Are you looking for guitar pedals for a clean and prominent solo? Well, we present 20 Best Pedals for Guitar Solos 2023 (Boost, Delay & More), in which we’ll talk about all the ways you can create your perfect solo tone.
A guitar pedal is a foot-operated effects unit for guitarists. These pedals alter the guitar’s incoming signal to get the desired result. Pedals modify and reroute the guitar signal using either analog or digital circuitry. A guitar effects pedal is an audio effects unit that modifies the guitar signal in some way, reroutes the signal along a predetermined path, or analyzes the guitar signal to reveal some useful data.
Pedals are contained units that modify the signal through analog and digital electronics. To play with both hands on the guitar, guitarists often use pedals that are placed on the floor or a pedalboard that sits on the floor and is operated by the guitarist’s feet.
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Boost pedals are commonly utilized during guitar solos because they let the guitarist make themselves heard above the rest of the band. Simply put, boost effects boost the total volume. One thing to remember is that every boost pedal is different and may provide a new sound.
The components utilized to increase volume in an effects pedal are always the deciding factor. While some boost pedals try to preserve the guitar’s natural tone while increasing its volume, others can significantly impact the instrument’s natural tone while still increasing its volume. Guitarists will often purchase a single boost pedal and leave it permanently engaged if they particularly dig the sound it imparts to their instrument.
Here are our top picks regarding Boost Pedals:
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How to choose the right pedals for soloing?
The best pedals that help your guitar sound better when soloing are those that bring out your tone as much as possible. Spicing up your guitar with the overall mix of the band at the moment you solo on the guitar adds an essential note to the character of the solo part.
And here’s where it comes in; well, can’t you ask the sound engineer to turn up the volume on the mixer to get your guitar out of the mix? Well no.
For example, a good solo tone is one where the mids and highs are boosted, and the gain amount is also boosted a little, things you can’t do from the mixer; they have a lot to do with the sound you transmit to it. Of course, there are a few tricks that a sound engineer can do in a live context, but he has to know your band very well to know when you are going to solo.
Does playing style and genre matter when picking pedals for your board?
It only partially depends on what genre you play when choosing a pedal for your pedalboard. True, it’s more than necessary to know the key points of your sound when doing so, but it’s not a limitation. For example, if you play a genre with low distortion, it’s not really appropriate to add a fuzz pedal.
But indeed, it can be integrated if you know how to use it. Usually, pedals are added depending on how you want the tone to sound at the end, just like in cooking. You can add anything to anything if you combine them and know what you want from each one.
Here you can find some principles regarding pedals in general and how to place them in the pedalboard:
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Below, we will talk about the 20 best pedals for guitar solos 2023; we have prepared a collection through which we can find Boost, Delay, and many more pedals.
20 Best Pedals for Guitar Solos 2023 (Boost, Delay & More)
1. Behringer Super Fuzz SF300
The SF300 is a great option for beginner and intermediate guitarists who wish to experiment with effects by creating their pedal board.
The Super Fuzz is also ideal for someone who has been playing for a while, regularly plays at shows, and knows that the price and performance of an effect matter far more than the name of the company making it. It’s easy to see why this Behringer pedal is so popular: it has all the bells and whistles of pricier models but costs a fraction of the price.
Like the rest of Behringer’s pedal collection, the SF300 Super Fuzz has a plastic chassis. The orange paint job on this particular model is eye-catching, and people were pleasantly surprised to find that its construction was quite solid. You could buy six or more of these for the price of one Boss FZ-2, even if it were to break.
A 9V battery or the optional Behringer PSU-SB DC power supply may power this pedal. They put the battery through its paces in tests, and it passed with flying colors.
Behringer does not specify battery life for their products; however, people found that everything worked perfectly even after 8 hours of operation. A battery life indication LED is also included, so you won’t have to discover during a performance that you need to switch batteries.
The Level knob, also known as Output or Volume, is typically used to adjust the degree of distortion applied to your signal. As it is turned up, the guitar’s tone becomes less pure and more overdriven. Turning up the gain will assist in getting a distorted, fuzzy, and heavy sound.
Treble and Bass allow you to control how loud high and low tones are. It’s the standard equalization control; increasing the Treble will boost high frequencies, and increasing the Bass will do the same for low ones.
You can find a classic Hendrix-like fuzz tone in Fuzz 1 of this pedal’s three fuzz settings. Beginning the evaluation with the Bass and treble active EQ settings at midday gave us a sense of the overall tone. Fuzz 2 is our go-to for everything from a ’90s Seattle sound to a full-on doom metal tone, so look no further if you’re in the market for a current, grungy fuzz.
Rather than focusing on the midrange, the pedal is designed to emphasize the low and high ends of the frequency spectrum. This volume is perfect if you’re playing rhythm in a band because it doesn’t drown out the lead instrument.
With the third function, “level booster,” we could make the amp break up nicely at low volumes (perfect for the bedroom) and provide a tremendous crunch when turned to eleven.
Character & Sound:
Some guitarists start with one of these super fuzz pedals but go to more extreme, high-tech options. Suppose you don’t have a professional budget but still want to experiment with different sounds without taking a substantial financial risk.
In that case, the SF300 Super Fuzz pedal may be your constant companion from the beginning level to professional configurations. This pedal is highly versatile and easy to use thanks to its three super fuzz settings. By adjusting the Trebble and Bass, the effect is almost identical to a high-quality EHS Big Muff fuzz pedal. This boost mode’s ability to imitate an overdrive effect is a fantastic added feature.
This pedal is designed for beginners and intermediate guitarists, giving them a natural sound they can use to hone their skills in practice and on stage. Like any good tool, it will get you curious about the limits and possibilities of distortion pedals. That’s fine with you? Then it would help if you bought this right now.
The use of plastic for housing has been criticized for diminishing durability, but it dramatically reduces the price. This is a silly complaint, as we should take care of all our instruments equally regardless of their composition, it’s sturdy enough to be used as a tour bus walking stick.
Even though its housing is made of plastic rather than metal, like most pedals, it performs well. Lastly, some guitarists may discover that this traditional style turns them off. You should go elsewhere if you’re more into modern sounds.
2. Zoom MS-70CDR
The MS-70CDR is great if you want a pedal that offers extensive control over delay, reverb, and chorus.
This pedal is a stompbox-sized delay, chorus, and reverb pedal that contains a virtual library of effects processors and pedals. Select from 86 simulated effects of building the perfect signal chain. The MS-70CDR has a big LCD screen that you can read in bright sunlight.
This Zoom effects processor comes equipped with 30 factory presets of classic effects ready for a live performance, and 50 user presets where you can create and store your sounds. The MS-70CDR is prepared for every performance, from rock to country to metal. This pedal will allow you to remove an unnecessary effect from your pedalboard.
This little, light-blue metal box houses a stereo pedal with a stereo In and audio output. We’re looking at many in-built features, such as a noise gate, a tap tempo feature, trail settings, an inbuilt stereo EQ, software that you can upgrade through USB, and the ability to use several power sources at once.
A USB mini-connector, a 9-volt battery, and a battery are all included. The front-facing LCD panel is where you’ll do most of your setup tweaking. Considering how many diverse musical possibilities we’re thinking of, a clean interface like this is indispensable. But that’s something we’ll get into more in the Management section.
It’s a situation where the phrase “a whole lotta controls!” is appropriate. There are a lot of adjustments to be made because this gadget features 86 effects in total (including delays, reverbs, choruses, and a wide variety of tremolos, flangers, vibratos, modulators and phases).
A total of four buttons and three knobs are at your disposal for making your way through the LCD screen’s settings to attain the desired degree of command. That’s where you’re expected to put the most effort into crafting your tone, as most of the action takes place. You can get close to the sound you envisioned, but mastering all the controls will require effort.
The big LCD on the pedal allows you to examine your settings at a glance. This large, lighted screen makes it easy to understand exactly what values make up your preset, which is sure to be appreciated. Worse than messing up a gig is trying to figure out how your knobs are set when you’re onstage. Quickly adjust the three parameters as needed. Within the footswitch is a collection of cursors that you may use to explore the pedal’s many settings and features.
Character & Sound:
First of all, the sound quality of this guy is excellent for the price tag. With all the options at your disposal, you can produce a unique sound that’s all your own, from expansive to massive to beautifully toned. However, it is also important to emphasize that this pedal is more challenging than the average pedal.
This gadget is as complicated as any guitar processor on the market, so practice with it and have your sound dialed in before taking the stage. Don’t expect to be able to make minor adjustments on the go with this equipment, so invest the time—it will pay off in the end.
When you add up all you get with a Zoom MS-70CDR, you’ll see it’s a steal. This pedal will suffice if you want the feel that chorus, reverb, and delay add to a guitar’s sound but don’t want those effects to take center stage. It is a cost-effective solution that will produce the desired results.
Despite having a few power settings, the phaser is underwhelming. The sound is very digital; the tremolo and delays are above average, the equalization is of some utility, and the settings are well-designed. While the learning curve isn’t too steep, having such a large screen constantly illuminated on your pedal board might be distracting.
The knobs double as push buttons, and you can accidentally step on both the footswitch and a knob at once, having to lean down and find out whatever preset you were in before you could turn the effect off.
3. TC Electronic Poly Tune 3
The TC Electronic PolyTune 3 is the next generation of guitar tuners, and it’s faster, more reliable, and easier to use than ever before.
This affordable tuner pedal offers three different tuning modes (chromatic, polyphonic, and strobe) and is easy to use. TC Electronic is a household name in the world of guitar effects. The PolyTune 3 doesn’t make your guitar sound as amazing as a distortion or delay would, but it will do something more fundamental and crucial: keep you in tune.
The guitar tuner is the most critical component of your guitar’s setup, even if it isn’t the most interesting thing you can buy. Everything else you have is pointless unless your guitar is in tune.
Even though the PolyTune 3 has a small form factor, TC was nevertheless able to fit its Bona Fide Buffer circuitry, which has won multiple awards, inside of it. Newer versions of this popular pedal enhance your tone even when using long cable lengths.
If you put the pedal at the front of your board, where it excels, your tone will remain unaffected for another 50 feet of cable, while true bypass pedals may begin to steal the treble end of your signal. It won’t be easy to top the PolyTunes of the past.
- Polyphonic Tuning Mode
Listeners will appreciate the polyphonic tuning option of the TC Electronic PolyTune 3, eliminating the need for a tedious routine before each performance. PolyTune 3 makes it easy to see which strings are all in tune and which are not, as you strum all them at once.
Focusing on the high-pitched strings reduces the need for retuning and helps shows go on without a hitch. As you begin tuning, this pedal will change from mono to poly.
- Strobe Mode
The PolyTune 3’s large, clear display is just the beginning of its user-friendly design. For smaller setups or recording sessions where you’re only using one or two effects, TC Electronic provides a 9V output connection to power another pedal in your signal chain.
People also found it helpful when our pedalboard’s power supply was at capacity, and we wanted to add another pedal. There are a few extras on the top panel in addition to the 9V in and out. People preferred to avoid fumbling with two power connections while trying to figure out the PolyTune 3’s tuning and display mode buttons.
Still, the unit quickly won us over once we got it set up to our satisfaction. The PolyTune 3 is a flexible unit for any guitarist. The display mode button allows you to choose between the needle and strobe tuning modes for electric guitar and bass guitar. The tuning mode button allows you to scroll between normal tuning, drop tunings, and numerous capo settings.
The LED display on the new PolyTune 3 is larger, brighter, and more responsive than ever, making tuning simple in any light. Over a hundred extremely powerful LEDs make this bendable display legible even in direct sunlight.
The PolyTune 3 has an ambient light sensor built-in, so when the stage is dark, the display won’t glare in your eyes. This is another example of how the PolyTune 3 adds an innovative attitude to your guitar setup.
Character & Sound:
The PolyTune 3’s tuning accuracy consistently pleased us during our time with it, particularly in strobe mode, where the 0.02-cent precision proved to be an absolute blessing for studio and stage use. Strobe mode’s visuals required some getting accustomed to, but once we did, we found the way straightforward and, like the rest of this pedal, really useful.
When utilizing the PolyTune 3 as part of a larger, more complicated signal chain, we found that the tone was better preserved and protected thanks to the pedal’s built-in, all-analog BonaFide buffer. Multiple tuner pedals exist today, and they all serve the same purpose: to keep your guitar in tune. Few, though, can match the PolyTune 3 for its efficiency, convenience, and user-friendliness.
It takes time to discover significant shortcomings when comparing the TC Electronic PolyTune 3 to other similar products. An extremely high degree of tuning precision is combined with a user-friendly interface and a wealth of practical extras.
The PolyTune 3 is durable and long-lasting and can be used by electric, acoustic-electric, or bass guitarists. Once again, TC has proven that low-priced pedals can be just as good as the best in the business.
Even with the unit turned off and the pins set to True Bypass, the battery will still drain if the input is connected. Therefore, the battery will deplete even if you aren’t tuning in during your three-hour performance. In addition, tracking might be slow, especially when first activated in the default mode. Less receptive to requests for sudden changes in the middle of a set.
4. Digitech Trio+
DigiTech Trio+ is one of the best tools for a guitarist’s toolkit.
The pedal is based on their well-known Trio technology, which can detect your playing and respond accordingly by playing bass and drums. However, this pedal has five other styles to choose from.
Thanks to the built-in looper, you can record your own guitar riffs to accompany each loop. The pedal allows you to save these loops and sequence them in any way you like, allowing you to create entire compositions for use in live performances.
The pedal is a portable, stompbox-shaped instrument that weighs in at a mere 650 grams. There are two-foot switches, several smaller knobs and dials, and a 9 V DC power source with the device’s metal housing. This pedal does not, sadly, work on batteries.
It may be little, but it packs many connections you won’t find on other beginner loopers. A connection for an amplifier and another, perhaps for a mixer, are located on the device’s left side. A huge jack for your guitar is situated on the right side, while another allows you to use an external foot pedal to navigate between songs while on your feet.
Its two independent outputs enable real bypass, routing the guitar signal to your amp while routing the backing band’s signal to a mixer. You may use the unit’s FX loop feature by linking your effects gear to the Send and Return jacks.
The Band Creator allows you to create songs with up to five individual parts, each of which can have its tempo, instrumentation, and sequenced playback. Its unique selling point is that, following a brief learning period, it can generate its own rhythm patterns that perfectly match the music you play and your chosen genre.
When you turn on the pedal and press the fx button on the top left of the device, you can add a guitar effect to the rhythm functions. For each genre, there is a specific rhythm and solo sound.
If you have your own effects units and would prefer to use those, you can easily incorporate them into the setup using the FX Loop’s Send and Return controls. By the way, between the bass and drums volume controls is an LED switch labeled bass that allows you to alter the complexity of the bass recording used by the backing band.
Simply pushing the foot switch enables the device’s built-in looper, and you may use it with or without the digital backup band. The looper allows for an infinite number of overdubs in addition to the original recording. You can change the volume of the loop with a dedicated volume knob.
The maker claims that the gadget can record up to 230 seconds of loops at a tempo of 50 beats per minute. The tempo knob allows you to change the tempo of your song, and you may use it to time-stretch previously recorded songs as well.
Select a pre-set part with the five LED buttons at the very top of the machine if you wish to record a loop with a backup band. Instead of picking an entire section to record a loop, select an empty one. You can activate the loop by pushing the foot switch as soon as you begin playing, or you can activate the switch before you play a single note, and the loop will start playing automatically.
The device also lets you count on the rhythm before recording. The looper’s mode is displayed via colored LED lights beneath the loop knob. When a part is being recorded for the first time, a red LED light comes on; an orange light comes on when it’s being overdubbed.
When compared to other beginner loopers, it takes a while to get used to this one. Not the least of these reasons is the device’s extensive customization capabilities. The handling during operation is trouble-free once the initial learning curve has been conquered.
This pedal may be controlled using various light-emitting diode (LED) buttons, knobs, and two-foot switches. Unlike some of its rivals, the product does not feature a liquid crystal display (LCD) or light-emitting diode (LED) screen.
Character & Sound:
It’s like having a full band in a can, and it’s great for practicing at home or doing little solo performances. Generally, its sound quality was deemed satisfactory by reviewers, who acknowledged that it is not ideal for professional recording.
The looping function is basic but should be adequate for novices, they loved it a lot since the looper and the backup band mesh nicely. Considering that it only comes with enough space for twelve songs, the fact that you can expand it with extra SD cards is a reasonably incredible feature that very few other devices offer.
It is a great option for novice guitarists needing a looper and a practical rhythm tool. The device, which costs roughly $190, provides a high-quality digital backup band with a wide range of customization options. The FX loop is a great feature for an entry-level instrument because it allows you to connect external effects units. The device’s controls aren’t entirely obvious, but they’re not hard to learn and master either.
The pedal has a lot of problems when you first use it; apparently, most of them don’t work, nor do they light up, which is extremely unpleasant. Most people who have asked for another one instead has reported that they have tried countless times to find a working batch but have failed. A peculiarity on the part of a bad batch, but if you want to pedal, prepare for a long haul.
5. Boss CH-1 Super Chorus
A classic clean and shimmering chorus tone can be yours with the BOSS CH-1 Super Chorus pedal.
It’s hard to argue that this pedal isn’t the best-selling chorus pedal in the world, and it’s a perfect fit for any guitarist or pianist. It’s possible to fine-tune your chorus sound with the CH-1’s four knobs, which include volume, pace, depth, and equalization.
You may use the pedal in stereo for a lush, wide wave by dialing back the rate and turning up the depth, or you can use it at full speed for a dizzying psychedelic twist. Each pedal in the boss pedal set comes in a sturdy metal enclosure with a rubberized stomp area and base for added traction.
Anyone from a complete novice to an experienced guitarist building their ideal pedalboard may rely on BOSS’s tried-and-true pedals to shape their sound.
The CH-1 is often regarded as the best and most dependable of all guitar effects pedals. Like other Boss foot pedals, this one is built to last and contains four adjustable knobs for fine-tuning the sound. By adjusting the EQ, you may adjust your signal’s high and low-frequency contrast, while the effect level determines how loud the chorus effect is.
You may control modulation from a whisper to a whirling chorus with a simple adjustment to the rate. To conclude, the depth slider lets you adjust the chorus’s volume. The pedal’s mono and stereo outputs allow you to change sound through various amplifiers and speakers.
- Stereo Output
Because it has two independent stereo outputs, you can power two amplifiers at once. Try this to emulate the full, resonant rock sound of guitarists like Zakk Wylde and Satch.
When using chorus in stereo, the signals entering each amplifier are modified differently, creating a more distinct separation between each amplifier and the others, giving the impression of many guitars playing together. It is a fantastic tool for sharing your guitar sound with more dimension and intensity.
The Boss CH-1 is a more classic and old-school chorus pedal than its digital counterparts, which makes sense given that it has changed little since its 1989 introduction. Like other Boss pedals, this one features a sturdy metal chassis and reliable controls and mechanics. Because of its rugged construction, Boss pedals can take repeated use on the road without breaking down.
Powerful moving parts include a mono input and stereo outputs, which create a mystical Stereo sound. The player can fine-tune the sound to their stereo configuration thanks to the guitar’s dual jacks. This is how the guitar or piano sounds so natural in live performances.
The pedal’s output impedance is 9–10 Kohms or higher, while its input impedance is 1 Mohm. The sound is amplified at the guitar’s output components and sent to the amplifier(s), giving the instrument a lively tone. A Jack A/B adapter and DC 9 V are needed to power the pedal. The pedal’s included batteries allow a guitarist to use it without being plugged into an outlet.
Character & Sound:
As one of the few pedals from Boss’s first generation to still be manufactured after three decades, the CH-1 is an outlier. Updated models have since replaced the CE-20 and other good chorus effects, but the pedal’s warm sound has kept it in demand.
Compared to modern chorus pedals, its warm, vintage-sounding chorus is a result of its circuitry and designs being from the past. Compared to vintage pedals, modern pedals lack the warmth and sprinkling of grit that characterizes their sound. It sounds best when it’s rarely used. You may achieve the traditional wide and deep guitar sound by setting the effect and depth knobs between 9 and 1 o’clock.
The EQ knob is sensitive enough that you can dial in some warmth to excessively bright tones or add highs to muddy tone rigs by focusing on specific frequencies. When used sparingly, it produces a beautiful, understated effect that adds life and personality to otherwise static tones.
Even after 30 years, the Boss CH-1 continues to sell well, a testament to the quality of its sound and user interface. Thanks to this pedal, the guitarist may easily switch from playing fast guitar chords to playing slower tunes without adjusting any effect knobs.
You can purchase the pedal for between $80 and $110, which is cheap in light of its high sound quality. While newer pedals may offer more sophisticated capabilities, only some can surpass the CH-1 for tonal richness.
The pedal has no problems in general, but most complain that the chorus is weak and too subtle. Unfortunately, there are better options on the market, and it only takes 10 minutes to find another one, but if you like it, it’s worth a try.
6. Singular Sound BeatBuddy
The Singular Sound BeatBuddy pedal allows you to play your drum machine without using your hands.
This unique drum machine fits in the palm of your hand and can be controlled entirely with the tap of your foot. It has almost two hundred songs in various genres, from rock to country to jazz to blues and beyond.
The pedal is perfect for solo acts, songwriting sessions, and more because it features high-quality drum loops and recordings. The Singular Sound BeatBuddy drum pedal can help you take your playing to the next level.
The pedal is about the same length as a traditional Boss stompbox, but it’s a couple of centimeters wider and has extra room around the knobs and switches. Battery operation is not supported; thus you must use the included AC adapter for power.
A 4GB SDHC card is included and can be inserted into the pedal to access the sounds and rhythms. You can upgrade the pedal’s firmware with a file from the Singular Sound website. Connecting the pedal to a computer through the USB connector is one approach; another is using an SDHC card and a card reader.
There are two jacks for a quarter inch of audio input so that you can use it in either mono or stereo. There are two jacks for output, one for the drum sound and one for the audio input. There is no input level knob on the unit itself (you must adjust this on the source device), but there is a generous knob to adjust the drums’ volume about the input.
There is a mini-jack headphone output (with its level control), a DIN socket to accept a MIDI sync wire, and a jack socket for connecting a double footswitch that may be used to add “accent strikes” like cymbal crashes and to pause the drums. In this case, you can omit the footswitch and the wire if you like.
- Screen And Controls
Small yet ingenious, the screen for displaying information about the kit, playing style, time signature, level, and bpm changes color to indicate which song portion it is playing and displays a shaded bar, which goes across the screen in steps according to the bar’s signature.
Tempo is adjusted with the last knob, which also doubles as a shortcut to the Settings menu when held down while pressing the Drum Set button.
- Foot Controlled
While drum machines are handy, not all of them are easy to play live. The firm that made the pedal ensured that the onstage controls were straightforward. You may start the music, put unique drum fills into each playthrough, go to different sections of the song, and stop the song, all with the press of a single footswitch.
Drum machines have never been simpler to operate. The drummer may be paused, song lists flipped through, tempo adjusted, and more with the press of the two buttons on the optional footswitch. With this pedal, you may adjust your drum set with the tap of your toe.
Character & Sound:
As a whole, the audio is excellent. The headphone output becomes a little loud at high volumes, but plenty of gains are available via the primary Volume knob, so you won’t need to go there. Also, the guitar and bass amplifiers into which you will unavoidably plug this pedal are not necessarily created to be precise or clean.
For this pedal to sound authentic when used life, it needs its amplifier or routed straight to the mixing board. You could still use the pedal with a guitar that has an amp simulator, but the unprocessed guitar sounds best with its amplifier and not the BeatBuddy.
For musicians that perform as a duo or solo and don’t have access to a drummer but still want to manage the tempo and groove of their performances, Beat Buddy is an excellent tool. With so many different tones, tempos, and styles available and the ability to manage content with the included software, this guitar won’t gather dust in a drawer.
The most significant issue is that it is not guaranteed to be stomp-proof. The SD, USB, and power connectors are all supported by the chassis, but the volume wheel for the headphones and the MIDI sync socket is not. It would be preferable if the SD card were concealed. All the jacks are securely fastened to the chassis, which is a nice added touch.
7. Behringer Vintage Delay VD400
True analog delay pedals, such as the Behringer Vintage Delay VD400, have a distinct sound that guitarists appreciate.
It’s deep and ominous, with a distinct ambiance and reverberating echoes. The guitar pedal provides all this and more, allowing you to tune in everything from a tape-style slap-back to long trailing effects with a few simple knob twists. In addition, the pedal’s split outputs make it possible to route the delayed and direct sounds in separate directions, which is very neat.
If you’re familiar with Behringer’s pedals, you know that their plastic construction is infamous. You’re in for a pleasant surprise if you’ve never held one. The pedal’s plastic composition doesn’t make it any less durable.
It won’t hold up as well to abuse as metal pedals would, but if you’re careful with your equipment, you can use one of these pedals on stage. Although inspired by vintage equipment, this pedal has a battleship gray finish.
Similarly to the DM-3, this pedal’s layout consists of a trio of dials that let you adjust the effect’s repeat rate, echo length, and intensity. The repeat rate determines how many times the pedal will play back a note you play before it stops.
The delay can be heard as a subtle echo or a precise repetition of the original message depending on the setting for “Echo,” which determines the trail off. The pedal’s intensity setting determines the number of repetitions it produces.
This pedal is unusual because it has three jacks instead of the standard two. There are the standard line-in and line-out jacks. Still, like the original pedal this is based on, there is also a direct-out jack that lets both the unaffected and impacted signals exit the pedal simultaneously so they can be routed to different amplifiers for a wet/dry effect.
This pedal can produce up to 300 ms delays thanks to its analog construction and effective noise cancellation technology. For the most part, this pedal will satisfy your needs, as was previously mentioned. You get a high-quality sound, a natural delay, and responsive controls for the asking price.
This one might not be to the liking of the more experienced player who relies heavily on delay to achieve the ideal audio blend. However, the pedal offers everything you need if you want to add something extra to your guitar attack with this effect.
Character & Sound:
The control arrangement was just as intuitive as the Boss version, if not more so. Turning the Boss clockwise increases the repeat rate while turning it counterclockwise decreases it. On Behringer, the typical lower-for-clockwise and higher-for-clockwise convention applies.
While not the greatest range available, this pedal is adequate for most situations. If you put the pedal’s controls in the middle position (midway between the extremes), you will have a good sense of how the sound would generally be. It had a pleasant analog quality that made it sound cozy.
The tape delay effect wasn’t believable, but the sound was fantastic. Reducing the echo level led to a delay that was so abrupt it sounded like it had been cut short, which undoubtedly diminished the tone’s overall warmth. Not only that, but when you turn off the echo, you can hear more of the ambient sounds.
If the echo is turned up, the sound is softer and more rounded, with less noticeable fizz. A lot of impacts came from turning up the volume. You could achieve tremendous sustain by turning this dial to the right while also being able to rapidly kill the sound by turning it to the left while maintaining a clean and punchy tone.
The Behringer VD400 Vintage Delay is a fantastic choice if you’re looking for a cheap, flexible analog delay. You can’t beat it if you want to add thickness to your 80s hair metal leads, depth to your ambient soundscapes, or anything in between.
When the delay is on, the pedal’s white noise is manageable. However, the sound continues even after the bypass is activated. The noise is suddenly not contributing to the effect, incorporating it into the board. You can experiment to see if it’s ever silent, but when you tried it with several power supplies, with and without other pedals, the noise from the pedal always seemed to linger on the board.
8. Strymon TimeLine Multidimensional Delay
The TimeLine was motivated by professional-quality outboard delays, and the pedal’s simple and effective control arrangement reflects this.
Most guitarists familiar with Strymon have become accustomed to the company consistently surprising them. The Blue SkyReverberator and the El Capistantape-delay emulator created by a group of pedal enthusiasts in Southern California have been featured favorably on these pages over the past few years.
Their newest product, the TimeLine delay, is just as impressive as its predecessors in sound manipulation. Any studio enthusiast, whether amateur or professional, should give TimeLine their full attention.
The three footswitches on the TimeLine are used for tapping out the tempo and switching between the two banks of presets (A and B). You can switch between banks by simultaneously stomping on two footswitches (A/B for the next bank down, B/tap for the next bank up) and then selecting a preset with either the A or B footswitch. You can quickly access all banks and presets by turning the value knob.
- Delay Time
The repeat volume and tone controls are located below the top row of knobs, while the top row controls the delay time, the number of repeats, and the dry/wet mix. You may usually adjust the repeat’s EQ curve (filter), add distortion (grit), and vary speed and depth with a delay pedal. The dTape, dBucket, and filter machines have dials for adjusting various settings.
- dTape and dBucket
The machines’ control knobs have different functions. For example, the dTape mode’s Filter knob emulates tape wear, while the Speed knob mimics varied degrees of tape crinkle. By depressing the Value knob, you’ll gain access to a wide range of other performance-editing options.
The Ice mode’s Interval control allows for the modification of repeating pitch intervals between one octave down and two octaves up, with any gap from a major third to a minor seventh possible in between.
Strymon claims that high-quality outboard studio delays inspired its TimeLine pedal and that its simplified and effective control scheme is the result. While the gunmetal gray box’s many capabilities may make it seem complicated at first glance, they make it easier to use than similar stompbox delays.
Located on the pedal’s right side, the seven knobs allow for fine and coarse tuning of the delayed signal. A secret eighth knob provides access to additional adjustments for each effect. Choose from 12 distinct delay types using the left-hand Type knob, and lock in place with a single press. Three footswitches may access two banks of presets, play/record, and tempo controls.
Character & Sound:
The TimeLine’s built-in tools for creating sound are impressive enough, but you can enhance them with one more layer. When operating in mono, the unit’s extra input and output jacks provide access to its feedback loop, allowing you to insert additional effects that you will apply to all repeats.
You can control timeLine sounds in real time; an expression pedal can be plugged in and programmed to manipulate any number of knobs manually. Furthermore, MIDI allows for control over knob and parameter values, patch selection via program change messages, and delay time synchronization via a MIDI clock.
This is the one for you if you’re a musician or producer who wants a complex delay. This pedal copes well with live as well as studio situations, and besides the fact that the sound improvises these two contexts, the fact that it is made of quality materials is a big plus, especially for the price it offers. Surely this pedal will make you abandon any delay solution you’ve had until you get in touch with it.
A few problems with some units, but they are minor issues that you can fix under warranty. But the biggest drawback is that it’s not for everyone. Such a pedal requires extensive knowledge of the effects world, and it certainly won’t help a beginner to own such a pedal.
9. Fender Pugilist Distortion
Fender’s Duel Pugilist Distortion is a powerful overdrive with powerful punch harmonics.
With a left hook and a right cross, the Fender Duel Pugilist Distortion gives you two independent channels and a wide variety of tonal shaping and blending controls to get down and dirty. This golden chest of tones is a first for Fender, a company that has struggled to find its footing in the stompbox market but now has arrived with the needs of the modern guitarist squarely in mind.
- Two Channels
The Duel Pugilist Distortion offers two independent channels so that you can tailor the distortion to your tastes. Each distortion channel’s volume, tone, and gain controls are separate. There are countless possible combinations of the two sounds thanks to the mode switch’s three notches, which may be adjusted using the blend and EQ controls.
With the Pugilist, you may adjust each channel’s volume and tone. The gain knob determines how distorted your sound will be, while the tone control modifies the amp’s overall output. The music becomes fuller and warmer at lower volumes, whereas, at higher volumes, it becomes distorted and harsh.
The blend knob, though, is the Pugilist’s most innovative addition. Turning this knob into the mixing position blends the two signals, making it easy to find the optimal drive in any situation.
A switch also lets people stack the two drives in parallel for an even more aggressive tone — while this removes the blending knobs, you may still tweak each circuit via the independent tone and gain knobs. The Pugilist also provides an overall level knob for adjusting the volume of your signal and a bass boost button for producing thicker, louder tones.
- Mute Mode
There are three distinct ways to configure how the pedals interact with one another, and the mode switch is the pedal’s beating heart. When muted, Distortion A takes control while Distortion B acts as a mask. Although our tinkering with this setting yields a few useful ones, it is the least exciting of the available choices.
- Series Mode
Set the switch to series to stack the individual distortion sounds like several pedalboard distortion units. When this setting is activated, the guitar’s tone can go from creamy overdrive to high gain, sounding almost like fuzz. In this mode, it’s best to use Distortion A as your foundational tone and Distortion B as an additional dose of dirt.
- Bypass Mode
Finally, the bypass setting provides another fantastic array of tonal tinkering choices, including a blend knob for combining the two distinct distortions. The best way to acquire precise note clarity is to blend a strongly distorted tone with a cleaner one or vice versa. The guitar tones come through with a refreshing clarity when doing the latter since the dry output is activated on the other channel.
Character & Sound:
This pedal emphasizes the pick and dynamics, especially when the gain isn’t totally turned down, making it ideal for players seeking an extra level of throaty, punchy drive. Channel B, meanwhile, provides a more distorted and aggressive tone, perfect for hard rock and metal.
You can achieve virtually any effect using the technique and gain controls for each channel in conjunction with the blend control. The Pugilist’s strengths lie in its ability to produce a robust medium gain tone, but it can also produce smooth low gain tones and blazing high distortion.
This pedal has apparent articulation, even at loud volumes; the sound saturates nicely, but the individual notes retain their purity and precision. Compared to milder distortions that turn your signal into sludge when turned up, this one is fresh air.
The Fender Pugilist is an innovative new design by the long-standing California company. The two-channel design is unique, and the sounds are exceptional, particularly for the low price. Players of all skill levels will love the instrument’s adaptability, quality construction, and extra performance enhancements. Try the Pugilist if you’re a guitarist in need of a versatile and entertaining distortion.
When the gain is turned down, it falls short. Distortion at low gain levels is similar to an unfavorably clipped clean tone, but not in a positive way. No matter how often you try a different series and blend settings combination, it just doesn’t seem to work. As soon as you crank the gain, that disappears, leaving you with a fantastic sound.
10. Dunlop Cry Baby Standard Wah GCB95
More than fifty years ago, the CryBaby GCB-95 pioneered the wah-wah effect.
The GCB95 is a refined update on the classic Dunlop Cry Baby, featuring the same sweet, dynamic character as the original but with a more pronounced wah effect and a sharper high end. Because of the upgraded components, it runs more quietly and lasts much longer.
An inductor, a coil of insulated wire that functions like a guitar pickup, is essential to the operation of a wah pedal. Since it is vital to the wah’s variable filter circuit, its tone greatly affects how the wah sounds.
A robust rack and gear mechanism in the Cry Baby rotates a unique potentiometer to adjust the filter frequency. With this mechanical setup, you can count on a quick response and no slippage.
Most “pots” feature a logarithmic taper, where the resistance value varies dramatically at one end, or a linear taper, where the change is constant for each degree of rotation. However, an S-curve responding Beckman HotPotz II potentiometer is employed in the Cry Baby. This makes the foot pedal feel more natural by shifting the value more in the middle and less at either end.
The bypass switch on this pedal is a massive upgrade over its predecessors. It can run on either a 9-volt battery or a regular AC adapter. In addition, its ten by-four by 2.5-inch steel casing is as sturdy as a battleship.
The GCB95’s setup procedure is foolproof. The only connections are a pair of quarter-inch jacks for input and output. You can turn the bypass on and off by depressing the pedal entirely; also, there are no other knobs or dials to play.
The Cry Baby wah pedal’s size places it squarely in the middle of the spectrum, making it an ideal choice for guitarists who want a versatile pedal that is neither too big nor too small. Compared to other wah pedals, the Cry Baby’s size makes it evident that it has become a standard. It’s perfect in every manner, and the pedal’s layout makes it work well with many of today’s pedal boards.
Character & Sound:
Each wah pedal produces a distinct sound, which can be challenging to put into words. The wah sound produced by this pedal is similar to vintage records. It’s a versatile wah tone that’s probably the most prevalent you’ll hear. This sound is ideal for almost any musical style or genre.
There are a plethora of CryBaby offshoots available if you’re looking for something with frequency and tone character tweaking options. If you want your favorite guitarist’s tone, Dunlop has a wide selection of wah pedals under this brand name.
There are several reasons why this is an excellent pedal. The first thing you’ll notice is that it has the legendary CryBaby tone that’s been used by so many great guitarists. More than that, it may be used by anyone who has prior experience.
The lack of a tone knob shouldn’t be a problem because the factory sound is excellent. Last but not least, it’s well-made, so you needn’t worry about shattering or ruining it. The cost, at long last, is revealed. This wah pedal has a famous name but is surprisingly cheap. Furthermore, its worth will stay high, so you won’t be out too much cash even if you dislike it.
A power supply for DC use is not included. Due to the port being set back within the harness, not all universal adapters will be suitable. If you want to use this immediately after opening the box, you’ll need to ensure you have the appropriate adaptor. It also takes a lot of pressure to press the pedal down.
11. Wampler Belle Overdrive
For almost a decade, Nashville cats have been pumping their amps and stacking their stomps using a specific batch of pea-green German drive pedals.
Wampler Belle, his creation, incorporates this genre-defining overdrive pedal’s transparent personality and soft saturation. The Wampler Belle, like the original circuit it was based on, provides a ton of stackable gain with a distinctive quality that works well with amps and axes.
Countless musicians in Nashville, like Brian Wampler, have favored the other green OD for over a decade because of its clear tone and organic feel. The Wampler Belle is a fine-tuned version of this iconic German circuit, providing extra front-end gain and harmonic excitement for vibrant country leads, slick blues solos, and meaty moderate-rock crunch.
- Tone Shaping
Despite extreme tonal manipulation, Belle will not alter the signal’s midrange. Instead, the flexible double-filter Color control of the Belle is where the magic happens. Without sacrificing the all-important intermediate frequencies, you can fine-tune the high- and low-frequency components to your specifications.
Those who enjoy the OG green will appreciate the Wampler Belle’s expanded sonic palette, courtesy of the instrument’s Bass and Clipping knobs. The cab gets a heart-pounding thumb when the Bass knob is turned past 3 o’clock.
However, you’ll agree that turning it up adds a response many will find lacking in the original and allows you to chisel out troublesome bass frequencies in a dense mix. Wampler’s Clipping switch, located on the side, is also distinctive. To enhance harmonic saturation and achieve a compressed attack ideal for lead and solo breaks, activate this at any moment.
Character & Sound:
They don’t achieve the balance of clarity and bass required to let this overdrive truly shine. Brian expanded the circuit’s amplification capabilities and added a bass knob that adjusts the circuit’s harmonics from round and creamy to tight and crunchy.
This circuit’s sound is a fan favorite in Nashville, and Brian Wampler’s implementation is all you’d want: high-quality components, a gorgeous enclosure, and superb tonal quality.
In its clean boost mode, with the gain turned down and the bass turned up, it rivals any Klone circuit, but in its overdrive mode, with the bass turned down and the increase turned up, it provides an outstanding transparent overdrive / mild distortion sound with all the crunch you need.
The Color knob goes beyond a simple tone control and is a distinctive feature of this particular circuit. Changing the knob to the right or left will accentuate or reduce the high and low frequencies while leaving the midrange unaffected.
With the Bass control, you have a wide range of options for sculpting your tone, all with Wampler’s trademark simplicity. You can adjust the amount of compression and the clipping structure in the circuit with a side push switch that Brian added for some more oomph.
The pedal has five knobs and a clipping button on the side, but getting the sound you want couldn’t be simpler. Its incredible sound quality is a result of the Bass and Color controls.
If you want to hear pedals the way Wampler does, you can forget about the mids, but the lows and highs will be extremely powerful and open, respectively. This tiny pedal costs way too much for what it does, which is to strip the ODR-1 of its sustain and mids and replace them with squelchy, almost microphonic highs and monstrous lows.
12. Universal Audio Dream ’65 Reverb Amplifier
When it comes to recorded combo amps, the Dream ’65 Reverb is a dead-on recreation of one of the all-time classics.
Three speaker setups, three amp types (two of which are standard), and two common alterations faithfully duplicate the pedal’s brilliant cleans and rich overdrive. UA’s Dynamic Setting Modeling technology, together with their exceptional mic, cab, and live room modeling, perfectly recreate the sound of a tube amp recorded in a natural setting.
Each pedal in the series features a “4-cable” mode that, when engaged, allows the user to bypass the preamp and use the amplifier’s full complement of channels. The Dream ’65 may be synced with a smartphone app for expanded editing features, artist presets, and more through Bluetooth connectivity.
The pedal has three different amp models, giving you many tonal options. This pedal faithfully simulates the original design but has several altered variants, each with its own boost controls, for maximum versatility. With the Stock setting, turning the boost knob to its maximum position adds 10dB of distortion-free amplification.
By switching to Lead mode, the bright cap is automatically turned off once the boost is increased above “off,” making even the lowest boost settings sound full and warm. Once you get the Dream ’65 past about 10 o’clock, the midrange is amped up for more power while playing with drive.
D-Tex boosts the gain in the midrange considerably for a soft overdriven sound. For a more open sound, turn the boost to its maximum in this setting.
The Dream ’65’s speaker and cab simulations are so realistic because of the technology behind them. The pedal’s three amplifier modes are perfectly paired with the pedal’s three speaker/cab/mic combinations. When you register the pedal, you also receive three complimentary cab sims, making it ideal for guitarists who want to cover a wide sonic spectrum.
To provide the most authentic possible simulation of tube tones, each UAFX series pedal has a unique 4-cable mode that can be accessed through the app and allows you to bypass your amp’s preamp when the pedal is activated.
It’s possible to add two more channels to your amp by connecting your pedal to the effects loop send/return and the front of the amp input. Furthermore, they created this function with multi-pedal setups in mind; in this setup, you may connect any UAFX pedals to create multi-channel mayhem.
Note that the pedal remembers the modes you assign to the footswitches, so if you designate both switches to a different Live/Preset selection, you won’t be able to switch mode without first reassigning one of the switches in the app.
If your Bluetooth connection drops or your phone unexpectedly dies, you should be able to quickly return to your Preset routine by restarting while trying to hold down both footswitches or something. You can back up all of your presets in one batch file to the app, but you can only have one backup at a time; thus, any subsequent backups will overwrite the previous one.
All the presets are stored in the pedal itself, but you can only use the most recently used one without the app. You may end up with duplicates if you choose to Merge instead of Restore since presets with the same name are not replaced if they are already in the backup batch file.
Character & Sound:
Those boost modifications, however distinct, greatly expand the vehicle’s adaptability. This latter boost mode lacks tremolo control, mirroring the inability to adjust the mod on the actual instrument. UA’s ability to replicate the tube’s medium and occasionally gritty crunch tones is shown in their use of these enhancements.
Lower end boost of the DTEX can enter into the fuzz pedal area when pushed, but high-end chime in chords is preserved even though the Dumble mod provides a smoother mid boost that is useful for cleans as well. This amp sounds like a Fender Deluxe in its prime and, as a result, may be used for a wide variety of musical styles.
And in terms of modeling technology, it’s as close as we’ve been to the real thing. Because of its responsiveness, the Dream will teach you to play with greater nuance, and much like the real thing, it will often expose careless technique.
Its sound is similar to that of a genuine tube amplifier, and the distinction between the two is nearly indiscernible. Additionally, you may get a wide variety of sounds by using this pedal. In addition to the amp, the reverb sounds wonderful, and the treble is excellent. The casing for the pedals is constructed extremely professionally.
Some people struggle with the lack of an effects loop capabilities. The Dream 65 can only be used with an amplifier if the amp has effect loops built in. This effectively disables the usage of any effects in the loop, including delays and reverbs.
Naturally, the sound is drastically altered if you add time-based effects at the very end of the chain, after the overdrives but before the Dream input. The lack of midi renders it incompatible with most modern pedalboards, which typically feature loopers.
At this pricing point, XLR outputs would have been welcome, even though the decision not to use TRS is understandable. The app has potential, but it’s not quite there yet; without access to the options, the presets are mainly useless. A graphical representation of the values for each preset should be available. It’s possible since you can tell which amplifier and cabinet are being utilized.
13. J. Rockett Audio Designs – The Dude Boost/Overdrive
J. Rockett Audio Designs’ Dude pedal is an homage to the highly regarded boutique guitar amps used by many professional musicians.
These amps are legendary for their one-of-a-kind sound and playability and their excessive costs resulting from their meticulous, handcrafted construction in California. The Dude’s “ODS” tone and feel are reminiscent of the classic D style, and it can produce anything from a transparent clean boost to a searing high gain while still being extremely sensitive to your pick attack and guitar volume control.
The Dude’s straightforward 4-knob design allows you to quickly and easily create the perfect tone for every musical situation. While the Level pot adjusts the volume, the Ratio pot enables instant parallel processing by adjusting the balance between the drive and unprocessed signals.
The Treble and Deep pots allow you to independently adjust the high and low ends. How near the Dude gets has surprised and delighted people, especially given its low price.
This pedal can be powered by either a nine-volt adaptor or batteries; however, the four screws that enable access to the battery compartment are tiny, so you’ll need to exercise caution when handling them. The pedal can be powered by either a nine-volt adaptor or batteries. The pedal is relatively small and has just the right weight.
Similar to the original Dumble Overdrive Special, this is their rendition. The Dude is a versatile pedal that can be used as a clean boost, generate traditional Dumble sounds, or crank out smooth, high-gain tones, all while emulating the sound of a Dumble-style pedal.
Try out different volumes, but be careful—the Dude can roar. By blending dirty and clean signals via the Ratio knob, the Dude emulates the sound and feel of an amp more closely than other overdrive pedals. The Dude nails the sound of a Dumble Overdrive Special and catches its spirit.
Character & Sound:
Since a Dumble Overdrive Special is arguably the most coveted amplifier in the world, it is no surprise that numerous companies are working on bottling the amp’s enchantment in pedal form. The most recent example is JRAD’s pedal, which was modeled by a meticulous examination of a vintage ODS.
From roughly 10 o’clock on, the Level knob increases the pedal’s output and introduces a clean boost; if you want dirty sounds, the Ratio knob gradually adds gain to the clean growth until the sound is fully overdriven, with some excellent blends in between.
A Treble knob and a Deep knob, which affects the lower mid frequencies and can put in a touch of scoop or dial in a bit of thud, allow for this without sacrificing string purity. When you play through The Dude, you’ll hear a Dumble amp’s characteristic touch sensitivity and harmonic richness.
If you like melodic lead playing with a lot of fat sustain, there’s something for you. Despite the obvious amp parallels, this overdrive pedal is incredibly adaptable.
If you touch the Dude, pleasant tones will emanate from your fingertips. As far as we’re concerned, this pedal is top-notch, capable of sparkling clean boosts and muddy, grittier gain tones. This overdrive pedal could use for anything from blues to heavy metal.
Some models come bundled with latency, but this is a highly particular situation, and you can solve these problems under warranty. The only major problem this pedal has is the design; it’s not very clever to put black knobs on a black background, especially not being marked by a white pointer, it can make you confuse the settings when you’re on stage, and it’s possible to make wrong changes.
14. Way Huge Smalls Aqua Puss Analog Delay
The Aqua-Puss will enchant the riffs and leads of your music.
This tiny ‘Puss has all the bells and whistles of its larger ancestors, including self-oscillation and a chewy tape-style echo. Easy to use, simply adjust the Delay time and the Feedback repetition count before blending to taste. The pedal’s true potential is unlocked by adjusting the Blend knob, which allows everything from subtle coloring to eerie wails and moans to be added to the soundscape.
The pedal comes into its own for rockabilly-style slapback, where it can add layers and personality without overpowering the rest of the sound. The pedal’s real hard-wire bypass switching is a bonus, as it protects your signal more thoroughly when turned off.
Even though a significant company is now making the pedal, it still has all the same great characteristics that made the original so famous. In every tone it produces, its all-analog circuitry shines through.
The controls are standard fare for guitar delay pedals, so you won’t have trouble getting the hang of things and using the pedal to great effect. Compared to modern standards, the delay time here is short, at 20ms to 300ms; this is precisely what made the original pedal so famous.
The bold blue color and the graphical writing immediately grab your attention. The bulky black knobs attached to the surface provide the finishing touch. You won’t need to sell it again and again because of how wonderfully it’s made.
Further, the pedal’s circuitry has AC protection to ensure that power adapters won’t cause any harm. This pedal, like most stompboxes, may be powered by a single 9V battery or a Dunlop DC converter, both of which are accessible via the unit’s non-removable battery compartment. The unit’s full bypass functionality ensures that it will send your sound in its original form.
The control system has few moving parts but is effective. After all, this is how the masses may hear the circuitry’s magic. The large size of the encoders allows for effortless fine-tuning; adjusting the controls feels like you’re using your fingers to handle the various knobs and dials.
If you’ve used an Aqua-Puss or similar delay pedal, you’re undoubtedly already familiar with the controls. The Delay knob is the first to adjust; this feature adjusts the delay time, ranging from 20 to 300 milliseconds. With this method, you may quickly switch from short delays to lengthy ones.
The next step is feedback, which modifies the cycle length. With this feature, you can adjust the echoed sound to your liking and check the results thoroughly. The blend is the final knob, and it combines unmodified and delayed signals. Both quantities grow as the controls are turned up higher. The immediate on/off footswitch/true bypass switch is also available.
Character & Sound:
The manufacturer was careful to preserve the distinctive Aqua-era Puss sound. Furthermore, it was a smashing success. For example, if you expect to find a certain sum of money in your bank account but don’t find it, you know you have a replacement pedal.
The analog warmth permeates every pore of the reissue, giving it its distinct flavor. The extreme gloom and distortion that it exhibits are what set it apart. Your riffs will gain thickness and vitality with the repetition of faster delays at different tempos.
When things are slowed down, and the delay is increased, however, a beautiful echo is produced that improves the presentation. The delays will reverberate off of each other audibly if you apply excessive feedback. One of the most interesting aspects of this pedal is its Blend knob.
It’s not like a regular wet/dry mixer because it boosts the loudness of the original signal and the one that’s been altered. What’s left is a finished sound that stays true to your instrument’s roots. Instead of trying to remove it, it has chosen to live beside it.
Clock time noise, typical of analog delays, is also present. They have obtained the full circuitry and are sending it to you unaltered, which may or may not be a good thing.
The pedal is high-quality in its many useful features and the sounds it produces. The fact that it is enclosed in a vintage-style, robust case is just icing on the cake. Try out the pedal even if you have no interest in or knowledge of the original. If you don’t take my word for it, you can check out the included sound snippets to hear why this is one of the best analog delays available.
The headroom is minimal, and the delays are highly distorted. It seems strange to hear a distorted repetition on a guitar that is otherwise very clean, but this is something to keep in mind if you are using an overdrive effect. It would be wonderful if there were more headroom on the pedal.
15. Fender The Bends Compressor
Fender has innovated in the realm of fantastic compression pedals by giving you access to something different.
The Bends has been meticulously designed to give you complete dynamic control over your tone while preserving your guitar’s original feel and response. You may dial in The Bends’ lightning-fast recovery time until you get the right feel.
The Blend knob allows you to reintroduce as much of the original signal as you’d like. With the release of the Bends compressor, Fender is making a solid return to the effects pedal market.
This pedal is a studio-grade footswitch that smoothes out sudden changes in volume without affecting your sound’s character. By adjusting the Drive and Recovery knobs, you can find the sweet spot between compression and sustain for your playing style, and by adjusting the Blend knob, you can keep your natural pick attack while still extending sustain.
As you play, the Amp Jewel LED will go from white to pink to indicate when the compression circuit is active and how long it will alter your signal.
Lightweight and sturdy anodized aluminum is used for the chassis, and the Amp Jewel LED provides that iconic Fender aesthetic for your pedalboard. On a dark stage, you can easily see what you’re doing with the controls thanks to the LED illumination. With our patented, magnetically-latched 9V battery door, we even made battery swapping a breeze.
When the compressor runs, the operational lamp is white; however, it turns pink during compression. While a sliding scale showing compression levels would be ideal, in practice, compression is either on or off. Each dial has an LED that may be turned on independently of the main indicator. It’s great when it’s completely dark, but the unit’s blue LEDs become like runway lights when used as part of a home practice rig at night.
Character & Sound:
With care and deliberation, they choose the pedals and rack effects required to achieve this compressed tone. You can use it with an orchestra or a jazz drummer because of its crystalline tone, heavy vintage design, and infinite, lightning-fast dynamic command typical of studio outboard equipment.
As a progressive company, Fender has also included a wet/dry blend knob, which allows you to add an extra layer of nuance while preserving your clean tone for purists. The Bends can be used to steady an unsteady pick hand or to lengthen the sustain to an almost inconceivable level.
There is no such thing as a “poor” compression setting; only a variety of effects to choose from—Low-noise and clear. There is no audible pumping, even at the highest volume settings, and even then, it is musical. A background in engineering is unnecessary.
The new Fender-style battery box is the best one available. Changing a board’s batteries takes three seconds and causes no other disruptions. Batteries can be used in place of an external power source, eliminating the need for an electrical outlet.
Like other Fender pedals that don’t have driving effects, this one has a strange limitation: the range of possible adjustments is extremely narrow. It seems that until the ‘Drive’ knob is closer to the 3 o’clock position, the pedal will not compress.
Turning the ‘Drive’ knob to four o’clock causes the compressor to distort the incoming signal. This could be useful if you used the pedal at the end of your signal chain. You will notice little compression effect while playing notes within that range. It works only if you put in a lot of effort.
16. Dunlop JDF Classic Fuzz Face Pedal
Fuzz Face pedals are renowned for their deep, warm tones.
This new version of the Fuzz Face is a faithful reproduction of the original. This famous fuzz box, popularized by Jimi Hendrix and other favorite ’60s and ’70s rockers, is ruggedly built according to the classic germanium PNP transistor construction and vintage specifications.
You may adjust the sound with the knobs for volume and fuzz. The Fuzz Face is perfect for you if you’re a contemporary musician who appreciates classic guitar sounds of vintage.
The housing of the pedal is one of its most intriguing features. Because pedals with a disk shape were eventually phased out, this particular example is quite unusual. The reissued version is a striking shade of red and features numerous germanium-based components.
It wastes a lot of space for no good reason since it has two knobs and one switch. But its form is a significant component of its attractiveness. However, despite its bizarre appearance, it is still one of the best examples of a good vintage fuzz revival.
Dunlop’s JDF2 Fuzz Face only has two knobs, which is surprising considering how large the pedal is. The setup is effortless. One controls the volume, while the other determines how much distortion is applied to the incoming signal. This setup may seem overly simplistic now, but it was all required to achieve a groundbreaking fuzz tone when it was introduced in the ’60s.
- Inside The Pedal
Any fuzz fan who has been let down by the limited space of digital boxes or smaller analog devices will be pleased with the interior. It has the same degree of complexity as a Fuzz Face and is as straightforward as the trunk of a 1962 Chevy with a straight six engine.
You can readily check and trace the routes of the various components, from the array of capacitors, and transistors to the potentiometers used for the Volume and Fuzz settings. It is functionally identical to similar devices from the era and runs only on 9V batteries.
Character & Sound:
Because it uses antique PNP transistors and is based on germanium, this pedal can produce a wide variety of sounds from the past. You can achieve a wide variety of sounds with its simple controls if you know what you’re doing. There’s no denying that the awe-inspiring hum of those vintage germanium transistors is as captivating as it was.
The pedal is most interesting with the fuzz turned up; the trick is to use the guitar’s volume knob; a slight reduction in volume significantly impacts the pedal’s sound. Notably, the Fuzz Face lacks a mains adaptor, even though many fuzz heads prefer the tone of a battery-powered fuzz.
Those aspiring to emulate Jimi Hendrix’s signature sound should have one in their arsenal. It has a similar sound to the original Fuzz Face, even if it isn’t the original. Overall, it’s a competent fuzz pedal, especially by today’s standards.
Only a little about this pedal makes it preferable to others on the market. Nonetheless, there’s no denying that putting on the Fuzz Face is an adventure unlike any other. A fuzz pedal like this might make you long for a simpler era of guitars and tones. Therefore, if you want to experiment with the fuzz effect and own a genuine historical artifact, this is a perfect model to start with.
Instead of being on the right, the input jack is on the left. Typically, the input on the pedals is on the right. This isn’t very pleasant if you’re trying to set it up on a pedal board that slopes from right to left. Remember that snug is as tight as it should get when replacing the battery.
Be careful if you try to strike the switch because the pedal can wiggle a bit. Overtightening the screw causes the backplate to bend in the direction of the exposed PCB, which can cause a short.
17. Keeley Red Dirt Overdrive
The traditional drive and incredible sound diversity of the Red Dirt Overdrive guitar pedal make it suitable for any genre.
Robert Keeley, a renowned pedal designer, essentially merged the fantastic tones of his classic Mod Plus and Baked modded pedals and then added improvements normally only seen in his bespoke pedal line. Many guitarists are certain that we have died and gone to pedal heaven because of how alive and natural the end product is.
Only three knobs and a single toggle switch are needed to control its full range of effects. You can achieve everything from a pure increase in speed to Overdrive with a crunchy, shimmering texture by starting on dirt and working up to the highest level.
If you desire a darker tone, keep piling on the dirt until you get the level of saturation you want. The pedal’s strength lies in the fact that it can produce a wide variety of overdrive tones while retaining that remarkable “Keeley” quality that sets Keeley pedals apart from the competition.
The Red Dirt Overdrive is essentially a Tube Screamer-based overdrive with Keeley’s “baked” mod and “mod plus” added to it. The pedal has a particular FET input stage that accurately imitates the sounds of a failing valve amplifier. It has the standard volume, gain, and tone knobs of a TS-style overdrive and a “lo-hi” toggle between the two mod settings.
A transition between “lo” and “hi” does affect the sound, however, the change is negligible when played live. It is a helpful feature since it allows you to maintain a robust tone even in a bright room and provides additional articulation in a muffled one.
Character & Sound:
You’ll feel at ease with this small red box if you’re used to using effects pedals like a Tube Screamer. Nonetheless, the available levels of thrust may surprise you. If you use it as Stevie Ray Vaughan did, the Red Dirt Overdrive is pretty close to transparent. It adds a touch more mellowness and sustains and raises the mids.
So, it does add some color to your signal, but in a good way, especially if you’re utilizing a strat. When used as the last gain stage, it produces a thick-clipped saturation well-suited to more aggressive musical styles.
There is a huge spectrum of motivation to draw from between these two poles, where you can find your distinctive voice. Flipping the ‘lo-hi’ switch makes a difference in the sound; however, the effect is subtle in a live setting. It’s a great tool for maintaining a full sound in an acoustically bright room or adding clarity to a murky one.
The pedal is loaded with top-shelf parts and is built in the USA. Robert Keeley insists on having things his way. As a result of its military-grade construction, your Red Dirt Overdrive will last years of use on the road while continuing to sound fantastic and function flawlessly.
The EQ section of the pedal provides a small amount of compression, which makes the pedal sound a little more digital. Otherwise, there aren’t too many negative things to say about it.
18. Boss SL-2 Slicer
The SL-2 Slicer is a new and fascinating creative instrument from Boss, full of vibrant audio grooves and rhythmic intensity.
You can splice, slice, and dice your signal to create intricate rhythms and percussive grooves, just like the original BOSS pedal, but in a far more compact and pedalboard-friendly package. There are eleven different rhythms to choose from, and you can adjust the tempo with the control knob or the hands-free tap tempo function.
In addition to the conventional tremolo tone, the Type knob offers five more interesting options: dual slice, single slice, tremolo, harmonic slice, and special effects slice. Finally, the pedal is loaded with high-end capabilities like MIDI, expression in, stereo inputs and outputs, and a custom BOSS app to explore even more pattern options.
People were immediately impressed by how much was packed into the compact body of the Slicer mini pedal. There are six dials, five jack ports, a 9v PSU connector, a TRS mini-jack MIDI socket, and a USB socket on the pedal. This pedal is overwhelming in its density of people.
The Slicer’s memory slots store a variety of straightforward volume modulation effects, including a tremolo effect. Attack and Duty are two of the pedal’s concentric knobs that you can tweak to personal preference.
Duty is the time interval within a single wave cycle between its peak and trough; however, in the music technology community, this term is more generally known as pulse width, which may cause some confusion for end users. Tremolo patterns can be tailored to the user’s preferences by altering the Attack and pulse width Duty.
Thanks to its streamlined interface, you may make advanced textures in a flash with the SL-2. Two dials allow you to adjust the waveforms for various sonic effects, from sharp, percussive chops to gentle, fluttering tones.
You can activate the tap tempo mode without touching the keyboard by simply holding the pedal switch, and you can change the tempo with a separate control knob. The Balance knob and the +/-12 dB output level govern the direct/effect mix.
Also, you can use an expression pedal to modify the values of the knobs or the volume as a whole. The TRS MIDI input allows the grooves to be timed to a drum machine, digital audio workstation, or any device that outputs MIDI clocks. Expression, tempo, and bypass can also be manipulated via MIDI CC signals.
- Effects And Connectivity
The SL-2’s TRS MIDI input and mono/stereo output modes make it a versatile piece of gear that should interact with various other devices, such as drum machines and digital audio workstations. Boss gives customers various output options in the latter, including seven different stereo modes.
Single- and two-seater modes of operation are both possible. These settings only require a little explanation. Unlike a dual slicer, which uses two slicers at once, a single slicer only has one. This tremolo effect comes as near as it can to the authentic tremolo sound.
By allowing for wildly variable modulation, the harmonic mode adds another layer of complexity to rhythmic exploration. In addition to the effects already present in the main mode, the SFX mode can also introduce new ones, depending on which of its several submodules is activated.
Character & Sound:
Boss claims that any musician may utilize it, from guitarists to keyboardists to DJs. It looks to include a slicing effect analogous to the original gate. In other words, it’s possible to time it to music. It’s possible to utilize the effect to imitate an intense tremolo.
This pedal might be for you if you want to add variety and excitement to your musical arrangements with percussion effects. The slicing impact is much more compelling when synchronized to a drum machine, digital audio workstation, or MIDI clock input.
The gadget may prove popular among musicians because of its recent improvements and compact design. This is the way to go if you want to add some pizzazz to your guitar sound without breaking the bank.
This pedal is an example of how the availability of novel effects broadens our scope for original musical expression. Boss made it easy to integrate their pedal onto your pedalboard with its modern appearance and vibrant colors, so you can begin creating futuristic tones immediately.
This pedal is a bit complicated for such a compact version, so a slightly larger version with slightly more controls would be more useful. It would also be nicer if you could connect midi via USB. Labeling seems confusing at first for beginners, but they will get used to it quickly.
19. Line 6 DL4 MKII
The emerald machinery that tormented the effects pedal boards of experimentalists in the middle of the 2000s has returned, only this time, it is more refined and compact.
The first modeler is a staple on pedalboards from stadium stages to worship platforms to bedroom floors. The pedal is an homage to the original, well-known small green time machine, and it keeps all of the original sounds and features and the same knob and footswitch structure.
An XLR microphone input, full MIDI control, a bypass switch, and an expression pedal input are also included. There is nothing about the original that the Delay Modeler pedal lacks. Therefore, if you want a delay stompbox that sounds great and has lots of cool features, this is the one to get.
- Housing and Connectivity
You can see right away that the MkII is a DL4, but it’s noticeably thinner and sleeker than the original, and the matte finish gives the impression that it’s bragging about how current it is. It’s indeed bulkier than other delay pedals on the market, but it’s still a worthwhile investment for any guitarist.
Plenty of other pedal designers would squeeze everything into a smaller container, given that there are only six knobs and four switches. Maybe they need the extra room because there’s a whole bunch of stuff going on behind the scenes, like stereo ins/outs, a mic in with level control, an expression pedal out, MIDI in/out, a micro SD slot for saving loops and increasing loop time, a USB in, and power.
The folks at Line 6 concluded that athletes simply need more mental space. Using the pedal’s switches is like stepping into luxury from the very first moment. And making adjustments on the fly doesn’t require much skill or precision thanks to the inset knobs.
The design may seem basic, but it stands out in a world of intricate pedals. You can adjust a selection of delay tones with a single knob. Fifteen of these are brand new, and you can access the remaining five by pressing the “heritage” button.
Of course, the looper feature is there as well. As claimed, you may adjust the delay period, the number of repeats, and the volume, and the tweak and tweeze controls behave differently based on which delay voice you choose.
There’s a lot to take in from the last two knobs, with all the many delay voices available, so using the included written instructions is preferable. With time and practice, you’ll be able to commit specific controls to memory, making future use much simpler. You may get pretty close to your ideal setting by toggling one of the three preset switches. That needs very little in the way of adjusting or adjusting to get you going.
However, when used in stereo, the pedal’s more ambitious additional sounds come through. The Euclidean mode adds psychedelic multi-tap textures, Multipass breathes new life into the tonal filtering of the classic Sweep effect, and Glitch’s unpredictable octave-hopping is the greatest part.
If you have an expression pedal with a TS output rather than a TRS one, this one can go genuinely rowdy without sounding like a traitor. Another option is the Heliosphere, which gives the repeats a soaring, cathedral-like stereo ambiance and leads us neatly into the topic of additional reverbs.
You can route your reverb before, after, or in tandem with the delay, and the presets range from classy plates and rooms to shimmering modulated dreamscapes. The sound is top-notch, making this stompbox a true two-in-one device.
The increased memory makes this a far more helpful performance and composition tool than the one in the old one, but other than that, it’s the same deal; for example, the fourth footswitch still allows you to either reduce the speed of a loop or put it into reverse.
Character & Sound:
While the printed Cheat Sheet is handy for learning what the Tweak and Tweez knobs do to each model’s settings, we have faith that your ears will pick up on the little differences. After settling on the perfect delay model after some fiddling, saving it as a preset is as simple as holding down the footswitch.
The pedal’s global settings allow for additional customization, but the pedal’s intuitive design means you will only need the instructions if you need to. The pedal reverbs are a nice bonus and may be utilized separately from the delay if the delay mix is turned down to zero.
If you are familiar with the sound quality of Helix processors, you will feel right at home utilizing the pedals of many familiar delay models. Cosmos, Transistor, and Adriatic are modern echo models with a lot of depth and lushness; nonetheless, settling on one of those rudimentary tape sounds is ultimately up to you.
Of course, there are more complicated delays, such as the Euclidean and Glitch delays, but we’ll leave them to the mathematicians. The reverbs are helpful whether you’re looking for a one-off effect or a lush background sound, and you may play them separately as long as the delay mix is at zero.
This new version of the DL4 pedal is a great improvement over the original. It’s simple to find both familiar and novel noises. All of the controls are intuitively placed. The reverb feature is a bonus, but it sounds so amazing that could access it more quickly and readily.
However, it’s tough to criticize this pedal for that one drawback. The pedal satisfies the needs of both advanced users and those who prefer more basic delay effects. The pedal will maintain the timeless status of this green bike.
The interface isn’t great, so keep the manual closed if you forget how to operate the pedal. Regrettably, when developing a replacement dl4, they followed too closely to the blueprints of the original. It would be quite helpful if this pedal had a tiny screen that showed you exactly what setting you were tweaking.
When you take into account the various in-built delays and reverbs. Trying to keep track of the functions of the “Tweak” and “Tweez” knobs might be overwhelming. This functionality is included in Timeline and greatly simplifies the pedal’s use.
People reported problems with saving the tempo to presets, and as it is currently impossible to save any subdivision other than 1/4 tap, the tempo always reverts to that setting.
20. JHS 3 Series Harmonic Tremolo
JHS has recreated Leo Fender’s legendary tremolo effect with their 3 Series Harmonic Tremolo.
This stompbox’s pulsating tone is achieved not through the varying volume but through dual-band filtering and LFOs that alternate between boosting high and low frequencies. The top-panel settings of the Harmonic Tremolo are extremely user-friendly, allowing for a wide variety of sounds and textures, from traditional tremolo to crazy Vibra-Chorus simulations.
The guitar pedal has three knobs for adjusting the tremolo’s speed, volume, and depth and a Type switch for selecting between the traditional tremolo and the harmonic tremolo. The 3 Series has an original term effect. If your pedalboard is missing something, this cheap stomp may be the answer.
The top-panel settings on the Harmonic Tremolo are just as straightforward as those on the rest of the 3 Series pedals. Using the Rate knob, you can adjust the tremolo speed from slow to fast. Turning the pedal’s Volume knob from left to right (reduced volume) reveals an unexpectedly loud output from the Harmonic Tremolo.
You can adjust the tremolo effect in intensity by turning the Depth slider. And finally, you can use the Type switch to select between the regular tremolo up and the harmonic tremolo down positions.
JHS added the Harmonic Trem pedal to their 3 Series pedal effects. Leo Fender’s groundbreaking tremolo circuit from the 60s, featured in the guitar amps, served as inspiration. The name “Harmonic Tremolo” is a bit of a misnomer because the effect was applied to the volume level and not the pitch.
It split the amp’s signal into high-frequency and low-frequency components, and the output alternated between the two, creating a hazy effect similar to the well-known Uni-Vibe.
In addition to its compact design, the box’s white exterior and red LED make it stand out against the backdrop of a dark stage, earning rave reviews from users. An LED flashes in sync with the shaking.
You’ll see a pedal that’s been upgraded to use those blue LEDs that are so hard to miss. The jacks for audio input and output are conveniently located on the sides of the device.
Character & Sound:
It initially drew people to this pedal because of the harmonic tremolo, which offers a unique sound alternative. It’s not quite vibrato or univibe, but it has a similar musical quality; it sounds like a combination of phase and pitch change.
At 8 o’clock, you’ll hear a glimmer of the effect that adds a pleasant background to the sound. Increasing the depth to around 2 o’clock also improves the sound significantly. The output of this pedal has a nice balance between dry and wet sounds.
There is a volume knob, which is a fantastic addition to a tremolo pedal. The effect is quite true to the guitar’s natural tone. In other words, the pedal is not significantly modifying the EQ or volume of the guitar’s original signal, so it is not coloring the sound.
You can get a lot of different tones out of the tremolo setting by playing around with the depth and rate. All settings for depth and tempo are reliable. This pedal produces an extensive range of tones.
We can’t say enough good things about this pedal. It has a sleek design, solid construction, and excellent sound. If tremolo is your thing, this is an easy choice. It sounds equally as wonderful as the more expensive choices.
Overall, the JHS 3 series pedals give the impression that you got a lot of bang for your buck. Anyone who enjoys tremolo, or those who don’t, should listen to this. You can now try the motivating effect of harmonic tremolo without breaking the bank.
The pedal switch seems to come broken at first, but indeed the problems are minor and can be easily returned. There aren’t too many drawbacks to the pedal; it does its job well.
Fender Compugilist Compressor/Distortion
In this pedal, you can find all-analog circuitry and the thoughtful details typical of Fender’s designs, which apply compression and distortion to your audio signal.
Inspired playing is yours for the taking with the Fender Compugilist compressor/distortion pedal’s combination of increased sustain and good grind. You can use these two separate all-analog effects separately or in tandem with the flip of a switch.
If your single-coil pickups sound too tinny, the Bass Boost switch is a terrific method to add some body to the sound. Despite its extensive features, the pedal’s intuitive interface makes it a delight. Plug into the pedal for instant gratification and the ease of having high-quality compression and distortion in a single, pedalboard-friendly chassis.
The Compugilist is a hybrid effect that integrates the most important features of both effects into a single, compact, lightweight, and sturdy, anodized aluminum chassis. It’s convenient to use the effects singly or in tandem, thanks to the inclusion of two separate circuits.
By decoupling the equalization from the distortion, this pedal saves valuable real estate on the pedalboard by providing you with two distinct effects. Whether you’re just after a little more bite or playing something considerably heavier, the combination of compression and distortion is undeniably a classic.
Fender has ensured that this pedal is more than just a two-in-one; they have worked together to make it a thoughtful product. It can almost instantly reduce extreme volume changes because of its high-current control path.
The equalization function has only three controls: recovery (to prevent the notes from sounding choppy or quiet), compression (to adjust the volume), and level (to adjust the volume of the entire output). A simple booster pedal is another possible application.
This is a great addition to your board with the volume control, but the little details really make it shine. You can fine-tune the sound by visually adjusting the threshold until the LED light labeled G.R. (gain reduction) lights up when the compression grabs the signal.
The bass boost toggle switch complements the volume, gain, and tone controls for distorting the sound. This feature is very helpful when using a clean amplifier, as it allows you to achieve a more organic sound by boosting the bass end.
Incorporating distortion amongst other pedals and layering effects can quickly muddy it. The option to turn that off when necessary is terrific and people appreciate it for that reason.
It’s also practical for usage in looping, where subtle changes at each iteration add dynamism. The tone knob provides contrasting bright and muted settings that you can use to compensate for other amp settings like the bright switch.
Character & Sound:
Since this is a low to mid-gain distortion, the tone is warm, not excessively overdriven or shrill, as one might anticipate from a Fender. This provides great flexibility for stacking additional pedals, like overdrive or fuzz, if you want to get crazy.
Still, the distortion this pedal offers when used with the correct guitar and pickups is fantastic. To make your guitar soar through the stratosphere when soloing, simply engage both effects at once, crank up the compression, gain, and output via the level knob, and enjoy the show.
We hope you’ve gotten the sense that the Compugilist made an indelible impression, and we applaud Fender for putting so much emphasis on their pedal line as of late. When Fender is on top of their game, the world of guitar tone benefits greatly.
With the innovative features of an instrument like the Compugilist, we once again see the most well-known guitar company in the world bringing something fresh and modern to the genre.
The Compugilist, with its compression section and useful functions like bass boost, is a distortion pedal that will no doubt make its way onto many a pedalboard and record for years to come, especially among those who are less concerned with the overall picture. To put it simply, it’s way too good to be on the outskirts.
The only problem with this pedal is that you get three controls for the compressor, but it certainly doesn’t affect the tone it can produce.
These were the 20 Best Pedals for Guitar Solos 2023, an impressive collection of solutions that can alter your tone to delight the ear. In this top, we can see modern and vintage solutions, all equally good, depending on what you want and the genre you propose to use them in.
Try them out before you buy them, as each of these pedals reacts differently to the sound you produce. For example, a reverb pedal may sound different from how you hear it on the internet because the guitars’ pickups and wood are different, especially the tone and how you articulate your guitar can influence this tone. At this top, you can find most of the products in guitar shops, so don’t worry; you can test them.
We hope this list of 20 Best Pedals for Guitar Solos 2023 has inspired you to find your musical character and get to know the brands better because, with time, they are developing day by day, and it’s pretty hard to keep up with everything that’s going on.
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Death metal enthusiast here. I am a Romanian musician and producer with over 13 years of experience in the music industry. I’ve experienced all types of Metal up until now, playing Melodic Death Metal, Brutal Death Metal, and Black Metal with different bands. Learning by doing is my base principle, which is why I’ve been drawn to sound design from an early age. Read more…