In our last meeting, I started a down a detour of the signal path through my effects pedals. I covered the compression, overdrive and distortion units. This time around I want to talk a little about effects used to create textures. I prefer chorus, delay and phase for this purpose.
When possible, I like to run this type of effect through an effects loop on my amp. I like this type of set up to give my tone more of a studio quality. Many times running delay and modulation effects through the front of the amp just don't sound quite proper.
The first effect that my signal runs through is an MXR EVH Phase 90. This is a pretty cool little unit, not just because it is painted up like Van Halen’s guitar, but because it gives you access to both of the classic sounds of the Phase 90 with the press of a button. The controls on this pedal are pretty simple, a single knob that controls the speed of the phase “swirl”, an on / off button and a “script” button. The script button changes the character of the pedal from the brash, modern in your face sound of the “block” logo Phase 90 in normal mode with the button up; to the smoother, more reserved swirling sound of the classic ‘70’s orange pedal with the script logo that has graced so many recordings over the years (including some of Eddie’s). I prefer the classic sound of the script mode. So, I tend to leave mine set with the script button pushed in and the speed control set between 9:00 and 10:00 for a nice, slow swirling effect that works well in context with many contemporary worship tunes.
We then move onto the Visual Sound H2O Version 2. This is another two in one pedal housing an analog delay with controls on the right side and a chorus with controls on the left. For the delay side, Visual Sound describes this as a “hybrid digital and analog circuit that allows for long delay times and warm, natural repeats”. I tend to leave this set for a slapback style echo, but this pedal has a wide range of adjustments available from three knobs and a small black rocker switch. For my settings on this effect, I start with their recommended settings listed as “Classic Slapback” in the user manual with the echo time set at 9:00, repeats around 10:00 (VS recommends 12:00) and effect level at 12:00. The delay time switch is set to “long”. This adds a nice subtle, spacious reverb quality that gives a touch of studio polish to the sound. I use this mostly with my Mesa Boogie Stiletto through the effects loop, but I have come to like the sound of it over a spring reverb unit like the one in my Soldano.
On the chorus side, Visual Sound describes this as an analog delay with digital control using bucket-brigade style chips that are designed to pass the sound on from one chip to the next. This style of chorus has a smooth sound that rounds off the higher frequencies on the regenerations in a way that feels natural. I also set the chorus to a fairly minimal effect, starting with the manufacturers recommended settings labeled as “70s Chorus” in the owner’s manual. The speed control is set to 10:00 (VS recommends 2:00); width is at 9:00 and delay time on 12:00 (VS recommends 5:00). The “Normal/Lush” switch is set to normal.
The next pedal in line it a tc electronic Flashback delay. This is a multi function digital delay with 11 delay types and the availability of downloading custom tone presets from tc called Toneprints. My favorite delay types are the 2290, tape and slapback. I generally set the unit for a slapback type delay with a short delay time and only one or two reflections. The difference in the three different modes using similar setups is differing degrees of clarity. Using the 2290 and Slap modes are cleaner sounding with the 2290 delay type emulates the classic 2290 rack unit that set the standard for digital delay back in 1985. This is a very clean transparent delay that doesn't color your tone significantly. The slap type adds a little more warmth to my ears, or could used to simulate a clean reverb unit. The tape setting does something a little something interesting when you turn down the delay time and feedback controls. Similar to an actual tape delay unit the warble in the tape mechanism adds a modulation to the signal making for an interesting reverb like effect that adds a little movement to the sound. Very nice sounding and useful.
After the Flashback is my newest pedal, the Strymon Flint. I've always been a big fan of plate style reverb to add a little sheen to my sound. The Flint does this almost perfectly for me. The Flint is pretty simple pedal with two effects built in and available independently. the right side of the pedal controls the reverb with three modes available through a selector switch including spring, plate and hall reverbs. All three are very musical and accurate sounding for a digital pedal. The left side controls a tremolo effect. A tremolo effect changes the volume of the signal. Depending on the intensity setting, the effect can be be subtle with slight variations, or fairly dramatic to the point of creating a stutter effect by shutting the volume nearly off at its low point. My favorite setting is the power tube mode set for a subtle rhythmic throb.
This combination of pedals gives me a lot of flexibility and tone that is some of the best I've had thus far.
These particular effects are pretty standard fare in worship music, today. When used in the proper context to serve the song, they can be beneficial. If not, they can be a distraction to you congregation and may hinder their response.
Next time, I’ll cover the utility pieces that fill in and help everything work as smoothly and consistently as possible.
God Bless,
D. K. Sears
Guitarist / Technical Advisor – Landmark Baptist Worship (www.lbcohio.com)
Founder / Lead Designer / Tone Consultant – Crucible Guitar Works
(www.facebook.com/crucibleguitarworks) (Twitter: @CrucibleGuitars)
Author - Worship Gear
