
5. Pre-distortion equalization: Pre-distortion equalization (Pre-EQ) can improve the fullness and loudness of the sound, but the amplitude of the balanced adjustable change is not as obvious as after the distortion.
6, gain effects: such as Boost, Overdrive, Distortion, Fuzz, these are all distortion classes. If you have a few distortion class effects, then the order between them is arranged according to the degree of distortion, usually with a small distortion in front. Here are two points to mention. The first is about the use of Boost. The usual method is to connect Boost to the front of the distortion. This is mainly to improve the distortion and sustain. By connecting Boost behind the distortion, you can clearly feel the increase in volume. As the overall output increases, you will feel the dynamics of playing more. Another point is about the use of Fuzz. Unlike other gain-like effects, since Fuzz is quite sensitive to changes in the input signal, it is best to connect it to the front of the wah, such as Jimi Hendrix, which is connected to the distortion. Later, you will find that the wah effect is not obvious.
7. Post-distortion equalization, post-distortion equalization (Post-EQ), the distortion of the signal is modified, the amplitude of the adjustment is relatively large, the effect is also very obvious, if there is only a piece of equilibrium, then everyone is used to put the balance behind the distortion .
8, the pressure limit effect: here mainly refers to the noise gate, it is placed behind the distortion, used to eliminate the extra noise caused by distortion.
9, modulation effect: usually called Modulation, the most common is Flanger and Chorus. They are usually followed by distortion and before the space class effect. In addition, we can also summarize other effects such as Univibe, Rotary, Ringmod, Vibrato, etc. (although their principles are not necessarily modulation effects). These Modulation effects are not defined before and after each other and can be placed freely. Here is a basic principle, which is which effect is connected behind, then which effect will be more obvious, for example, if the vibrato is connected behind the chorus, the vibrato effect will be more obvious, and if it is followed, the chorus effect will be more obvious. obvious. In fact, this is also a basic principle in all effector connections. Some of these effects are also connected to the front of the distortion, but if you do this, the effect is not obvious, and it is masked by the distortion. If you just want your distortion sound to be slightly different, you can do it like this. .
10, volume control: mainly Tremolo (Tremolo) and volume pedal (Level Pedal) two. Tremolo is different from Vibrato, the former is the effect of changing the volume, and the latter is the effect of changing the pitch. The volume pedal is placed in front of the space class effect. The advantage is that the echo or reverb effect can be naturally weakened during the turn-off of the volume, instead of being turned off. Of course, the volume pedal can also be placed at the end, and the role it plays is the total volume control. That's why guitarists like Steve Morse use several volume pedals at the same time. In addition, many volume pedals have an external tuning meter. When you turn off the volume pedal, the tuning meter still has a signal to enter, so you can quietly sound on the stage.
11, space effects: including a variety of lengths of echo (Echo), delay (Delay) and reverb (Reverb). Here we call Echo and Delay together as a delay (the effect of listening to them is actually slightly different). Usually we always put the delay in front of the reverb, but the best way is to connect them in parallel. Some people with delay effects will also be connected in front of the distortion. At this time, the effect sound of the delay will be emphasized by the distortion, so it is more obvious that there will be another taste and characteristics of the tone, you can also try it.
Second, parallel and stereo connection
Usually the effects are connected in series, but there are also connections in parallel. Parallel connection is to divide the signal into two ways, each of which enters different effects for processing (or one way to keep the original signal, all the way to effect processing), and then merge into one way. This has the advantage that the ratio of the different effects can be adjusted separately, and the signal will always be lost and changed after the effect processing. The parallel connection can provide some original signals to compensate for such losses, so it is also good for the tone. Space-like effects are often used in parallel. We can separate the delay and reverberation into two separate processes, and then combine them, so that the effect will be better.
We can also use the parallel connection method to send the guitar signal into two speakers to create a stereo effect, or switch the two signals through the A/B Box to get different sound effects. If we want to get a stereo effect, be sure to note that the two signals should be different, not exactly the same. The most common is to use a delay effect to create a stereo effect. First of all, we need a delay effect with stereo dual output, that is, a dry signal (no delay effect) output, one is a wet signal (plus delay effect) output, and then connected to two speakers, so that Real stereo effect.
Third, the speaker loop connection
Many speakers have the effect Loop function, the purpose is to connect the effects. As we have seen before, which effects should be connected in front of the distortion and which should be connected behind the distortion. If we need to use the distortion channel on the speaker, then we need to use the speaker's Loop to connect the effects that need to be connected behind the distortion to the speaker distortion, such as delay, reverb effect and so on.
For monoblocks that don't need to be used with speaker distortion, such as chorus and vibrato, which are rarely used together with distortion, you don't have to be connected to the Loop, you can connect them to the speakers. If you don't use the distortion of the speaker at all, or the speaker itself does not have a distortion channel, then there is no need to connect the effect to the Loop, because Loop is just a supplementary means, not a necessary means, not an effect. It must be connected to the Loop. If you don't use speaker distortion, it is recommended that you connect all the effects to the front of the speaker. Because of the use of Loop, there is more or less loss of the sound, especially those loops that resist the speakers.
Loops of different speakers have different ways of writing, such as Send/Return, Effect Out/Effect In, Effect Send/Effect Return or FX in/out. Usually Loop has two major categories, series or parallel, and there are two options.
Concatenation: This is the most common type. That is to say, when Loop is used, the speaker signal will all go through the Loop and will be processed by the effector before returning to the speaker. The dry and wet ratio adjustment of the effect is adjusted by the effector.
Parallel: It means that after the speaker Loop is used, the internal signal of the speaker is still connected. Some signals enter the effect through the Loop. After the effect processing, the speaker returns to the speaker. The other part does not go through the Loop, and finally merges with the effect signal. Parallel Loop, there will definitely be a Mixer adjustment knob to control the mixing ratio of the wet and dry signals. When you turn this knob to the minimum (counterclockwise), there is only a dry signal, and when it is turned to the maximum (clockwise), it is only the wet signal processed by the effect, and the middle position is the ratio of each half. This type has a smaller effect on the tone.
Now let's discuss what you need to pay attention to when connecting effects to Loop. First of all, which effects need to be connected to the Loop. According to the previous statement, only those effects after the distortion need to be connected in the Loop. Commonly used are noise gates, choruses, erratic, vibrato, delay, reverb, etc. If you You need to use the equalization after the speaker is distorted, or you can connect the equalization effect. The caveat is to not connect the distortion class and the effects that need to be connected in front of the distortion in the Loop.
Then we analyze the connection points of monoblock and rack-like effects. For rack-like effects, there are usually line-specific input and output standards, and the functionality is also strong, many with input and output. The adjustment of the intensity can adapt to a variety of different connection methods, so there is generally no problem in connecting to various loops, as long as you do not take the wrong connection. The monolithic class is relatively complicated, because most of the monoblocks are designed to be connected between the guitar and the speaker, so it is best to confirm the output signal strength of the speaker Loop and the input signal of the monoblock before connecting. Whether the strength matches. Many speakers now have loop signal strength control, such as buttons that change the signal strength +4/-10dB for the output signal (usually -10dB for single block use), and some have separate adjustment knobs for the output and input, even There are also different Loop modes for different types of effects, and can be controlled with adjustable knobs. You can choose and adjust according to the specific conditions of your own effects, so that the speakers and effects get the best fit.
We combine the connection of the monoblock effect with the connection of the speaker loop. You can look at the following connection sequence:
Guitar - volume pedal - frequency conversion effect (Whammy pedal, etc.) - automatic wah - compression - Fuzz effect - wah pedal - Pre EQ - gain class (Boost / OD / Dist) - speaker Pre-Input - Speaker Loop Send - Post-EQ - Noise Gate - Modulation Effect (Chorus / Flanger, etc.) - Volume Pedal - Space Effect (Delay, Reverb) - Speaker Loop Return - - Speaker rear stage - speaker
Fourth, signal loss and switching control
If you only use 2 or 3 effects, then this part can be ignored, but if you use a lot of effects, then this part must be understood. We know that the output signal of an electric guitar is a very weak high-impedance signal, so it is easily disturbed by the outside world and lost during transmission, especially when using long connections and connecting many effects and other equipment. The problem of loss will be clearly highlighted. Usually you can clearly feel the tone is dull, dark, and dynamic. To solve this problem, we can realistically use the following aspects:
1. Use high-grade connection, on the one hand, better shield the external signal interference to avoid noise, on the other hand, ensure that the signal passes through as completely as possible. It is also a good idea to use short connections as much as possible.
2. Buy and use True Bypass or Buffer Bypass effects as much as possible. Although True Bypass does not guarantee that the signal will not be lost at all, it is better than the non-True Bypass class like Boss. If you have a lot of effects that are not True Bypass, and you don't want to change them, then the True Bypass Loop class can help you reduce signal loss.
3, the use of Buffer equipment, also known as "buffering" equipment, its role is to ensure that the signal in the process of long-distance multi-device conduction, as little loss as possible, and can be compensated to some extent. A bit like the meaning of the signal gas station. For example, VHT's Valvulator I is a well-known Buffer product. Usually its connection position is at the forefront of all effects, if your speaker is far away from you, then you can use it at the end of the effect. For those who use a lot of rack-type devices, they can also be used between rack devices. The good news is that there are a lot of effects that provide similar functionality in themselves, such as Mi Audio's Boost, which acts as a Buffer when it is turned off.
For a single user, how to switch the sounds of several effects at the same time is also a problem. Fortunately, there are now controllers specifically designed to control monoblock effects. For example, Voodoo Lab's GCX Audio Switcher is a very powerful controller that not only controls the switching of a single block, but also controls the speaker channel switching, or connects to other MIDI control interface devices, allowing you to connect with it. The monolithic, speaker, and rack equipment are all integrated, and the Ground Control Pro MIDI pedal is used to switch between the feet. The only drawback is that it is more expensive. If you don't need such complicated functions, just switch single-block effects, then a similar solution to Carl Martin Octa Switch is a good solution. It can connect 8 single blocks at the same time and store 8 different sets of single blocks. In the performance, you can switch the combination of multiple effects on one foot, and the price is not very expensive.
2.00mm Ejector Header Connector
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