Editing Effects unit (section)

==History==
===Studio effects and early stand-alone units===
The earliest sound effects were strictly used in studio productions. Microphones placed in [[echo chamber]]s with specially designed acoustic properties simulated the sound of live performances in different environments. In the mid to late 1940s, [[audio engineer|recording engineers]] and experimental musicians such as [[Les Paul]] began manipulating [[Reel-to-reel audio tape recording|reel-to-reel recording tape]] to create echo effects and unusual, futuristic sounds.<ref>{{cite web|last=Tianen|first=Dave|url=https://www.pbs.org/wnet/americanmasters/episodes/les-paul/chasing-sound/100/|date=13 August 2009|title=The Wizard Of Waukesha|website=[[PBS]] |access-date=13 September 2010}}</ref><ref>{{Cite book|last=Roads|first=Curtis|title=The Computer Music Tutorial|url=https://books.google.com/books?id=nZ-TetwzVcIC|year=1996|publisher=MIT Press|pages=437, 476|isbn=9780262680820}}</ref> In 1941, [[DeArmond]] released the Model 601 Tremolo Control,<ref>Presto Music Times, August 1941</ref> the first commercially available stand-alone effects unit. This device produced a tremolo by passing an instrument's electrical signal through a water-based electrolytic fluid.<ref>{{cite web|last=Chester|first=Paul|url=http://www.paulvernonchester.com/VintagePickups.htm|archive-url=https://web.archive.org/web/20111009131601/http://www.paulvernonchester.com/VintagePickups.htm|url-status=dead|archive-date=9 October 2011|title=Acoustic Guitar – Early Pickups|access-date=3 January 2011}}</ref><!--This source gives 1948 as the release date for Trem-Trol, the successor to the Model 601 and identifies it as "the first ''widely available'' external effects unit."--> Most stand-alone effects of the 1950s and early 1960s such as the Gibson GA-VI vibrato unit and the Fender reverb box, were expensive and impractical, requiring bulky [[transformer]]s and high [[voltage]]s. The original stand-alone units were not especially in-demand as many effects came built into amplifiers. The first popular stand-alone was the 1958 [[Watkins Copicat]], a relatively portable [[Delay (audio effect)|tape echo effect]] made famous by the British band, [[The Shadows]].<ref>Hunter, D (2004). [https://books.google.com/books?id=7DjYrk7Vap4C ''Guitar Effects Pedals: The Practical Handbook'']. Hal Leonard. p. 11–12.</ref><ref>[http://www.vintagehofner.co.uk/britamps/watkins/copicat.html "THE WATKINS/WEM COPICAT"] 13 September 2010</ref>

===Amplifiers===
[[File:comboamp.jpg|thumb|left|A [[Fender amplifier#Early solid-state models|Fender Vibrolux]] Reverb amp and a ROSS amp]]

Effects built into [[guitar amplifier#Vacuum tube|tube-powered guitar amplifiers]] were the first effects that musicians used regularly outside the studio. From the late 1940s onward, the [[Gibson Brands|Gibson]] began including [[vibrato]] circuits in [[combo amplifier]]s that incorporated one or more speakers with the amp. The 1950 Ray Butts EchoSonic amp was the first to feature a [[tape echo]],<ref>{{Cite web|title=All About... Ray Butts|url=https://guitar.com/guides/essential-guide/ray-butts/|date=2018-04-23|website=Guitar.com {{!}} All Things Guitar|language=en-GB|access-date=2020-05-24}}</ref> which quickly became popular with guitarists such as [[Chet Atkins]], [[Carl Perkins]], [[Scotty Moore]], [[Luther Perkins]], and [[Roy Orbison]].<ref>{{Cite web|title=10 Things You Didn't Know About Scotty Moore|url=https://www.americanbluesscene.com/10-things-you-didnt-know-about-scotty-moore/|date=2016-12-28|website=American Blues Scene|language=en-US|access-date=2020-05-24}}</ref> Both [[Premier]] and Gibson built amplifiers with [[spring reverb]]. [[Fender Musical Instruments Corporation|Fender]] began manufacturing the tremolo amps Tremolux in 1955 and Vibrolux in 1956.<ref>Hunter, D (2004). [https://books.google.com/books?id=7DjYrk7Vap4C ''Guitar Effects Pedals: The Practical Handbook'']. Hal Leonard. p.&nbsp;11–13.</ref>

[[Distortion (music)|Distortion]] was not an effect originally intended by amplifier manufacturers, but could often easily be achieved by ''overdriving'' the power supply in early [[tube amplifier]]s. In the 1950s, guitarists began deliberately increasing [[Gain (electronics)|gain]] beyond its intended levels to achieve ''warm'' distorted sounds.<ref name="rubin61">{{Cite book|last1=Dave|first1=Rubin|title=Inside the Blues, 1942 to 1982|url=https://books.google.com/books?id=0amzAiwBmOcC|year=2007|publisher=Hal Leonard|page=61|isbn=9781423416661}}</ref> Among the first musicians to experiment with distortion were [[Willie Johnson (guitarist)|Willie Johnson]] of [[Howlin' Wolf]],<ref name="rubin61"/> [[Goree Carter]],<ref name="palmer14">[[Robert Palmer (American writer)|Robert Palmer]], "Church of the Sonic Guitar", pp.&nbsp;13–38 in Anthony DeCurtis, ''Present Tense'', [[Duke University Press]], 1992, p. 19. {{ISBN|0-8223-1265-4}}.</ref> [[Joe Hill Louis]],<ref name="decurtis_phillips">{{cite book|last=DeCurtis|first=Anthony|title=Present Tense: Rock & Roll and Culture|year=1992|publisher=[[Duke University Press]]|location=Durham, N.C.|isbn=0-8223-1265-4|url=https://books.google.com/books?id=bsT3RQ9e58kC|edition=4. print.|quote=His first venture, the Phillips label, issued only one known release, and it was one of the loudest, most overdriven, and distorted guitar stomps ever recorded, "Boogie in the Park" by Memphis one-man-band Joe Hill Louis, who cranked his guitar while sitting and banging at a rudimentary drum kit.}}</ref><ref name="rolling_memphis">{{cite book|last=Miller|first=Jim|title=The Rolling Stone illustrated history of rock & roll|year=1980|publisher=[[Rolling Stone]]|location=New York|isbn=0-394-51322-3|url=https://archive.org/details/rollingstoneillu00mill|url-access=registration|access-date=5 July 2012|quote=Black country bluesmen made raw, heavily amplified boogie records of their own, especially in Memphis, where guitarists like Joe Hill Louis, Willie Johnson (with the early Howlin' Wolf band) and Pat Hare (with Little Junior Parker) played driving rhythms and scorching, distorted solos that might be counted the distant ancestors of heavy metal.}}</ref> [[Ike Turner]],<ref>{{Cite book|last=Shepard|first=John|title=Continuum Encyclopedia of Popular Music of the World|publisher=Continuum International|series=Performance and Production|volume=II|year=2003|page=286|isbn=9780826463227|url=https://books.google.com/books?id=pJvzEzjahkQC&pg=PA286}}</ref> [[Guitar Slim]],<ref>{{cite book|last=Aswell|first=Tom|title=Louisiana Rocks! The True Genesis of Rock & Roll|year=2010|publisher=[[Pelican Publishing Company]]|location=[[Gretna, Louisiana]]|isbn=978-1-58980-677-1|pages=61–5|url=https://books.google.com/books?id=BSHTGsnI8skC&pg=PA61}}</ref> and [[Chuck Berry]].<ref>{{Cite book|last=Collis|first=John|title=Chuck Berry: The Biography|publisher=Aurum|year=2002|page=38|isbn=9781854108739|url=https://books.google.com/books?id=0AgUAQAAIAAJ}}</ref>

In 1954, [[Pat Hare]] produced heavily distorted [[power chord]]s for several recordings (including [[James Cotton]]'s "Cotton Crop Blues"), creating "a grittier, nastier, more ferocious electric guitar sound,"<ref name="palmer">[[Robert Palmer (American writer)|Robert Palmer]], "Church of the Sonic Guitar", pp.&nbsp;13–38 in Anthony DeCurtis, ''Present Tense'', [[Duke University Press]], 1992, pp.&nbsp;24–27. {{ISBN|0-8223-1265-4}}.</ref> accomplished by turning the volume knob on his amplifier "all the way to the right until the speaker was screaming."<ref>{{cite web|url={{AllMusic|class=artist|id=p84274/biography|pure_url=yes}}|title=Pat Hare|author=Koda, Cub|publisher=[[AllMusic]]|access-date=25 January 2010}}</ref> Link Wray's 1958 recording "[[Rumble (instrumental)|Rumble]]" inspired young musicians such as [[Pete Townshend]] of [[The Who]], [[Jimmy Page]] of [[Led Zeppelin]], [[Jeff Beck]], [[Dave Davies]] of [[The Kinks]], and [[Neil Young]] to explore distortion by various means.<ref>{{Cite book|last1=Gracyk|first1=Theodore|title=Rhythm and Noise: An Aesthetics of Rock|url=https://books.google.com/books?id=HUB7Wu-Kn1QC|year=1996|publisher=I.B.Tauris|pages=121–123|isbn=9781860640902}}</ref> In 1966, the British company [[Marshall Amplification]] began producing the Marshall 1963, a guitar amplifier capable of producing the distorted ''crunch'' that rock musicians were starting to seek.<ref>{{Cite book|last1=A. J.|first1=Millard|title=The Electric Guitar: A History of an American Icon|url=https://books.google.com/books?id=zUlt7Q71_ssC|year=2004|publisher=JHU Press|page=136|isbn=9780801878626}}</ref><ref>{{Cite book|last=Doyle|first=Michael|title=The History of Marshall: The Illustrated Story of "The Sound of Rock"|publisher=Hal Leonard Corporation|year=1993|pages=28–33|url=https://books.google.com/books?id=E90tMBs9_FEC&pg=PA20|isbn=0-7935-2509-8}}</ref>

===Stompboxes===
[[File:FuzzFace Effect Pedal.jpg|thumb|left|170px|The [[Fuzz Face]] effect pedal]]

The electronic [[transistor]] finally made it possible to fit effects circuitry into highly portable stompbox units. Transistors replaced [[vacuum tubes]], allowing for much more compact formats and greater stability. The first transistorized guitar effect was the 1962 Maestro Fuzz Tone pedal, which became a sensation after its use in the 1965 Rolling Stones hit "[[(I Can't Get No) Satisfaction]]".<ref>{{cite web|title=The Art of the Stompbox|year=2010|url=http://www.museumofmakingmusic.org/stompbox-birth|access-date=13 September 2010}}</ref><ref>{{cite web|title=FuzzEffect: The Fuzz Story and Photos|url=http://www.fuzzeffect.com/|access-date=13 September 2010}}</ref>

Warwick Electronics manufactured the first [[wah-wah pedal]],<ref>{{cite patent |title=Foot controlled continuously variable preference circuit for musical instruments |number=3530224 |country=US}}</ref> The Clyde McCoy, in 1967 and that same year Roger Mayer developed the first [[octave effect]], which Jimi Hendrix named "Octavio".<ref>https://www.roger-mayer.co.uk/octavia.htm{{self-published inline|date=May 2021}}</ref> Upon first hearing the Octavia, Hendrix reportedly rushed back to the studio and immediately used it to record the guitar solos on "[[Purple Haze]]" and "[[Fire (The Jimi Hendrix Experience song)|Fire]]".<ref>{{Cite book|last1=Molenda|first1=Mike|last2=Pau|first2=Les|title=The Guitar Player Book: 40 Years of Interviews, Gear, and Lessons from the World's Most Celebrated Guitar Magazine|url=https://books.google.com/books?id=zu3owmYkpZ0C|year=2007|publisher=Hal Leonard|page=222|isbn=9780879307820}}</ref> In 1968, [[Univox]] began marketing Shin-ei's [[Uni-Vibe]] pedal, an effect designed by noted audio engineer Fumio Mieda that mimicked the odd [[phase shift]] and [[Chorus effect|chorus]] effects of the [[Leslie rotating speaker]]s used in [[Hammond organ]]s. The pedals soon became favorite effects of guitarists [[Jimi Hendrix]] and [[Robin Trower]]. In 1976, [[Roland Corporation|Roland]] subsidiary [[Boss Corporation]] released the CE-1 Chorus Ensemble, the first [[chorus pedal]], created by taking a chorus circuit from an [[amplifier]] and putting it into a [[stompbox]].<ref name="reverb">[https://reverb.com/uk/news/tribute-ikutaro-kakehashi-and-rolands-impact-on-music Tribute: Ikutaro Kakehashi and Roland's Impact on Music], [[Reverb.com]]</ref> By the mid-1970s a variety of solid-state effects pedals including [[flanger]]s, chorus pedals, [[ring modulator]]s and [[phase shifter]]s were available.<ref>Hunter, D (2004). [https://books.google.com/books?id=7DjYrk7Vap4C ''Guitar Effects Pedals: The Practical Handbook'']. Hal Leonard. p.&nbsp;11–15.</ref><ref>{{cite journal|author=Thomas E. Oberheim|title=A Ring Modulator Device for the Performing Musician|journal=AES Convention |volume=38|date=May 1970|page=708}}</ref>

[[File:BossFX.JPG|thumb|right|200px|Several [[Boss Corporation|Boss]] pedals connected together]]
In the 1980s, digital [[#Rackmounts|rackmount]] units began replacing stompboxes as the effects format of choice. Often musicians would record ''dry'', unaltered tracks in the studio and effects would be added in post-production.{{citation needed|date=June 2023}} The success of [[Nirvana (band)|Nirvana]]'s 1991 album ''[[Nevermind]]'' helped to re-ignite interest in stompboxes. Some [[grunge]] guitarists would chain several fuzz pedals together and plug them into a [[tube amplifier]].<ref name="gibson.com">{{cite web |url=http://www.gibson.com/News-Lifestyle/Features/en-us/grunge-guitar-0426-2011.aspx |title=Serve the Servants: Unlocking the Secrets of Grunge Guitar |website=Gibson.com |date=26 April 2011 |access-date=1 April 2016 |archive-url=https://web.archive.org/web/20160331190319/http://www.gibson.com/News-Lifestyle/Features/en-us/grunge-guitar-0426-2011.aspx |archive-date=31 March 2016 |url-status=dead }}</ref> Throughout the 1990s, musicians committed to a [[lo-fi]] aesthetic such as [[J Mascis]] of [[Dinosaur Jr.]], [[Stephen Malkmus]] of [[Pavement (band)|Pavement]] and [[Robert Pollard]] of [[Guided by Voices]] continued to use [[Analogue electronics|analog]] effects pedals.<ref>{{citation|last=Atria|first=Travis|title=Stephen Malkmus – Talks Real Emotional Trash|url=http://www.glidemagazine.com/articles/53170/stephen-malkmus-talks-real-emotional-trash.html|periodical=Glide Magazine|date=6 March 2008|access-date=13 September 2010|archive-date=21 May 2013|archive-url=https://web.archive.org/web/20130521164518/http://www.glidemagazine.com/articles/53170/stephen-malkmus-talks-real-emotional-trash.html|url-status=dead}}</ref>

<!--DO NOT ADD EXAMPLES TO THIS SECTION. Replace lesser-known examples with more famous ones. Otherwise it becomes a dumpster for trivia.-->
Effects and effects units—stompboxes in particular—have been celebrated by pop and rock musicians in album titles, songs and band names. The [[Big Muff]], a [[fuzzbox]] manufactured by [[Electro-Harmonix]],<ref>{{cite web|url=http://www.ehx.com/products/big-muff-pi|title=Big Muff Pi Distortion/Sustainer|publisher=Electro-Harmonix|access-date=18 September 2010}}</ref> is commemorated by the [[Depeche Mode]] song "[[Speak & Spell (album)|Big Muff]]" and the [[Mudhoney]] [[Extended play|EP]] ''[[Superfuzz Bigmuff]]''. [[Nine Inch Nails]], [[Pink Floyd]], [[George Harrison]], [[They Might Be Giants]] and [[Joy Division]] are among the many musicians who have referenced effects units in their music.<ref>{{Citation|last=Barker|first=David|title=33 1/3 Greatest Hits |volume=1|url=https://books.google.com/books?id=7v7wJqhaBhoC|year=2007|publisher=Continuum International|page=112|isbn=9780826419033}}</ref>