Fade Out: it’s the last part of the violin pedals series
At last, we’ve come to the final post on this blog series. Congratulations for making it all the way to the end, and thank you so much for all the positive feedback. If you’re only just joining us, go back and read part one and part two.
A quick recap: these are the main violin pedals’ categories. We’ve already tackled the first half.
Now that we got that out of the way, it’s time to dive into the second half of the list: DELAYS, DISTORTION AND SATURATION, SPECIAL EFFECTS and EQUALIZATION. Ahoy!
Ah, delays! Here’s another pedal I couldn’t gig without. My go-to is a pretty basic Boss, Digital Delay DD-3.
It’s essential for me; however, it’s very simple to use. The functions are for controlling the feedback, the level of the effect, the time of the delay, the mode, etc.
Why is this pedal so important? Because it rounds up the sound, specially on electric violins. It’s a confidence booster!
They are for repeating with a certain delay (obviously) what we’re playing. It’s important to be careful and experiment with the knobs before using it for a live show. Depending on the delay time, and how many times we want the signal to repeat itself, the result will vary very much.
What does each knob do?
- Delay Time: time it take to produce the echo
- Feedback: amount of time the signal is repeated (anything between 1 and above)
- Mix: the amount of delayed sound that gets mixed with the original.
I usually use the feedback knob at about halfway, and the delay time just a quarter (starting from the left) when I’m not adding any particular extra effect. The final effect is deeper, but doesn’t modify the rhythm or the clarity of what you’re playing.
The only warning I should give is that delays and distortion violin pedals don’t go well together! The end result can be confusing.
Distortion and Saturation
Speaking of distortion pedals, they are actually very useful; specially for rock violin. Rock’N’Roll has a particular sound, and it’s mostly due to distortion effects – across all subgenres – even if just for a short phrase or lick.
They work wonders on violins; riffs and double strings are the best. Here’s an example: the intro to my song Concomitancia. Single strings also work well (listen to the intro) although double strings are better.
I have yet another Boss pedal: Turbo distortion DS-2. It’s very easy to use, simply choosing the tone and distortion we want and how high we want it. It comes with two kinds of distortions: regular and turbo (obviously, way deeper).
Be careful! It may be Rock’N’Roll to distort, but don’t go overboard. It can be tiring to hear anything that abuses this effect. For example, think of the guitar role in a song: they have a distorted riff and then play along with the singer’s melody. The ear rests during the melody, so it’s important to keep this in mind if we lead a rock band. Know when to bring in the noise (for riffs, or solos); but also, give it a rest!
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