(Guitar Effects Pedals - The Practical Handbook) By Hunter, Dave (Author) Paperback on 01-Sep-2004 (Englisch) Taschenbuch – 1. September 2004
|Neu ab||Gebraucht ab|
|Taschenbuch, 1. September 2004||
Kunden, die diesen Artikel gekauft haben, kauften auch
Es wird kein Kindle Gerät benötigt. Laden Sie eine der kostenlosen Kindle Apps herunter und beginnen Sie, Kindle-Bücher auf Ihrem Smartphone, Tablet und Computer zu lesen.
Geben Sie Ihre E-Mail-Adresse oder Mobiltelefonnummer ein, um die kostenfreie App zu beziehen.
Mehr über den Autor
Guitar Effects Experienced player Dave Hunter offers insight from the top builders and tips on how to get the most from each pedal. The author also dissects chains used by top guitarists in creating memorable recordings. The accompanying CD features standard as well as unusual sounds from a wide range of pedals, as well as classic combinations used by the guitar grates. Players may rave about swamp ash, alnico pickups, and all-tube "tweed" circuits, but they universally acknowledge that one of the most critical ingredients of great tone can lie patched between guitar and amp: the effects pedal. While our guitars generate the music and our amps belt it out to the world, the...
Welche anderen Artikel kaufen Kunden, nachdem sie diesen Artikel angesehen haben?
In diesem Buch(Mehr dazu)
Nach einer anderen Ausgabe dieses Buches suchen.
Hard to believe it nowadays - when faced with the sight of a leather-clad, Les Paul-toting Zakk Wylde wailing straddle-legged in front of a blaring pair of Marshall double-stacks - but guitarists in bands once had a serious inferiority complex. Lesen Sie die erste Seite
Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis | Rückseite
Für jeden, der ein bisschen mehr von Effektbau und - Einsatz versteht ein echtes Schmankerl ;-) Anfänger könnten sich in der Vielfalt der Informationen jedoch etwas verloren fühlen und man sollte natürlich der englischen Sprache mächtig und mit den Ausdrücken der Gitarren- Geeks vertraut sein.
Die hilfreichsten Kundenrezensionen auf Amazon.com (beta)
All in all, a pretty reasonable yield for the money.
The writer clearly has a bias towards analog and seems to be the sort that finds images of sloppy overburdened pedal-boards with a dog's breakfast of devices crammed in with patch cords running everywhere just the sort of thing he wants on his wall calendar in the garage/basement (GET A LOAD OF THE KNOBS ON THAT ONE!). Perhaps because of the language barrier or just because you can meet a lot of folks justy hanging around New York, there is a decidedly American/British slant to the coverage. Not to say he shuns Boss, Ibanez, Guyatone, et al, but that he doesn't really have a lot of juicy insider stuff to offer about them the way he does with English-speaking makers. There is, as you'd expect of a 2004 book, a keen awareness of the emergence of the vintage market, and the challenge of knowing when stuff from the old days was good, when it has been surpassed by more contemporary stuff, and what constitutes a bargain vs a ripoff.
Chapter 2 has schematics to more precisely explain the inner workings of different kinds of pedals, but it's not clear what he's getting at. The circuits shown do not have accompanying "walkthroughs" such as you'd see in a project article in ETI. They show component values, but in most instances there are a few seemingly randomly selected components where values are not shown, and in other instances the diagram leaves you just scratching your head. For instance, the schematic intended to explain analog delay shows a chip labelled as "NE577 BBD IC" doing all the work. Um, yeah.......that's the chip you see in just about every commercial delay line since the first Memory Man. I'm not sure if he was simply trying to delicately skirt around patent/copyright law or if he and his editor just don't understand enough to know how off they are. DO NOT plan on building anything based on those diagrams.....but it's nice to at least see someone try to provide more technical detail. There is, of course, the requisite discussion/mention of the JRC4558 and germanium.
The alphabetical maker-by-maker listing of effects could have benefitted by colour pictures (it's B&W throughout) but then I guess I would have paid a lot more than I did), however there are decent shots of lots of items, some fairly recent, some quite old, with production years and controls listed for each pedal, as well as a brief description of its general sonic properties. Some nice old ads thrown in for good measure.
The interviews are interesting. So far I've read the one with Mike Matthews and forum regular Zachary Vex. Those folks dreaming about a career in the "glamourous" life of boutique pedal-making would do well to read the interviews of folks like Zach. I am reminded of the requirement Jewish rabbis have to "turn away" those seeking religious conversion three times, so as to spare them from lightly undertaking a change which they know will be hard and unforgiving in its demands. The interviews with the "old farts" like Matthews certainly give a better understanding of how things evolved. Mike Matthews' interview is fascinating in that regard, although I question the veracity of his memory sometimes. There are occasions when the physical reality of the pedals themselves contradicts a memory that is heavily influenced by 3 decades of immersion in marketing blurb (e.g., if he is so besotted with having control over everything and allowing players to produce sounds on the edge without constraints, how come E-H has such a long tradition of "one-knob wonders"?). Still, interesting to know that apparently Hendrix DID own an early Big Muff, what the hazy relationship was between Guild and E-H, where the LPB-1 came from, and that the Sovtek thing essentially grew out of Matthews having a Russian girlfriend with military connections.
One interesting tidbit. As of the printing of the book, Bill Finnegan of Klon Centaur fame was able to brag about having sold some 5,000 units. That sounds like a lot (actually it is), and yes the Klon costs a pretty penny, but do the math and figure out how much Bill makes from each pedal after factoring in overhead. Then spread that out for 5000 units over the number of years he has been making it, and tell me it's making him rich. Thanks, but I'll keep my government job and build on weekends.
Haven't heard any of the sound samples yet (that'll be today's cleanup music later on), but I'm looking forward to it. Many are pedals I've heard OF, but never heard. To his credit, Hunter includes a sort of reference sample of a tweed Tremolux to compare against pedal tremolos and pedal overdrives. There are also 4 samples of *bypass* using different bypass circuits to give a sense of tone-sucking potential. Now THAT'S hip.
Review by Mark Hammer of diystompboxes.com
My favorite part of the book is Chapter Six. Entitled "Meet the Makers," this section includes extended interviews with legendary effects inventors such as Roger Mayer, Mike Matthews, Mike Fuller, Pete Cornish, Josh Fiden and Dan Coggins. These interviews give a behind-the-scenes peak at what inspired many of the innovations that have shaped the effects industry.
Beyond the text, "Guitar Effects and Pedals" comes with a 92-track CD which demos many of the sounds described in the book. In other words, when you read about a certain effect in the book, you can hear how it sounds by switching on the CD. Chapter Seven of the book provides a thorough index of the CD, so you won't have any trouble finding the track that you are looking for.
Overall, the no-bull approach of this book is probably what is most appealing: it doesn't try to tell you what to buy, or what pedals you need to play "to be cool," but lays the big, wide wonderful world of effects out in front of you so you can make your own sound-based decisions. No plugged-in guitarist should be without it.
A far better choice would be: "Analog Man's Guide to Vintage Effects." Fascinating book. Well-written. Tons of photos and other illustrations. And "Analog Mike" who has written it is The Man when it comes to all things stomp box.
I wanted to read about components on the inside of pedals and what each one does in depth. This book does not give you that.