KIM BJØRN AND SCOTT HARPER

PEDAL
CRUSH
STOMPBOX EFFECTS FOR
CREATIVE MUSIC MAKING

FOREWORD BY

STEVE VAI
PEDAL CRUSH The definitive book on guitar pedals, their masters, and makers.

PEDAL CRUSH explores guitar effects pedals as a tool for everyone,

800+ STOMPBOXES
showing how all kinds of musicians, producers, DJs, vocalists, guitarists
From the classic to the exotic,
etc. can benefit from using stompboxes creatively.
and beyond.

PEDAL CRUSH contains everything, from pedalboards to concepts, pur-

50 IN-DEPTH INTERVIEWS
pose, history and creative possibilities of specific effects and pedal types.
with artists and pedal makers.
It’s written by Kim Bjørn and Scott Harper (also known as Knobs on You-
Tube) with a foreword by Steve Vai. This third book from BJOOKS takes
200+ TIPS AND TRICKS
the reader on a colorful journey of discovery, resulting in clarity and ex-
Ideas to inspire your sound.
panded knowledge of effects pedals and their musical possibilities.
 ⭐⭐⭐⭐⭐
“Wow!
If you are into music and into design
this book is seventh heaven. Very
current – some of the pedals in the
book only hit the market in very late
2019. Great selection of interviews
from leading pedal makers and
a great selection of artists. Super
excited to read through it!
– Customer-review by Michael Tuminello

⭐⭐⭐⭐⭐ SOUND ON SOUND MAGAZINE

“Pedal Crush includes a timeline of
“The book feels very up-to-the-minute
in its references to pedal offerings, pedal development, a useful list of
covering from the inception of the good resources you can find online,
pedal industry to 2019. The book is and a wonderfully comprehensive
chock full of pedal photographs to glossary covering all things pedal-
go along with the descriptions. Will related. This is one of those books
definitely keep as a reference guide you’ll keep going back to – it has
on my shelf. obviously been a labour of love for
– T. Alan Newton on Goodreads.com the authors and it deserves to do well.
– Paul White

TAPEOP MAGAZINE
“Pedal Crush is simply the most
comprehensive look at guitar
pedals I have ever seen. Beautifully
photographed and meticulously
researched, I believe it is an
incredibly useful resource for
producers, engineers, and sound
crafters alike.
– Geof Stanfield
CONTENTS
INTRODUCTION 11
STOMPBOX ANATOMY ................................... 12
Controls ................................................................. 12
Connections .......................................................... 13
The inside .............................................................. 14
DIY .......................................................................... 16
AMPLIFICATION ............................................ 20
Modeling ............................................................... 22
Profiles .................................................................... 22
EFFECTS CHAIN .............................................. 28
The 4-cable method ............................................. 29
Less conventional ideas ....................................... 30
Loop switchers ...................................................... 31
SIGNAL MANAGEMENT .................................. 34
Routing................................................................... 34
Boardsavers ........................................................... 35
Mixing..................................................................... 36
Creative flow ......................................................... 37
POWER .......................................................... 42
CONTROL ...................................................... 48
Volume ................................................................... 48
Expression ............................................................. 49
MIDI ........................................................................ 50
Tuning .................................................................... 50
Tempo .................................................................... 51
CV control .............................................................. 51
PEDALBOARD ................................................ 56
MULTI-EFFECTS .............................................. 62
Task-oriented......................................................... 63
Hybrid options ...................................................... 64
Board in a box ....................................................... 66
FX BOARDS .................................................... 72
SOFTWARE..................................................... 78
GAIN 84
Gain staging/stacking ......................................... 85
The stuff of distortion ........................................... 86
BOOST ............................................................ 90
Clean boost ........................................................... 90
Dirty boost ............................................................. 91
Boost EQ ................................................................ 91
Treble boost .......................................................... 92
Preamp ................................................................... 93
FUZZ ................................................................ 96
Tone, bend, and face............................................ 98
Octave fuzz .......................................................... 104
Cult favorites ....................................................... 107
Fuzzmakers .......................................................... 108
Oscillating fuzz .................................................... 109
DISTORTION ................................................. 112
Enter the diode ................................................... 112
Power amp distortion ......................................... 115
Distortion designers........................................... 116
OVERDRIVE .................................................. 122
Discrete drives .................................................... 123
High voltage ........................................................ 125
Otherdrives ......................................................... 125
Transparent overdrives ...................................... 126
Amp magic .......................................................... 132
BITCRUSHER.................................................. 138
Sample rate reduction ....................................... 138
Bit reduction ........................................................ 138
DYNAMICS 143
ENVELOPES & DYNAMICS ........................... 144
Envelope control ................................................ 145
Envelope shapers ............................................... 146
Slopes................................................................... 146
Manual control .................................................... 147
COMPRESSOR............................................... 152
Compressor types .............................................. 154
Limiters................................................................. 155
Multi-band compression ................................... 155
Sidechaining ....................................................... 156
Parallel compression .......................................... 157
Expanding ........................................................... 157
NOISE GATE .................................................. 162
FREQUENCY 167
FILTER ............................................................ 168
Filter types ........................................................... 168
Following ............................................................. 170
Triggered ............................................................. 171
Modulated ........................................................... 172
WAH .............................................................. 173
Parked wah .......................................................... 174
Auto wah .............................................................. 175
EQ.................................................................. 178
Shelving EQ ......................................................... 178
3-band .................................................................. 178
Parametric EQ ..................................................... 179
Graphic EQ .......................................................... 180
Exciters and Enhancers ...................................... 181
TALKING PEDALS .......................................... 186
Talk box ................................................................ 186
Vocoder ............................................................... 186
Formant ................................................................ 187
The story of pedals is one that twists, turns and
loops. It’s part history, part science, and part art, with
a healthy slice of chance and discovery every step
of the journey. Because so many of these topics
overlap and feed into one another, there really isn’t
TIME 191
DELAY............................................................ 192
Oscillation ............................................................ 193
Tape ...................................................................... 194
Multi-tap............................................................... 198
Oil can .................................................................. 199
Analog.................................................................. 200
Digital ................................................................... 201
Effected echoes .................................................. 204
REVERB ......................................................... 212
Stereo vs. mono .................................................. 213
Spring ................................................................... 214
Plate ...................................................................... 214
Room .................................................................... 215 .
Chamber .............................................................. 216
Hall........................................................................ 216
Recreating spaces .............................................. 217
Altered ambience ............................................... 220
Abstract reverb ................................................... 222
FREEZE .......................................................... 226
Natural feedback ................................................ 227
GLITCH .......................................................... 230
GRANULAR .................................................... 234
Granular delay .................................................... 234
Granular loopers..................................................235
Multi-grain ............................................................236
DOUBLER ...................................................... 242
LOOPER ......................................................... 246
Multi-track ............................................................ 248
Loop effects ......................................................... 249
Loopers’ delights ................................................ 250
GOING FURTHER IN TIME ............................. 254
Multiple stages.................................................... 255
Delay and reverb ................................................ 256
a ‘proper’ way to order these topics. Each chapter
builds from the basics, up to more advanced and
creative topics; you can read them in the order we
have chosen, or jump around at will, picking and
choosing which areas you’d like to learn about.
MODULATION 261
MAKING MODULATION................................ 262
LFOs ..................................................................... 262
Waveforms........................................................... 263
TREMOLO ...................................................... 268
Harmonic tremolo .............................................. 268
Panner .................................................................. 271
The classic couple .............................................. 272
Irregular rhythms ................................................ 272
FLANGER ....................................................... 278
Tape roots ............................................................ 278
Meet the comb filter........................................... 279
Flavors of flange ................................................. 280
RING MODULATION ..................................... 286
Splitting bands .................................................... 286
Intelligent ring mod ........................................... 287
PHASER ......................................................... 292
Stages and poles ................................................ 293
Vibrophase .......................................................... 296
ROTARY ......................................................... 297
Ramping............................................................... 297
VIBE ............................................................... 302
Vibe vs. phaser .................................................... 302
The light bulb ...................................................... 303
CHORUS ........................................................ 308
Voices ................................................................... 310
VIBRATO ........................................................ 313
Nostalgia machines ............................................ 314
MODULATION ONWARDS ............................ 320
DIY modulation ................................................... 321
Interviews with pedal builders and artists of all kinds
are interspersed in appropriate places throughout
the book – see the list on the next page. Finally, we
provide a timeline of landmarks in effects history,
a list of useful resources, and a glossary of terms.
PITCH 325
Tracking................................................................ 326
OCTAVER ....................................................... 327
Analog octaves ................................................... 328
PITCH SHIFTER .............................................. 332
Polyphony and dissonance ............................... 332
Detune ................................................................. 333
Frequency shifters .............................................. 333
Pitch sequencers................................................. 334
HARMONY .................................................... 338
Intelligent harmonizing...................................... 338
SYNTH ........................................................... 342
Waveshaping ..................................................... 342
PLL ........................................................................ 348
Instrument converters ........................................ 349
Tone generators.................................................. 350
Modularity ........................................................... 351
APPENDIX 355
TIMELINE ....................................................... 356
RESOURCES ................................................. 366
GLOSSARY .................................................... 368
ABOUT THE AUTHORS ................................. 376
COLOPHON & THE TEAM ............................. 376
INTERVIEWS
17 EXPLORING CIRCUIT-BENDING
Simon The Magpie
18 COLORFUL STORYTELLING IN BOXES
Josh Scott, JHS Pedals
24 DARK, MODULATED IMPERFECTIONS
Anders Trentemøller, musician, DJ, producer
32 FIVE FX TIPS FROM ANDY
Andy Martin, musician and demo artist
38 KEEP IT SIMPLE, MUSICAL, AND FUN
Jamie Stillman, EarthQuaker Devices
46 BEAUTY INSIDE AND OUT
Filipe Pampuri, Beetronics FX
52 NEW HORIZONS FOR THE HARP
Lara Somogyi, harpist and solo artist
60 10 TIPS FOR YOUR PEDALBOARD
Daniel Steinhardt, TheGigRig, That Pedal Show
66 Tips on the ZOIA from Cuckoo
68 USEFUL FEATURES FOR THE CURIOUS
Steve Bragg, Empress Effects
75 MULTI-EFFECTS ON TOUR
Jennifer Batten
76 THE PROFILING AMP AS EFFECTS BOX
Michael Britt, Britt Profiles and Lonestar
82 ENTERING THE APP ZONE
Stefan Fast, The Pedal Zone
88 MAKING SIMPLE THINGS COMPLICATED
Safia Harrison, Rabbit Hole FX
94 THE FUZZ AND THE FACTORY
Zack Vex, ZVEX Effects
100 THE BUSINESS OF ROCK AND ROLL
Mike Matthews, Manny Silverstein,
and John Pisani of Electro-Harmonix
110 DESIGN WITHOUT COMPROMISE
Anders Marcuslund-Reuss,
Reuss Musical Instruments
118 BEYOND SELF-OSCILLATION
Oliver Ackermann, Death By Audio
128 A HISTORY OF PEDAL CRUSHES
Matt Johnson, THE THE
136 HIGH TECH MEETS WABI-SABI
Tom Cram, Spiral Electric FX
140 CHANGING THE GAME OF PEDALS
Ilja Krumins, Gamechanger Audio
148 PUSHING TECHNOLOGY FORWARD
Ikegami Yoshihiro, BOSS Corporation
158 TO EFFECT, OR NOT TO EFFECT
Robert Keeley, Keeley Electronics
164 FILLING THE ATMOSPHERE
Ed O’Brien of Radiohead
176 DESCENDING INTO SONIC TEXTURES
Noveller, composer and guitarist
184 SOUNDING RIGHT AT THE SOURCE
Joe Barresi, producer, mixer, engineer
188 PORTRAIT OF A PIONEER
Mike Beigel, Mu-Tron and Mu-FX
196 TAPE LOOPS IN TIME AND SPACE
Amulets, audio artist
202 A TEAM OF TIMELY EFFECTS
Datachoir
208 ONE THING TO FUEL THEM ALL
David Torn, guitarist, composer, producer
217 Reverb tips from Andy Othling
218 INSPIRATIONAL EFFECT RETURNS
Scott Hansen a.k.a. Tycho, artist and producer
224 THE SYNERGY OF FX AND SYNTHESIS
Lisa Bella Donna, musician, composer, clinician
228 THE SIGNAL CHAIN AS THE INSTRUMENT
Anne Sulikowski, sound designer, demo artist
232 THE SOUND OF COMPUTERS THINKING
Scott Monk, montréal assembly
238 DESIGN WITH CONCEPTUAL INTEGRITY
Curt Malouin, Red Panda
244 NO RULES, MORE TONES
Nick Reinhart, guitarist in Tera Melos, etc
252 STRETCHING THE WAY WE THINK
Ryan Schaefer, Hologram Electronics
258 WHEN THE VOICE IS THE INSTRUMENT
Dub FX, loop artist and songwriter
264 FINDING AND FOLLOWING YOUR BLISS
Joel Korte, Chase Bliss Audio
274 USING INSTINCT WHEN USING PEDALS
Nels Cline, composer, and guitarist of Wilco
284 INSPIRED BY THE UNDESIRED
Guillaume Fairfield, Fairfield Circuitry
290 PARTNERS IN SPACE, TIME, AND TIMBRE
Hainbach, electronic music composer
300 FUNKY FEATURES AND SPACEY KNOBS
Olivier Armbruster, Glou-Glou
306 BUILDING INTEREST AND TEXTURES
Ruban Nielson, Unknown Mortal Orchestra
316 FROM DENMARK WITH LOVE
TC Electronic
322 THE POWER OF A PLATFORM
Pete Celi, Strymon
330 A BASS PLAYER’S APPROACH TO FX
Gaz Williams, bass player, music technologist
336 LAYERS OF EXPRESSIVE FUNCTIONALITY
Matthew Farrow, Alexander Pedals
and Disaster Area Designs
340 HAVING FUN WITH CREATIVE SPICES
Kid Koala, DJ, composer, producer and artist
346 EVOLVED PLAYING TECHNIQUES
Lisa Molinaro, violist, and multi-instrumentalist
352 INSTRUMENTS IN THEMSELVES
Terry Burton and Angelo Mazzocco, Meris
EXPLORING CIRCUIT-BENDING
Simon The Magpie is a Swedish artist, circuit-bender and all-around tech and music nerd. On his social me-
dia channels, viewers love his seemingly-crazy experiments investigating circuits and tearing apart gadgets.
Here, Simon presents five tips to get you motivated for exploring the wonders of circuit-bending pedals.

1 Cheap is worth it
“No matter if you are a total
beginner or have been modifying/
circuit-bending pedals for a long
time, there is nothing more powerful
than the ‘Ikea effect’ – meaning that
even the cheapest plastic fantastic
crap pedals are more than likely to
become your own personal treasures
after you’ve circuit-bent them. For me,
a $20 circuit-bent pedal is often more
inspiring than a $200 pedal from the
store. I also suggest looking at used
pedals, since that market is a proper
gold mine.”
2 Learn by doing
“Trusting your tools and
understanding what type of effects
and circuits you prefer to bend is
something you can’t learn by watching
YouTube videos or reading books. The
only way is to start bending pedals!
“Everything from soldering irons
and components to pedal brands,
effect types, and circuit boards have
their own quirks to figure out. But my
suggestion for a total beginner is to
look for a thrift-shop soldering iron,
scavenge some components, and get
a BOSS DS-1 to circuit-bend. The rest
you will figure out along the way!“
3 Break stuff
“The less you care about the
original product, the more likely
you are to create greatness. So what
I mean by ‘break stuff’ is that you
should not hesitate to take risks. Never
feel bad about breaking something
that you have decided to modify.
“This works in direct relation
to buying cheap and already used
pedals; another benefit of buying
cheap pedals is that you can pick up
duplicates – one unit to experiment
on to the point of breaking it, learning
and taking notes on the way... which
you can then transfer to the second
unit with no risk of breaking it.”

4 Resist the force

“I have always made the dis-
tinction in my mind that modifying
is replacing or swapping out com-
ponents for ones with new values
that will sharpen a guitar pedal as it
already is, whilst circuit-bending is
looking for completely new effects.
I prefer the latter, though I have no
clue how to read schematics or even
build the simplest of circuits. That’s
why I turn to circuit-bending, which is
more in line with short-circuiting than
replacing components.
“Different types of resistors, used
to reduce current, adjust levels,
bias active elements, and terminate
connections, etc. are great. I like to
use light-dependent resistors (LDRs),
force-sensing resistors, potentiome-
ters, and different types of switches
and buttons.
“Where to start on a circuit? I have
no method to my madness except to
avoid the power input – and the LEDs,
as they are tedious to replace.”
5 Why?
“Circuit-bending and modifying
pedals is an art form to me. Everything
from the new effects you are able to
create to the visual aspect of how you
choose to style your creation is part of
your expression.
“A big part of what’s inspiring with
circuit-bending a guitar pedal is that
you are creating a whole new musical
tool with zero technical background
required. I think everyone should try
it out. Do not overthink it or get the
impression that you need an educa-
tion to try it out. Just do it and don’t
ask questions about how to solve
problems – until you encounter the
problems! That is how you turn it into
an adventure rather than a chore.”

17
FREEZE
Freeze pedals capture a small instant
in time, stretching it out forever. They
can be used momentarily to extend Frozen space
sustain, or latched to provide a steady Some reverbs can also double
sound – for example, a chord or a bass as creative freezes. Old Blood
note – beneath your playing. Noise Endeavors’ Dark Star and
Procession can be frozen using a
Layers The popular Electro-Harmonix momentary footswitch (or by max-
Some freeze pedals, like the Electro- Freeze is a simple, immediate take ing out the Decay knob), turning
Harmonix Freeze, can only capture on freeze. It can be set to momen- the reverb into a supportive pad for
one moment at a time. When a new tarily swell in and out, or to latch select moments. The Chase Bliss
moment is frozen, it replaces the and hold infinitely. It’s possible to Audio Dark World offers a Black
old. Others, like the more advanced set the time for the fade in/out in mode that freezes and layers your
Superego, allow you to stack layers, the Slow mode to one of three set- sound based on playing dynamics.
piling up moment after frozen tings, up to 3.2 seconds. A single Soft notes pile up on top of each
moment. knob sets the freeze’s volume. other, while loud playing wipes
everything out and starts fresh.

Single freeze Layered freeze

Here’s an example of a sound being frozen each time the switch In this example, the newly frozen audio is being added to (layered with)
is engaged. Newly frozen audio replaces the old: the previous, as can be done on the Superego:

Notes played Notes played

Notes frozen Notes frozen

Synth engine TIP Floating polyphony

The Superego creatively uses freeze The Superego can be used
for a flexible, experimental form of to produce the impression of
synthesis. It can be set to follow your floating, trailing polyphony
playing, freezing each new note and by using Auto mode with a
gliding to it from the old. It can also high Gliss (glide) setting. The
layer multiple moments on top of old frozen audio will take
each other for a more complex drone. some time to be replaced by
The Superego+ adds a full effects the new, creating a shifting
section to transform the frozen audio soundscape that can be
into a moving soundscape. useful for creating chord-like
sounds with monophonic
instruments.

226
 TIP Choose your moment
While freeze pedals specialize in smooth,
seamless textures, it’s also possible to
achieve a fast, softened stutter (p.230).
By freezing the exact moment of a sharp
attack, audio with quick transitions, or
precise playing, you can get very short
micro-loops. Layering these with more
typical frozen sounds can produce dense
rhythmic ambience.
Sustain for all
Gamechanger Audio builds the PLUS Pedal
in a piano sustain enclosure – a nod to
the roots of this effect. A nice touch of the
Pedal Plus is how it stacks multiple freezes:
Pressing the footswitch freezes a new layer,
and the volume of that layer is set by how
far down you press. The result is a more
interactive, controllable way to freeze.

Natural feedback
A more dynamic, organic way to extend sustain
is found in the Digitech FreqOut. Rather than
freezing the input signal, it uses it to create clean The fades
feedback – a technique pioneered on the vin- A freeze is essentially a very, very short loop, with some pro-
tage BOSS DF-2 Super Feedbacker & Distortion. cessing applied to blur the edges. Some freezes use fades,
You can select intervals and have it harmonize while others use diffusion or run the sample through reverb.
with you, or have it accurately follow your input
pitch. Set the Onset (how slowly the feedback
comes in), and you have a natural bed of sustain Freeze
that tracks your playing.

Loop

TIP Casual drones

It can be a pure and soothing pleasure to improvise
alongside an infinitely frozen note or chord. The stable,
harmonious presence makes for a wonderful meditative
partner and a great environment to practice improvisation
or to casually explore new musical ideas.

TIP Sustain on command

One application of a freeze pedal is to
momentarily sustain your notes, like a
piano’s sustain pedal. This technique is
used by jazz guitarist Gilad Hekselman
for subtle accompaniment, as he sets
the volume at nine o’clock on his EHX
Freeze. Gilad is one of many who’ve
replaced the switch on the Freeze with a
silent switch, for even more subtlety.

227
COLORFUL STORYTELLING IN BOXES
Interview with Josh Scott, guitarist and founder of JHS Pedals

Josh first got into tinkering with electronics when
one of the footswitches of his BOSS pedal broke
sometime in 2006.
“I repaired it, and from that moment I was
fascinated. I loved those circuits and couldn’t stop
thinking about how they worked. From there I start-
ed changing parts to modify pedals, making them
sound different. I would change a value here and
there and started learning what each component
did to the sound of the effect — more bass, less
treble, different gain structure, etc. These experi-
ments eventually led me to build entire circuits from
scratch. I created original designs as I understood
more and more about how circuits worked.”
needs to carry a certain weight with it. It needs
to hold hands with the great designs of the past
while pointing to the future. I also want my pedals
to be simple. I want them to connect with the user
instantly. I never want to make something so compli-
cated that a person can’t be inspired in the first 60
seconds after plugging it in.”
To Josh, the components are the ingredients of
the cake.
“They are what gives your product its unique
flavor. We choose parts based on a lot of reasons,
mainly quality, low noise, design parameters, and
performance. The first guitar pedal was created
in 1962, and it used the components that were
available at the time. By 1970 the world of electronic
components had exploded because of new technol-
ogy. Guitar pedals have continued to become more
advanced too. We now have supercomputers in our
pockets and we see that reflected in effects as well.
We have amazing things to use today. Every pedal
builder has an unlimited ability to get their ideas on
the table. At JHS, we strive to keep the old technolo-
gy prevalent, but we want to mix it with the new.”
As he points out, Josh sees every pedal differ-
ently – and the smaller a circuit is, the more critical
every component is.
“If you change the value of one single part in
a Fuzz Face, it will be a completely different pedal.

Inspiration and ingredients

With regard to his philosophy for making pedals,
it’s very straightforward, as the first pedals Josh
produced were for himself.
“They were sounds I wanted to hear, things that
I couldn’t find anywhere. We have designed and
built many pedals over the last eleven years, but that
is still the primary motivating factor. It’s a beautiful
feeling to create a circuit that sounds perfect to my
ears. There is nothing like it. I assume that if I love a
JHS creation, others can also enjoy it.”
Having done improvements and modifications
to existing pedals, as well as collaborated with BOSS
on the JB-2 Angry Driver, Josh simply looks for
things he wants to make.
“I find inspiration in history and the people who
have done amazing things before me. I want my
products to tell a story and I want them to connect
to people on a deep level. To me, a new JHS pedal

18
Josh Scott founded JHS Pedals in 2007. Based in
Kansas, US, the company now employs 25 people,
and has more than 40 pedals in its product line. In
2015 JHS launched a line of pro audio 500 Series
devices, and the year after, Josh collaborated with
BOSS on the JB-2, an overdrive pedal combining
the BOSS BD-2 Blues Driver and the JHS Angry
Charlie in a single pedal. Josh is also behind (and
on camera in) the educational JHS Show, a weekly
YouTube show with millions of collective views.

If you change a value in a complex Josh is known for his openness

delay circuit it won’t be as noticeable.
I approach each project differently. I
don’t have a formula. If I’m getting the
sound I want, I don’t care if the part is
expensive or cheap, cool or boring.
The only thing that matters is if it gets
me where I want to go, sound-wise.”
Creations and companies
Of their many creations, Josh is most
proud of the Colour Box – an analog
preamp pedal true to the design and
schematics of vintage Neve circuitry.
with other brands in the business, his
interest in circuitry, and knowledge
about pedal history. This manifests in
the many YouTube videos JHS Pedals
puts out to educate and inspire other
music makers.
“I think we are in an absolutely
fantastic day and age for technology
to impact the landscape of effects.
The most notable trends and improve-
ments are in DSP. I have never played From prototype to finished Colour Box.
so many fantastic digital pedals that
inspire me as I have in the last few

“I am most proud of the Colour
Box. It will always hold a special place
for me because it was the first thing
we did that felt absolutely unique and
original. It is tough to do that in the
modern pedal age, and I am proud to
have brought a pedal to the market
that was so fresh and exciting!”
Josh notes that three pedals are
special to him, and almost a necessity.
“My board will always have a
Morning Glory, Klon, and an analog
delay like my Cub on it.”
“
years. Source Audio blows me away
with how accurate they recreate I have never played
analog sounds. Strymon is continuing
to make excellent new products that so many fantastic
push the boundaries of digital. Line 6 digital pedals that
is proving that they are still going to
inspire me as I have
innovate, and companies like Meris
are pushing every possible boundary! in the last few years.
“The people you see now, doing
exciting things, are the ones that
will stay around. In 2019 you have to
create new and exciting things. The
companies that do that will last.”

Hacking and circuit-bending

For those wanting to start making
pedals, Josh recommends learning
the basics first.
“Start with learning what compo-
nents do and things like soldering
and desoldering. After this, mod
some pedals, change parts out, and
experiment. One thing that has always
pushed me is studying electronics
textbooks for inspiration. My biggest
advice is to go slow and make a
point to understand things. I rushed
through so much in my early days, and
had to go back and learn things that I
should have learned in the beginning.
Also, get a quality soldering iron. Pay
the extra money. Trust me.”
For adventurous circuit-benders,
Josh believes the Big Muff is the easi-
est pedal to start with.
“Start by simply connecting the
input and output of the circuit through
a simple potentiometer. From there
work the points further into the circuit
until you hear new things. Add tog-
gles and have fun!”

19
Octave fuzz
Octave is a diverse subgroup of fuzzes
that blend in raw analog pitch-shifting
for an even richer harmonic spectrum.
Up
Usually, octave fuzz refers to octave
up, a slightly off-pitch kind of analog
octave produced by flipping up the
negative half of a signal’s waveform
(p. 328). Octave fuzzes don’t always
have pronounced octaves that jump
out at you; in some cases they blend
in to produce a richer fuzz with a
unique response. They have a pene-
trating, clangy character often used
for solos or licks, that gets spongier
the more notes you play.
When using octave fuzz with a
guitar, playing above the 12th fret will
make the octave more pronounced.
TIP Squelch it
It can be interesting to toy with
octave fuzzes and how they
respond to chords and intervals,
especially for noisy or chaotic
music. Play single notes for mel-
odies and parts, but sprinkle in
some absurd chords for blasts of
dissonant sagging harmonics.
104
Octavia
The first and most well-known octave
fuzz is the Octavia (1967) by Roger
Mayer, which shared some common
circuitry with the original wave of
fuzzes. It retains that classic fuzz
flavor, but with a ringing octave that
becomes especially squishy and con-
gealed when playing multiple notes.
Dialing the boost control all the way
back would produce an almost clean
octave that was a bit out of tune. It’s
available today in both the famous
“rocket enclosure” and a more stan-
dard stompbox.
The Fulltone
Octafuzz in-
cludes a switch
to remove the
octave, revealing
classic fuzz that also
works well for drive. The Dunlop Siete
Santos pairs an Octavia fuzz with a
7-band EQ – the signature combo of
Billy Gibbons. Another combo is the
Dr. No Colossus, which pairs Octavia
with a dirty boost.
Super Fuzz
Super Fuzz is a big, menacing mass
of fuzzy octaves. It has both upper
and (slight) lower octaves mixed in,
and a heavy bottom end. The original
by Univox was released in 1968, and
other popular Japanese fuzzes of this
type include the Ibanez Standard Fuzz
and Ace Tone FM-2.
A key aspect of the Super Fuzz
was a Tone switch that would scoop
out some of the midrange, focusing
the signal on the octave-rich highs
and lows. The Creepy Fingers Harakiri
uses a Scoop knob to fine-tune this
feature. The smallsound/bigsound
buzzz is a heavily-modified take on
the Super Fuzz that includes voltage
starving and the ability to pop the
octaves in and out with a secondary
footswitch.
Scrambler
The Ampeg Scrambler (1969) was a
versatile and rough-sounding octave
fuzz, with clean blend and a Texture
knob that increased both gain and
octave presence simultaneously. The
clean blend made it a favorite for
bassists.
The Rabbit Hole FX Chaosmic has
a Chaos control that pushes the circuit
into wilder territory, introducing inter-
modulating octaves at its extreme.
A flexible option is the Damnation
Audio Ugly Twin, which allows the
octave to be used independently or
bypassed. The influential Green Ring-
er analog octave by Dan Armstrong
is said to be based on the Scrambler
circuit, and the Ugly Twin allows you
to access that sound.
Tone Machine
The Foxx Tone Machine (1971) had a
bypassable octave, allowing it to func-
tion like two different fuzzes. A couple
of other things to note about the Tone
Machine: it was created by a 19-year
old, and it’s covered in carpeting.
The Danelectro French Toast is
one option for Tone Machine fuzz,
produced by its original inventor
Steve Ridinger, who had purchased
Danelectro. For a bit more flexibility,
the Experience by Prescription Elec-
tronics has three modes, with a swell
control to set the onset of the octave.
TIP Digital octave fuzz
While using digital octaves isn’t
‘octave fuzz’ in the traditional
sense, it can have its advantages.
What makes analog octaves
uniquely suited to fuzz is their
natural quirks – the flawed
tracking of sub-octaves and
the imperfect pitch of upper
octaves. Digital octaves allow
you to get a more stable octave
fuzz, especially useful for octave
down to get low-end rumble
without sounding like a synth.
Down
Sub-octave fuzzes offer something a
little different, using analog oscillators
that track the input pitch and drop it
one or two octaves down (p. 328).
The MXR Blue Box (1974) was the
first effect of this type and remains
popular. It drops the pitch two oc-
taves, with a pronounced synth-like
character, and interesting tracking
glitches that sound like rolling blips.
The Blend knob allows you to use
either the fuzz or sub-octave on their
own, or set the balance between
them. If the Blue Box still tracks too
well for you, an even more ragged
option is the Mid-Fi Glitch Computer,
with saggier, higher-gain fuzz and a
more prominent malfunction.
Oscillating octaves
To get weird with octave fuzz,
the Octavella by Lastgasp Art
Laboratories has a feedback control
for the octave. Turning it up intro-
duces screaming, whistling, and
high-frequency sustain, as the feed-
back only applies to the octave.
A bit of both
The Emma Okto Nøjs combines a
clean, stable sub-octave with a classic
octave fuzz. An additional square
wave sub-fuzz can be blended in
as well. Balancing these elements
produces a number of raging voices,
similar to a distorted synth.
Fender Blender
Another vintage octave fuzz is the
Fender Blender (1969), with a rich,
splatty nature and a sustain control.
A notable user is Kevin Shields of
My Bloody Valentine.
TIP DIY octave fuzz
You can dial in your own custom
flavor of octave (up) fuzz by com-
bining an analog octave up like
the EarthQuaker Tentacle with
another fuzz pedal. This allows
you to experiment with different
voicings and pedal order.
TIP Destruction synth
Because octave fuzzes add addi-
tional harmonics and harmonies
to your signal, they can give an
instrument a sound reminiscent
of a synthesizer. Sub-octave
fuzzes immediately produce this
feeling, but upper octaves work
too. Try feeding an octave fuzz
into reverb and modulation to
produce strange synth pads.
105
NOISE GATE
The function of a noise gate is to
reduce or eliminate unwanted noise,
like the hum from a single-coil pickup
or a long pedal chain. Noise gates
mute a signal until a note is detected,
at which point the gate opens and
sound can pass through. They are
generally used as utilities, but can
also be surprisingly creative building
blocks.
Noise
Audio Gate open
Gate vs. Suppressor
A classic hard gate will abruptly close
as soon as the input signal goes
below the threshold, immediately
muting it. This approach is aggressive
and far from transparent, but it can
handle extreme levels of noise and
also has some useful creative appli-
cations. Most newer pedals feature a
release control that eases back to a
muted state like the natural decay of
an instrument.
Release
Threshold
Noise suppressors are designed to
have a more natural feel, targeting
troublesome noises and attenuating
rather than muting everything com-
pletely. This can make for a smoother
experience that interferes less with
playing dynamics. The ISP Decimator
is known for producing transparent
noise suppression, and another op-
tion is the BOSS NS-2 with a variable
decay control and a Mute mode.

Noise management The dark side of noise management Placement

Not all noisy situations call for a
noise gate. It’s worth identifying
where noise is coming from and if
something else can be done about
it. One common source of noise is
daisy-chaining pedals instead of
using isolated power (p. 45).
It’s important to note that there can be tradeoffs that come with any pedal The general rule is to place a noise
that manages noise. They are designed to interfere and react, constantly gate directly after the noise source,
muting or adjusting a signal. Some find that gates feel unnatural to cutting it out before it gets ampli-
use and can cut off the attack of a note, while others find that noise fied or interferes with other pedals.
suppressors change the fundamental tone of the signal. It will depend If the problem is the instrument
on the quality of the pedal, as well as the playing and preferences of the itself, put the noise gate at the
musician. beginning of the chain.

TIP Tracking assistance

Threshold Release/Decay
Sets how loud the input signal must Controls how quickly the gate will
be to open the gate. If set too low, the close after the input signal goes
noise itself will keep the gate open. below the threshold. Shorter release
The threshold should be set just high times may affect the natural decay of
enough so that the noise disappears. the instrument (cutting off some of the
This will help preserve the natural note) but with longer release times
dynamics of the instrument. the unwanted noise may become
noticeable. Finding the right balance
is the key.
Using a noise gate can lead to
significantly improved tracking
with something like a synth ped-
al. Each note is cleanly separated
from others by silence, making
both the pitch and attack of a
new note much
easier to detect.
SYNTH
PEDAL

162
Send and Return
FUZZ OVER-
DRIVE TIP Eye of the storm
This useful feature makes A noise gate with a send and
it possible to separate the return loop can be a fun way to
noise from the instrument alternate between calm and cha-
that opens the gate. By os. Try placing unwieldy elements
placing noisy pedals (like like oscillating fuzz in the send
overdrive or fuzz) in the and return of a noise gate. When
send and return, the noise you play, all the madness will be
gate will be listening to a instantly released, like opening Effect gate
clean, quiet signal at the Pandora’s Box. Stop playing, and The ZVEX Loop Gate features a Mix mode that gates
input, which is used to peace is restored. This is a good the send and return, but not the input signal. This
open and close the gate. way to take elements that would allows for dynamically-activated effects. The clean
This can dramatically im- normally dominate and take over signal passes through the Loop Gate unaffected,
prove responsiveness and completely – like drones, feed- and when it’s louder than the threshold, the send/
help retain a natural feel back, and oscillating fuzz – and return effects are output as well. Release can be
while using a noise gate. use them rhythmically. used to have the effects fade out, or abruptly disap-
pear once the gate closes again.

De-humming
Targeting specific frequencies The Hum Debugger uses
An EQ (p. 178) is another way to a unique approach and
target and remove troublesome is neither a noise gate or
frequencies. The Hotone Gate suppressor. It specifically
combines both, with an advanced targets the noisy hum of
Cut mode that allows you to apply a single-coil pickup and
adjustable low and high cut filters extracts it. This won’t help
in addition to the gate. This can be with more severe noise
useful for limiting noise while the sources, but it doesn’t
Rumble Hum gate is open. tamper with the dynamics
of the instrument.

Multi-band gate Distortion management

The TC Electronic Sentry uses a multi- Noise gates are common in metal and other forms
band approach that gates troublesome of high-gain music, especially when multiple distor-
frequencies while leaving the rest alone. tion pedals are used in series. That’s because each
This can produce more natural-feeling pedal will further amplify any existing noise, and
noise removal. Besides the Gate and certain troublesome frequencies might be boosted
Hiss modes, users can design a custom depending on the voicing of the distortion.
Toneprint that targets the specific noisy
frequencies of their instrument or setup.
The MXR Smartgate uses a similar TIP DIY gated reverb
approach, but with a three-position A noise gate can be used to design your own
switch that targets common problem gated reverb. Simply place a reverb pedal in
areas: Hiss is helpful for things like vocal the send and return of a noise gate and adjust
mics or keyboards, Mid will clean up the settings to taste. The release control of the
distortion or pickup hum, and Full focuses gate can be used for a natural decay, or abrupt
on issues like ground noise and electrical disappearance of the reverb.
interference.

163
THE SIGNAL CHAIN AS THE INSTRUMENT
Interview with Anne Sulikowski, sound designer, guitarist, demo artist
“I remember working on an album five years ago,
sitting in front of my computer, adding after-effects
to a synth recording I was about to release. The
DAW I had been using was equipped with endless
sonic possibilities, all available to me through the
simple act of clicking, but somehow I just became
completely bored with it. All of a sudden I was no
longer inspired or connected. With all this ‘digital
automation’ at my fingertips, it felt as though I was
simply witnessing the process, and at times ques-
tioned if my presence was needed at all.”
Although guitar, at that time, was just an occa-
sional addendum to Anne’s digital explorations, she
decided to shift her musical attention to strings.
“Playing strings is immediate and requires you
to be present in the moment. It was new territory
for me and that was exciting. I finally felt like I was
creating sounds rather than just arranging them. The
sounds became my own, which fueled my creativity.
“I had a BOSS DD-20 at the time, my only pedal,
and started to explore long delay times, which
allowed me to build beautifully-textured drones. I
quickly fell in love with guitar pedals and all their
possibilities. It was a whole new world to me, and
within months I had happily replaced my DAW with
chains of pedals. I began to see each pedal as a
unique instrument in itself, and in a way, my signal
chain became the main instrument in my creative
process – the instruments feeding the chain became
secondary.”
228
+200 pedals, presence, and emotional drive
Today Anne has over 200 pedals, and more are
always on the way.
“I use and love each and every one of them. I
switch the pedals in my signal chain often, some-
times several times daily, so I don’t even have a
pedalboard, I use a tabletop. I have a pretty huge
collection of reverbs and delays, my favorite effects,
and quite a lot of modulation pedals. I have a love
for boutique pedals, and really enjoy it when a new
way to use an effect becomes available to me.
“So many companies are doing amazing things
with gear. I adore the pedals from Dr. Scientist
Sounds, Empress Effects, AC Noises, Chase Bliss
Audio, EarthQuaker Devices, Dwarfcraft Devices,
and Old Blood Noise Endeavors. I have a real soft
spot for Alexander Pedals – I own almost all of them,
and I always have at least one of them doing some-
thing wonderful in my chain. They make remarkable
pedals that do so many things – if you haven’t tried
one, do yourself a favor and plug one in.”
When it comes to music creation, she always
thinks of a signal chain first. In every sonic situation,
the pedals are the focus. The rest, including the
input instrument, is always secondary.
“Sometimes the chains are carefully planned,
and sometimes the ‘what would happen if I shoved
this between these or before that?’ attitude takes
over and the chain becomes an experiment in itself.
Ignoring traditional recommendations or rules for
pedal chain orders has resulted in many happy
accidents for me.
“My approach to composing has become quite
spontaneous. For me, improvising is the easiest way
to achieve presence and emotional drive. I rarely
use a looper – instead, I rely on long delay times,
which I feel sound less automated. Using long
delay times and stacking delays is an amazing way
to build a textured ambient atmosphere, one that
changes ever so slightly as the phrases repeat and
decay. Long delay times are so beautiful.”
Ambient wonderlands and drone weapons
Anne enjoys using glitch, stutter, and granular
effects with a synthesizer.
“The sustained synth tones allow the pedals to
work their charm. The Dwarfcraft Devices Grazer
and Red Panda’s Particle Delay sound beyond amaz-
ing, even on toy Casios! Modulation pedals are also
a wonderful way to process synths. Hungry Robot
Pedals’ Wardenclyffe is a beautiful lo-fi ambient
modulator, allowing you to achieve these magical
lo-fi textures similar to early audio recordings – it has
the most mesmerizing effect on keys.
“I often find myself processing synths with pitch
shifters. The Moment Machine from Cooper FX and
the Red Panda Raster are the most creative pitch
shifters I’ve ever used.
“My favorite effect to use with the guitar is
a delay/reverb combo. It’s wonderful when this
Anne’s music - with most of it available as a free
download - is found on many platforms under
the name Building Castles Out Of Matchsticks.
All tracks that she’s recorded since 2014 have
been done with a focus on pedals.
“My recent release, Parasomnia from the
DEADTAPES label, has a track called ‘Lucidity’
which showcases the AMA from AC Noises. It’s
a reverb fused with a bitcrusher. Sometimes
destroying your tone is beautiful, and that track
really shows what it’s capable of.”
Building Castles Out Of Matchsticks is the project
name of Anne Sulikowski, originally from Poland
and now based in Ontario, Canada. Using guitar,
loops, synths, and pedals, she creates unique
sonic landscapes and illustrative textured drones
is available in one pedal. The SKY 5000 from
Alexander Pedals is a powerful drone weapon. It
has three delay types and gives you reverberated
overtones either an octave up or an octave down.
The ‘anti-shimmer’ octave-down effect is incredible.
The Avalanche Run from EarthQuaker Devices is an
ambient wonderland, and having the option of a re-
verse delay in there is a total treat. The MOOD from
Chase Bliss Audio makes for one awesome sonic
experience – having a micro looper integrated with
delay/reverb provides hours of experimentation and
knob-twiddling. If I were to select a favorite reverb
for guitar, though, it would be the Atmosphere
from Dr. Scientist. That pedal is capable of so many
things.”
that emerge through her cinematic sounds. As a
composer, she paints with tone, recording endless
imaginary soundtracks designed to share her
daydreams with the listeners. Anne also works as
a demo artist, showcasing guitar pedals on her
Breaking the rules
As a demo artist, Anne explores a broad variety of
guitar pedals on a continuous basis while making
her videos.
“Every pedal has a story, filled with dreams and
secrets. I approach each pedal as an instrument in
itself, making the pedal the focus rather than the
sounds or riffs being processed. I think of a theme
specific to the pedal and then I run with it. I look at
my demos as abstract films – ‘Mini-Movies’. Combin-
ing video footage with the pedal demonstration has
become a focus for my demo work. That approach
works really well for me.”
social media channels, and as an abstract painter
and photographer. While her music is available on
Bandcamp, she has also released her albums as
cassettes on Rusted Tone Recordings, Histamine
Tapes, and Do You Dream of Noise Records.
Anne believes that watching demos from a vari-
ety of artists is the best way to decide which pedal
will meet your sonic needs.
“Direct questions to the builder! Most love to
discuss their creations with the musicians who use
them.
“The best tip (one I personally follow) is to ignore
all the pedalboard rules you’ve previously read
about and take it from there. Seriously, just throw it
all out the window. It’s probably holding you back
from some pretty amazing sounds, and you are
better off without all these restrictions. Don’t worry
about where you put the modulation. Place it at the
end of the chain, even if you’ve read that it doesn’t
belong there. Place your fuzz in between two
reverbs. Put a delay at the beginning of the chain
as well as one at the end. Rules are meant to be
broken. Have fun breaking them – I always do.”
“ Every pedal has a story,
filled with dreams and
secrets. I approach each
pedal as an instrument in
itself, making the pedal the
focus rather than the sounds
or riffs being processed.
229
Filter control
The most common way to control a filter, whether it be with a synth or any other
instrument, is with an envelope. There are two common ways to generate an enve-
lope: dynamically, by following the amplitude of the input signal, or by triggering it.
Following
This is what you find in an envelope
filter. The envelope is variable, created
by an envelope follower that listens to
the input. The louder the input signal,
the more the filter will move. This
produces a dynamic form of filtering
that feels natural and reacts to how
you play.
Envelope followers typically
respond in two ways: speed and
intensity. Gentle playing will be darker
and slower (with a low-pass filter),
while digging in will be snappier and
more open.
The dynamics of the instrument are
being “read” and the values then
control the cutoff of the filter.
TIP Envelope tampering
Because of an envelope follow-
er’s dynamic nature, it will react
to any movement or changes in
volume at the input. This means
that placing a tremolo before an
envelope filter, for example, will
have a similar effect to a modu-
lated filter.
170
Speed/Attack/Decay
Sets how quickly the envelope will
respond to the input. Some filters use
one knob for this, while others allow
control over both the rise (attack) and
fall (decay) stages. This can be useful
for something like a swelling resonant
bubble – a slow attack that “pops” and
disappears at its peak because of a
short decay.
Sensitivity/Threshold
Sets the volume the input must reach
before the envelope will start to affect
the filter. It could be set high, so that
only loud notes get a response.
Depth/Width/Range
Controls how much influence the
envelope will have over the filter. Even
if the sensitivity is very high, so that
every note gets a response, the depth
could be kept quite low so the filter
sweeps over a small range.
Send and return
A send and return is a useful
Slow attack, Fast attack, workaround that allows you
fast decay. The slow decay. to place dynamic-tampering
filter opens slow- The filter opens effects before a filter. A fuzz,
er meaning the instantly, and for example, will compress
note “swells in”. closes slower. your signal and produce less
satisfying and dynamic envelope
control. Putting it in the effects
loop means that you still get fuzz
before the filter, but your clean
signal is used to create the enve-
lope. The Lovetone Meatball is a
High threshold: Lower threshold: vintage favorite that had this op-
The filter responds The filter responds tion, and the 3Leaf Chromatron
to loud notes only. to more notes. is a modern option.
RANGE
RANGE
The Discumbobulator from
Emma Electronic labels the
three controls defined above
as Attack, Sense, and Width.
Pitch following
The Pigtronix Resotron has a
pitch-following mode similar to
the key tracking feature found on
many synths. Instead of following
the input dynamics, it follows the
pitch of the notes – the higher the
pitch, the more the filter will open
up.
 Sweep Triggered
An envelope can be used to sweep in either direc-
tion, opening up a filter or closing it. An upward Triggered envelopes are what you
sweep is most common, because – when used with find on a synth, where the enve-
low-pass – it means that the filter will open up as you lope is manually designed and the
DOWN UP
play, letting more high frequencies through. This attack and decay are consistent
can be used for filter swells, or the funky wubs many each time. Whenever a key is
associate with envelope filters. pressed, the envelope resets.
Downward sweeps are a bit more uncharted be-
cause a low-pass filter will close as you play, damp- The Dwarfcraft ARF uses a mo-
ing your notes. However, they can also be a bit of mentary footswitch to perform
a secret weapon – downward sweeps are good for this function. The footswitch itself
snappy, laser-like sounds, as the attack of your note triggers the envelope, and acts
sneaks through before the filter sucks it up. When as the sustain stage – the filter will
used with a high-pass filter, you can get a dynamic stay open as long as it’s held down.
time-traveling effect: gentle notes will sound thin This wouldn’t be possible with an
and vintage, but playing harder will bring the low envelope-following filter, which
end back in and suddenly sound modern. would decay along with your note.
For a bit of both, the Aguilar Filter Twin uses two An external signal can also be used
identical filters sweeping in either direction. Both to trigger the envelope – to sync
filter has its own speed control, and a mix knob up with a kick drum, for example.
decides which one is more emphasized.
Other pedals that accept external
triggering are the Pigtronix
Resotron and the Death By Audio
Deep Animation. The Subdecay
Prometheus also has the option
to trigger a one-shot LFO with the
input signal, for more precise and
repeatable results than you would
get with an envelope follower, and
more shaping options than simple
attack and decay.

Fusion and the Mu-Tron III

The wah pedal was invented to
simulate the effect of a trumpeter
moving a mute in the bell of their
horn – and interestingly, it was orig-
inally meant for horn players. Miles
Photo: Jordi Vidal / Getty Images
So Brecker went on to use a Mu-Tron
lll envelope filter as an auto-wah. TIP Fuzzy envelopes
The Mu-Tron III was the first pedal When an envelope moves
of this kind, and is still sought after fast enough, it can produce
for its signature sound and intuitive a rippling, bubbling form of

Davis and Randy Brecker both used
wah pedals, but talking about effects
in Downbeat in 1974 Brecker said:
“You have to really use your feet and
both hands at the same time. It’s a
challenge to get it together.”
controls. Randy and his saxophonist dynamic distortion, the result of
brother Michael set fire to fusion the envelope retriggering again
with wah on their Brecker Brothers and again. The envelope is still
albums, not least of all on the live controlling the filter, so adjusting
extravaganza of Heavy Metal Be-Bob the filter parameters will change
from 1978. the texture of the distortion.

171
 PEDAL CRUSH
The definitive book on stompbox effects
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also dives deep into techniques, tips and tricks,
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“Effects pedals are to the guitarist what paint
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Beyond the effects boxes, the book also contains 50
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Featured artists include Amulets, Andy Martin,
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(Tera Melos), Ruban Nielson (Unknown Mortal Orchestra),
Sarah Lipstate (Noveller), Scott Hansen (Tycho),
Simon the Magpie, and Anders Trentemøller.
Pedal designer interviews include Alexander Pedals,
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EarthQuaker Devices, Electro-Harmonix, Empress Effects,
Fairfield Circuitry, Gamechanger Audio, Glou-Glou,
Hologram Electronics, JHS Pedals, Keeley Electronics,
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