How To Sound Like The Arctic Monkeys – A Complete Gear Guide!

•October 21, 2009 • Leave a Comment

Arguably the biggest rock band in Britain right now, the Arctic Monkeys . Here’s a look at what gear they’ve been using in their gigs.

Firstly, it’s good to point out that their current setup is quite different from the one they used to have when they were touring their first album, “Whatever People Say I Am, That’s What I’m Not”. Back then, they had a much simpler setup:

Singer/ guitarist Alex Turner had two Pro Co Rat 2 pedals,  a Boss TU-2 Tuner and that was it. His amp of choice was an Orange AD30. His main guitar was a white Fender Standard Stratocaster. View Alex Turner pedalboard

Lead guitarist Jamie Cook ‘s setup was fairly simple too: A Fender Telecaster 62 reissue. His pedals were a MXR M-104 Distortion+ , a Electro-Harmonix Big Muff and, at least for a while, he could be seen using a T-Rex Dr. Swamp twin distortion pedal. View Jamie Cook pedalboard.

He also had a Boss TU-2 Tuner. Apparently, according to many different sources, his amp back then was a Hiwatt Custom 50-Watt 2×12 Combo

Both of them have always used a Dunlop DC Brick Power  Supply.

Favourite Worst Nightmare gear

The second Arctic Monkeys album sounds much more varied than their first one, and, indeed, it is reflected on their choice of pedals. Both guitarists use more FX onstage now.

click to enlarge click to enlarge

from left: Alex pedals, Jamie’s pedalboard (click to enlarge)

Alex: His setup is entirely different now. In a few gigs this year he was still using the two Pro Co Rat 2, but it didn’t look as if he was using them at their recent Old Trafford gig. Instead, he was using an Ibanez Ts-808 Tubescreamer, one of the most classic overdrive pedals out there, used by everyone from Noel Gallagher to Stevie Ray Vaughn.

His other pedals are:

It appears that Alex also uses a Boss LS-2 Line Selector. He’s been using a Vox AC-30, as well. His main guitar now is the rare, discontinued Fender Bronco, very similar to the Fender Mustang, the main difference being that the Bronco, originally a starter guitar, has only one pickup.

click to enlarge

above: Arctic Monkeys and their Vox AC-30 amps

Jamie: The lead Arctic Monkeys guitarist has quite a elaborate pedalboard now. Apart from the ever-reliable MXR Distortion pedal, his setup has completely changed. It seems, looking at recent photographs, that he uses a Little Big Muff now…maybe because it’s smaller and he has too many pedals now? Who knows…the Dr Swamp is nowhere to be seem, and instead he has:

Jamie also uses a Boss LS-2 Line Selector, some sort of Wah/ Volume pedal and, according to some, a phaser pedal as well (which sits between the Big Muff and LS-2, but is not clear on any photograph we’ve seen). View Jamie’s new pedalboard.

Jamie Cook’s main guitar now is an old Gibson ES semi-acoustic model. Amp-wise, he still sticks to Hiwatts.

If you want to get an “Arctic Monkeys sound” but don’t want to break the bank there are some quite good alternatives: A cheap Orange Crush 30 or Vox AD30 VT can get you all the crunchy tones you need. Squier Strats and Teles or an Epiphone semi-acoustic can do a good job and offer a good, affordable alternative, too. Dolphin Music has even a Arctic Monkey Bundle…worth a look!

Guitars

– Fender Jazzmaster

Fender '62 Jazzmaster Electric Guitar 3-Tone Sunburst Brown Shell Pickguard

– Fender Arctic White American standard Stratocaster (maple fretboard)

Fender American Standard Stratocaster Electric Guitar Olympic White Maple Fretboard

–  Black Mexican standard Fender Stratocaster guitar (maple fretboard)

Fender Standard Stratocaster Electric Guitar Black Maple Fretboard

–  black Fender Bronco with a black pickguard and rosewood fretboard
–  Gretsch Spectra Sonic
– Ovation Viper

Amps and Cabinets
–  Orange AD30T amplifiers (used in the past)
–  Fender Vibroverb for clean tones

Fender '64 Vibroverb Custom Guitar Combo Amp

–  Selmer Zodiac 30 watt for more distorted tones

Effects and More
– Pro Co Rat 2 distortion pedals

Pro Co RAT2 Distortion Pedal
– Boss TU-2 tuner

Boss TU-2 Chromatic Stompbox Tuner
– Ibanez TS-808 Vintage Tubescreamer overdrive pedal

Ibanez TS808 Vintage Tube Screamer Reissue
– Hughes & Kettner Rotosphere MK2

Hughes & Kettner Tube Tools Tube Rotosphere MKII
– Danelectro Reel Echo

Danelectro Reel Echo Tape Simulator Pedal
– Boss LS-2 Line Selector

Boss LS-2 Line Selector/Power Supply
– Electro-Harmonix Deluxe Memory Man

Electro-Harmonix Deluxe Memory Man Pedal
– Dunlop DC Brick Power Supply
Dunlop DC-Brick Multi-Power Supply

– Dunlop Univibe

Dunlop Uni-Vibe Effect Pedal

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The Beatles Effects Pedals Guide

•October 21, 2009 • 2 Comments

The Beatles were musical pioneers, so it’s no surprise that when artists started to use FX pedals, the Beatles were also on top of this trend. Here’s a look at some of the pedals the Beatles have used…and what similar gear you can get to achieve similar tones!

The Beatles

One of the first FX pedals invented was the fuzz…which is not to be mistaken with overdrive or distortion. It’s much harsher! Though, at low volumes (as it was probably most used by the Beatles to start with) it can add a little extra “kick” on your solos without distorting too much.

One of the first fuzzboxes invented was the Maestro Fuzztone, and the Beatles have used it. It can be seen on some photographs that seem to be dated from the 1063-1964 days:

Beatles and Maestro Fuzztone (click to enlarge)

Gearge Harrison posing with a Fuzztone George and a Fuzztone John Lennon and a FuzztonePhotographs showing the Beatles and the Maestro Fuzztone

Another fuzz pedal the Beatles have used was an WEM Pep Rush, reportedly used on the Paperback Writer recordings. The photograph below, taken around that same era, shows Lennon fiddling with the Pep Rush fuzz pedal:

Lennon and a Pep Rush fuzzLennon and a Pep Rush fuzz

It’s important to note that even though there’s photographic evidence of the Beatles using fuzz pedals from as early as 63/ 64, it doesn’t mean they used them live.

Other fuzz pedals the Beatles are said to have used include the Vox Tonebender, and a Fuzz Face, during the later, Let It Be era. All those pedals are very basic, harsh effects with no tone control. If you want to get a “Beatles fuzz” then, you should get something similar…like the aforementioned Fuzz Face, or maybe the Electro-Harmonix Double Muff, which is very basic and raw – perfect for vintage tones! Though the new Boss FZ-5, thanks to its COSM technology, is said to nail vintage fuzz tones (like…the Fuzztone!) pretty well.

Beatles with a Vox Tonebender – sitting bottom right, on top of amp head

The Beatles also used Vox Conqueror amps which at the time had in-built fuzz, and this may be the sound you hear in some Sgt. Pepper recordings.

The most basic FX pedal the Beatles have  used, was a volume pedal. It was famously used in their b-side “Yes It Is” Apparently, according to legend, George Harrison wasn’t quite able to play his guitar part and use the volume pedal at the same time, so John Lennon was controlling it instead, with his hand! If you want a volume pedal, you can get some pretty good ones now, such as the Dunlop Hi-Gain Volume or the vintage-style  Fender Volume pedal.

For one of the Beatles’ loudest records, the ‘Revolution’ version found as the b-side of ‘Hey Jude’, no FX pedals were used – to achieve the piercing fuzz sound, John Lennon’s guitar was plugged directly into the mixing desk, with the channel’s gain right up. They did this in order to get a really distorted sound but avoiding unwanted feedback.

Those were pretty much the only fx pedals the Beatles used for most of their career…but in 1969, during the Let It Be sessions, George Harrison started to experiment with more sounds, and besides the Fuzz Face, he also used a Wah Wah pedal. A Vox Wah or a Dunlop Cry Baby will be perfect for any fans of Let I Be-era Harrison. However, if you want vintage Wah authenticity, the best options are the Dunlop Jimi Hendrix Signature Wah or the Dunlop Classic Wah-Wah with Fasel, which are even more  faithful to the sixties sound.

Another effect George Harrison explored in those final days of the Beatles, was the Leslie Rotating Speaker. Of course, Leslie cabs are incredibly rare and expensive now, but some really good pedals replicate that sound. Try the Hughes & Kettner Tube Rotosphere (by far the best one), or the Boss RT-20 Rotary Ensemble. They don’t come cheap…so the best introduction to Leslie sounds is probably the Behringer RM600 Rotary Machine, which sounds really good, too.

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Choosing your Electric Guitar: A Buyers Guide

•October 21, 2009 • 3 Comments

06_fender_stratocaster

Here is a quick guide we have put together to help you choose your style of electric guitar.

Choose your Body Style…

Gibson Les PaulLes Paul Shape

The Gibson Les Paul shape is among the most recognized solid-body electric guitar designs. It was developed in the early 1950s and has become one of the most enduring and popular musical instrument models in the world. Its design has been left virtually untouched for nearly 50 years. http://en.wikipedia.org/wiki/Gibson_Les_Paul

Gibson SGSG Style

In mid 1960, the Gibson Guitar Corporation felt that the Les Paul signature model, introduced in 1952, had run its course, and decided to change the design. This new design, with a slim double-cutaway body featuring prominent scarfing around the edges and cutaways, was officially issued in the 1961 model year as a Les Paul signature model. The main idea was to compete with the double cutaway Fender Stratocaster, which gave players easy access to the higher frets. http://en.wikipedia.org/wiki/Gibson_sg

Fender StratStratocaster

The Stratocaster, often called the ‘Strat’, is a model of electric guitar designed by Leo Fender in the early 1950s. Much of the popularity of the Stratocaster can be attributed to its versatility. The neck, middle, and bridge (in the original manual, labelled “rhythm”, “normal tone”, and “lead”, respectively) pickups provide a wide range of tones. The standard single-coil pickups often found in Stratocasters produce a trebly sound with a high top end and bell-like harmonics.

Fender TelecasterTelecaster

The Fender Telecaster (aka ‘Tele’) is a dual-pickup, solid-body electric guitar made by Fender. Its simple, yet effective design and revolutionary sound broke ground and set trends in the fields of electric guitar manufacture and popular music. http://en.wikipedia.org/wiki/Fender_Telecaster

Choose your Pick Ups…

Single Coil Pick UpThe Single Coil Pick Up

A single coil is a type of pickup for the electric guitar. As its name indicates, it is composed of copper wire wrapped in a single coil around a single bar magnet or several rod magnets. Single-coil pickups are most commonly associated with Fender guitars. http://en.wikipedia.org/wiki/Single_coil

hUMBUCKERThe Humbucker Pick Up

A humbucker is a type of electric guitar pickup that uses two coils. Humbuckers have increased output, and because the two coils are of reversed polarity and reverse-wound, noise and interference is essentially ‘canceled out’. http://en.wikipedia.org/wiki/Humbucker

More Info

How Guitar Pickups Work

Choose your Bridge System…

Stock Tremolo Stock Tremolo

A tremolo arm, tremolo bar, vibrato bar or whammy bar is a lever attached to the bridge and/or the tailpiece of an electric guitar or archtop guitar to enable the player to quickly vary the tension and sometimes the length of the strings temporarily, changing the pitch to create a vibrato, portamento or pitch bend effect.

Double Locking

The Floyd Rose Double Locking system consists of:

  1. a lock at nut of the guitar, which prevents the tuning (“machine”) heads from being used and holds the strings taut,
  2. a “floating bridge”, where the other ends of the strings are also vise-locked (hence, “double-locking”).

The locking system helps to keep the strings in tune while the strings are slackened to a degree which wasn’t possible with older tremolo systems, such as those found on Fender Stratocaster, allowing “dive bombs” (i.e. rapid lowering of the pitch of a note). Since the tuning heads are ineffectual with the lock in place, the Floyd Rose bridge has heads for fine tuning; the guitar is tuned before the lock is put on, then fine tuned afterwards. http://en.wikipedia.org/wiki/Floyd_Rose

Hard Tail Bridge SystemHard Tail

Instruments without a Stock tremolo or Double locking bridge system are called hard-tail.

Choose your fret board…

From maple to Rosewood there is no one “best” wood. The choice you make should be based upon your application and personal taste or preference.

Chose your neck joint…

This is the point at which the neck is either bolted or glued to the body of the guitar.

Bolt on NeckBolt on Neck

This method is used frequently on solid body electric guitars and is considered the easiest neck joint method. Body and neck cross in horizontal plane and are joined using 4 (rarely 6) screws. As screws damage the wood and could put extra stress on it, typically a rectangular metal plate or a pair of metal plates are used to secure the joint and re-distribute the screw pressure evenly. http://en.wikipedia.org/wiki/Bolt-on_neck

Set in NeckGlue in Necks

Set-in neck is a method of guitar (or similar stringed instrument) construction that involves joining guitar neck and body, pressing it tightly together using some sort of adhesive. This yields better connection of neck and body and makes sound waves. Gibson leads the trend for set-in necks with Gibson Les Paul series, opposing Fender that build guitars traditionally with bolt-on necks. http://en.wikipedia.org/wiki/Set-in_neck

Thru NeckThrough Necks

These are designed so that everything from the machine heads down to the bridge are located on the same piece of wood. The sides (also known as wings) of the guitar are then glued to this central piece. Some luthiers prefer this method of construction as it is said to allow better sustain of each note. Some very high-end instruments may not have a neck joint at all, having the neck and sides built as one piece and the body built around it. http://en.wikipedia.org/wiki/Neck-thru

NEW! Fender Special Run Classic Player Electric Guitars: Baja Telecaster in Lake Placid Blue and 60’s Stratocaster in Olympic White

•October 19, 2009 • 2 Comments

Coming soon to Dolphin, two very tasty Fender Special Run Classic Player models! The Baja Telecaster in Lake Placid Blue and the 60s Stratocaster in Olympic White are two fantastic new electric guitars by Fender.

Fender Classic Player Baja Telecaster electric guitar, Special Run Model in Lake Placid Blue,

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Fender Classic Player 60s Stratocaster electric guitar, Special Run Model in Olympic White

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These two electric guitars are set to soon become very collectable, as they’re available only in very limited-numbers…so if you’re looking for an affordable guitar that’s also a good investiment, you should consider purchasing the Fender FSR Classic Player 60s Stratocaster Electric Guitar in Olympic White or the Fender FSR Classic Player Baja Telecaster Electric Guitar Lake Placid Blue.

The Fender Classic Player Baja Telecaster electric guitar, Special Run Model in Lake Placid Blue, features the popular marriage between an Ash body and 60s style “Soft V shaped” maple neck. The 2009 Baja features one Twisted and one Classic Broadcaster pickup and a classic 3 saddle bridge for greater sustain and classic Tele Twang!

The Fender Classic Player 60s Stratocaster electric guitar, Special Run Model in Olympic White,  features Alder body with Maple neck, rosewood fingerboard, 3 Grey Bobbin 69 Custom pickups and a classic two point tremolo. Parts of the guitar are aged and the look is completed with Fender’s brilliant olympic white finish and Tortoishell pickguard.

Both guitars are two of the tastiest models Fender have put out in a good while! If you fancy buying yourself one, you’d better hurry up – they’ll be available for a limited time only, while stocks last. And, to be honest with you, even some of us here at Dolphin Music are considering buying them…so you can be pretty sure that one way or another, they won’t be available for too long!

Squier Set To Release New Biffy Clyro Signature Guitars!

•October 8, 2009 • Leave a Comment

Biffy Clyro are a band who’ve been on the way up for a while. Their fifth studio album, Only Revolutions, due for release on November 9th, is set to turn them into even bigger stars. And Squier By Fender thought guitarist Simon Neil and bassist James Johnston deserved their own signature instruments.

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Formed by Simon Neil (guitar/vocals) and twins James Johnston (bass/vocals), and Ben Johnston (drums/vocals) in the mid-90’s, Scottish alternative rock band Biffy Clyro have been entering into the hearts of rock fans all over the globe. The band’s sound is characterized by a heavy, yet melodic, mixture of guitar, bass and drums, with all three band members contributing to vocals and a true guitar hero in the making with Simon Neil.

Biffy Clyro are known for complex and interwoven guitar riffs, chord sequences and melodies, and an intense, exciting live show. With the release of “Puzzle” in 2007 the band gained mainstream success, reaching #2 in the UK album charts and a string of successful singles. In July 2008, the band released a new single entitled “Mountains”, which reached #5 in the UK Singles Chart and are about to release the highly anticipated album “Only Revolutions” on 14th Floor Records.

Judging by the photographs you can see below, it seems both Simon Neil and James Johnston have been playing prototype models of their signature instruments – a red Squier Stratocaster and a Lake Placid Blue Squier Jazz Bass…nice!

No prices or release dates confirmed so far…so keep an eye on our news section to be the first to be informed, as soon as we have more info!

NEW! FIRST IMAGES AND FULL SPECS!

View Squier Simon Neil Stratocaster – CLICK HERE!

View Squier James Johnston Jazz Bass – CLICK HERE!

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Biffy Clyro guitarist Simon Neil with his Squier signature stratocaster

Biffy Clyro bassist James Johnston with his Squier signature Jazz bass

Indie Rock A Gear Buyers Guide

•October 7, 2009 • Leave a Comment

smiths

Indie Rock is a term given originally to artists of independent status. In other words bands who ran themselves, smalltime labels, small distribution and with no help from major labels. Like all things in the end the corporate moved on this term like a rash, and started to brandish the term ‘indie rock’ referring to younger, newer artists, typically playing retro guitars and amps and shying away from the modern look, a small leather jacket is standard.

Indie rock is a genre of alternative rock that most notably exists in the independent underground music scene. It primarily refers to rock musicians that are or were unsigned, or have signed to independent record labels, rather than major record labels. Genres or subgenres often associated with indie rock include lo-fi, post-rock, sadcore, C86, and math rock, to list but a few; other related (and sometimes overlapping) categories include shoegazing and indie pop. Indie rock artists place a premium on maintaining complete control of their music and careers, releasing albums on independent record labels (sometimes their own) and relying on touring, word-of-mouth, and airplay on independent or college radio stations for promotion. Some end up moving to major labels, often on favorable terms won by their prior independent success.

radiohead

Radiohead – One of the few major bands who control their output

In the United Kingdom, indie music charts have been compiled since the early 1980s. Initially, the charts featured bands that emerged with a form of guitar-based alternative rock that dominated the indie charts, particularly indie pop artists such as Aztec Camera and Orange Juice, the C86 jangle-pop movement and the twee pop of Sarah Records artists. Some definitive British indie rock bands of the 1980s were The Smiths, The Stone Roses and The Jesus and Mary Chain, whose music directly influenced 1990s alternative rock movements such as shoegazing and Britpop.

In the United States, the music commonly regarded as indie rock is descended from an alternative rock scene largely influenced by the movements of the 1970s and early 1980s and their DIY ethic. In the 1980s the term “indie rock” was particularly associated with the abrasive, distortion-heavy sounds of Hüsker Dü, Dinosaur Jr, Sonic Youth, Big Black, and others that populated American indie labels, separating them from jangly college rock bands like R.E.M. and 10,000 Maniacs, who, by the end of the decade, were signed to major labels. The late eighties band Pixies is said to be the main influence in 1990s-present indie rock

chicagoguide_shellac1

Shellac Yesterday

With Arts Council funding for some independent bands, and an increasing range of advertising and commercial opportunities to distribute music, few popular acts are wholly independent. However indie music in the UK has perhaps benefited from the relatively broad overlap between ‘mainstream’ and ‘indie’ music genres. Radiohead release their music independently, do not accept corporate sponsorship and continue to make music which is experimental. They are also popular and well-known. There are many artists who make original, distinctive music, without aiming for mainstream success, in genres such as grime music. In this sense, the UK retains a tradition of creating original, experimental music, which has one eye on achieving mainstream success without being subsumed by major music corporations.

Indie Band Equipment

Often artists will record on old or poor recording equipment, ostensibly out of financial necessity but also due to the unique aural association such technologies have with “authenticity”, an association created in listeners by exposure to years of demo, bootleg, and field recordings, as well as to older pop studio recordings produced more simply. The growth in lo-fi coincided with the growth of extreme slickness and polish associated with the multitrack pop recording techniques of the 1980s. Cassette technology such as Tascam’s four-track Portastudio became widely available. Prime early exponents included Daniel Johnston, New Zealand bands such as the Tall Dwarfs, who recorded on Tascam 4-tracks.

Guitars & Amps

The guitar simply cannot be an Ibanez, a Dean or anything spikey for that matter!, Fender , Gibcon, Gretsch all the traditional names. It helps if it  looks like it was possibly bought in a thrift shop circa 74′. The amplifier must be valve, preferably a Fender Twin, a Vox AC30 or something of that nature, a modelling POD just will just not cut the scene!

Lets take a look at Jonny Greenwood from Radiohead (circa200)

radiohead_jonny_1997-copy

White Lies Gear Guide:

Here’s the White Lies equipment that we managed to spot: Roland A-37 MIDI Controller, Fender Telecaster with Bigsby, Fender Thinline Telecaster, Gibson ES-335, Boss RV-5 Delay Reverb, Boss TU-2 Tuner, Electro Harmonix Graphic Fuzz, Electro Harmonix Big Muff, Line 6 DL4 Delay and an Electro-Harmonix Holy Grail (sadly now discontinued, replaced by the Holy Grail Plus). Guitarist Harry McVeigh also uses a Hiwatt Hi-Gain Head Amp into a white Marshall 412 cab. Cool.

wlcolour

* Post-punk revival: Placebo, Arctic Monkeys, The View, Maxïmo Park, Franz Ferdinand,Editors, The Cribs, Razorlight, Royal Joker, The Killers, Kaiser Chiefs, Bloc Party, The Futureheads, Interpol, Boy Kill Boy, Dirty Pretty Things, The Wombats, TV on the Radio,The Fratellis, Spoon, The Bravery
* Garage rock revival: The White Stripes, The Vines, The Strokes, Black Rebel Motorcycle Club, The Subways, The Libertines, The Hives, Ikara Colt, Motel Motel, Mclusky, Mooney Suzuki, The Horrors, The Von Bondies, The Black Keys, Dirty Little Rabbits, The Raconteurs, Johnossi, Modest Mouse, Little Joy
* Dance-punk: Death From Above 1979, Metric, MGMT, The Rapture, Klaxons, The Presets, MSTRKRFT, You Say Party! We Say Die!, Shitdisco, Hot Chip, LCD Soundsystem, New Young Pony Club, !!!, Q and Not U, Foals, Does It Offend You, Yeah?, Cut Copy, VHS or Beta, The Faint
Additional, less clearly defined genres include:
* Baroque pop: Arcade Fire, Danielson Famile, Sufjan Stevens, The Decemberists, Dry Paint, John Vanderslice, Broken Social Scene, Stars, Cloud Cult, Vampire Weekend, Ra Ra Riot
* New prog: Mew, Porcupine Tree, a.P.A.t.T., Muse, The Mars Volta, Coheed and Cambria, The Secret Machines, Los Hermanos, Battles, People in Planes, Doves,Mystery Jets,Oceansize, Pure Reason Revolution
* Post-rock: Explosions in the Sky, Pelican, Sigur Rós, Mogwai, Godspeed You! Black Emperor, Slint, Tortoise, Mono, 65 Days Of Static, iLiKETRAiNS, God Is an Astronaut
* Indie folk: The Dodos, Iron and Wine, Fleet Foxes, Motel Motel, Mount Eerie, Beirut, Bright Eyes, Vetiver, Feist, Bon Iver, Noah and the Whale, Damien Rice, Okkervil River

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Top 10 Best guitar FX pedals in the world today. A Buyers Guide!

•October 7, 2009 • Leave a Comment

Gone are the days when all guitarists had was just their amp, or perhaps a fuzz pedal and a wah wah. More than ever before, the modern guitarist uses a wide range of FX pedals to shape his or her  tone…have a look at the best ones available today in this ‘Buyers Guide’

The Top 10 best FX pedals in the world today

Some “tone purists” may argue that a guitarists shouldn’t rely on effects, but truth is, ever since the birth of rock’n’roll, guitarists were quick to jump into new technologies, new toys – if it helps you creating new sounds, then great! In fact, legendary guitarists such as Jimmy Page, Jeff Beck, Pete Townshend, George Harrison and Jimi Hendrix were amongst the first to use every and any new effect they could put their hands on: Maestro Fuzztone, Tonebenders, WEM Copicat tape echo, wah wah pedals, octavio, leslie cabinets, etc.

So…why shouldn’t you?

But with so many FX pedals available today – more than ever before, and more affordable too! – it might be hard to decide where to spend your hard earned money. To help you, we’ve put together a list of the Top 10 best FX pedals widely available today. No need to include expensive, hard to find boutique pedals. Today, quality is not inversely proportional to price, and even mega stars like The Edge and Jack White may use pedals that even a kid could afford with his pocket money!

Of course, every one will have their own ideas of what should be in the Top 10…but here’s our list. Enjoy!

TOP 10 BEST FX PEDALS

1

Electro-Harmonix Big Muff Pi fuzz pedal

Electro-Harmonix Big Muff The most popular fuzz in the world. The distortion countless musicians such as Hendrix, Santana, The Edge and Jack White relied on for its rich, creamy, violin-like sustain. A timeless piece, the Big Muff has been defining the sound of rock guitar for the past 30 years. And it’s still very affordable! Thank you, EHX!

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2

Boss DD-3 Digital delay

Boss DD-3 A powerful delay pedal with three distinct modes. A variable Delay Time control creates delays from 12.5ms to 800ms, while a Hold function is capable of producing repeats from here to infinity. Still popular after so many years and DD4, DD5, DD6…the DD-3 remains!

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3

Boss RE-20 Space Echo

Boss RE20 Miraculous digital pedal that thanks to the COSM technology faithfully recreates the sound of the classic Roland Space Echo RE-201 tape delay, the 70’s effect used by many acts even today, such as Radiohead, Yeah Yeah Yeahs and Primal Scream. the RE-20 sounds as dirty and organic as the real thing.

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4

Digitech Whammy

Digitech Whammy Smooth pitch bends, rich detuning, accurate dive bombs, and fast tracking harmony shifts make this one of the coolest and most versatile pedals there is, and it’s used by artists such as Jonny Greenwood, Jack White, Matt Bellamy and countless others.

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5

Dunlop Cry baby wah

Dunlop Cry Baby Wah This is the original wah-wah pedal used to create many classic rock sounds. Relied on by Jimi Hendrix, Eric Clapton, Joe Satriani, Buddy Guy, Slash, Kirk Hammett, Zakk Wylde and many other greats. A fast-reacting effect for unmistakable tone bending.

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6

Z-Vex Box Of Rock distortion pedal

Z-Vex Box Of Rock If you’re one of those guitarists in the never-ending search for the mythical “perfect distortion pedal”, this might be your final stop. This is the first distortion pedal highly specialized to simulate the “everything on 10” sound of a classic Marshall ® JTM45 non-master-volume amplifier. Fantastic.

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7

Ibanez Tubescreamer

Ibanez TS-9 Tubescreamer. From Stevie Ray Vaughan to Buddy Guy, from Metallica to Oasis, everyone loves the Tubescreamer, the world’s ultimate overdrive pedal. Guitar Player called it the best. Plug it in. Crank it up. You’ll hear what all the fuss is about.

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8

Electro-Harmonix POG2 Polyphonic Octave Generator

Electro-Harmonix POG2 If you thought the original POG was great, the new POG2 takes you even higher! An amazing new pedal that betters the POG, the legendary Polyphonic Octave Generator made popular by artists such as White Stripes, Yeah Yeah Yeahs and others. Every guitarist should explore its sounds.

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9

Z-Vex Fuzz Factory

Z-vex Fuzz Factory A diabolical, unpredictable fuzz. This is a five-knob fuzz using two new old-stock sixties germanium transistors. The circuit is not modeled after any classic fuzz design, but should have been around when Leary was still lucid. A favourite of Muse’s Matt Bellamy, and of many others.

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10

Line 6 DL4 delay Modeler Line 6 DL4 Delay Modeler This is the delay pedal that does everything: a stomp box capable of modelling every different style of delay effect from tape loop to 24-bit digital echo, reverse and much more. Every major band seems to use one, including Oasis, U2 and many, many others. A modern classic.Buy Now Buy Now

Honourable mentions:

There are so many great FX pedals out there that we had to mention a few more that also deserve your attention!

TC Electronic Nova Dynamics : The most advanced compressor pedal. Packed with never before seen functionalities Nova Dynamics sets new standards to floor-based dynamics control.

Electro-Harmonix Holy Grail Nano : The digital reverb that many spring reverb lovers also admire. Essential for amps with no reverb or studio recordings, sounds great with vocals, too.

Electro-Harmonix Deluxe Memory Man : Another classic pedal that almost made our Top 10. This analog delay is still a favourite amongst bands such as U2, Arctic Monkeys and others.

Electro-Harmonix Stereo Polychorus : One of Kurt Cobain’s favourite pedals, also used by Radiohead. Lush chorus and vintage, analog flanger. Great fun! The Electro-Harmonix Small Clone also deserves a mention.

Fender Phaser Pedal : One of the coolest pedals we have in stock, this Classic Series pedal sounds great, it’s pure vintage charm. Quite possibly better than the Electro-Harmonix Small Stone or MXR Phase 90. If you like phasers, you’ll love it!

VOX V847 Reissue Wah-Wah Pedal : It’s hard to choose between the Cry Baby and this one. Built to the exact specifications of the original pedal, this Wah-Wah is totally authentic right from its classy chrome top to its legendary growl. An original-style, vinyl carrying case is also included. really cool!

Behringer Rotary Machine RM600 : The only classic sixties effect that has not been represented in our list so far was the Leslie Rotating Speaker cabinet. The Behringer RM600 does the job really, really well. Think The Beatles’ “Something” or “Lucy In The Sky With Diamonds”. Think The Rolling Stones’ “Let It Loose”. Think Jimi Hendrix’s “Little Wing”. Great pedal…

Check other FX pedals at Dolphin