In this, the concluding part of our series on the genius Les Paul, we are going to be looking at his contribution to the world of effects. For a modern guitarist, effects pedals are an integral part of their sound. There are a dizzying array of boxes available to feed the contemporary guitar slinger’s G.A.S. (“Gear Aquision Syndrome”), but in Les Paul’s day an amplifier was a pretty far out concept, let alone tone-bending stomp boxes! As usual Les broke out his tool kit and did some inventing…

We’re going to see how Les moved from capturing sounds to creating new ones, with Delay Effects, Vari-Speed, Special Vocal Effects – and a distinctive playing style to boot.

Les Paul’s Delay Effects

The effects most commonly associated with Les Paul are ‘delay’ or ‘echo’ effects. Many Les Paul recordings feature some kind of echo on the main guitar.

In the previous part we talked about Les’ involvement in the development of tape recording. Tape recorders have:

• a record head, which copies the sound onto the tape, and
• a play head which plays the sound back again

Les realised that if you position the play head after the record head and feed the signal coming from the play head back into the record head it creates a repeat or echo on the tape.

At first it might be confusing to understand why this works, but it’s much easier to get your head around it if you consider an example:

(For more on tape delay, see Hearing Effects: Echo… (echo… echo…))

The most common type of delay you will hear on Les’ records is a short delay often referred to as a “slapback”. This slapback delay has become synonymous with the rockabilly guitar sound.

Les Paul & Mary Ford – How High The Moon

How High The Moon (in 26 parts!)

Soon guitarists wanted to produce these amazing sounds when playing live, and Click to read the rest…

Time to continue your bass effects education! Following on from the last part, Episode 6 of the Bass Tone podcast covers some more innovative effects, including modulation and pitch-shift.

In this week’s podcast you’ll learn all about:

• What modulation effects are and how they work
• The Chorus and Flanger effects and how they impact your tone
• The sound of Wah-Wah effects, and why they combine well with distortion effects
• Pitch-shifter effects (including octaver effects)

http://www.EasyEarTraining.com/wp-content/uploads/2011/10/6_-_Bass_FX_2.m4a

You can subscribe to the Bass Tone podcast in iTunes, or your favourite podcasting program using the feeds below:

	Bass Tone Podcast (iTunes)
	Bass Tone Podcast (RSS feed for other clients)

You can also download this episode directly:

Download Bass Tone Podcast – Part 6 (right-click and “Save as…”)

The podcast is an M4A (AAC) file, which should play back on most modern audio software and portable music players. If you have any problems downloading or playing the file please let us know.

Have you crafted your distinctive personal bass tone yet? Found a bass effect that really sets you apart? Share your experience in the comments below!



This is the last podcast in the Bass Tone podcast series. If you’ve enjoyed it, please let Nick know!

Last time on Bass Tone we looked at how you can use EQ, compressors, limiters and overdrive effects to craft your perfect tone. There’s a whole wild world of audio effects beyond these though. Traditionally reserved for guitarists, the effects we’ll be looking at this week can now be part of any bassist’s arsenal, as manufacturers produce bass-specific versions of their famous effects.

Modulate to Innovate

“Modulation” effects mix the original signal with a processed copy which varies over time. The type of processing done determines the type of modulation effect produced. For example, a chorus effect delays the copy, and continually changes the delay length in a random sort of way.

A “low-frequency oscillator” controls the change over time. Depending on the effect, it may control the range (sometimes called “depth”) or the speed (sometimes called “rate”) at which the sound changes.

Modulation effects tend to be less popular on the bass than on guitar or keyboard. The main reason for this is that the bass line is so central to the mix of a rock record that producers often want to avoid the washiness and lack of punch that excessive modulation can cause. However, the additional clarity in the high frequencies that the modern bass amplifier provides, coupled with the range of extremely high-quality specialist bass effects on the market, means that these issues aren’t really the problem they used to be.

That said, if you find yourself playing live with less-than-ideal PA, or your bass effects are not of the highest quality it is very important that you keep your modulation effects subtle to ensure that you’ll still be heard clearly.

Chaining many effects pedals together can also introduce noise Click to read the rest…