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Stomp Boxes Powder Springs GA

Cheapo realtime control over audio mutations is another real plus. Trying to manipulate virtual knobs in real time can be akin to trying to pick your nose using one of those giant foam #1 fingers—an exercise in true frustration.

Fret Not Family Music
(678) 567-9229
1379 Hiram Douglasville Hwy Ste 121
Hiram, GA
 
Ken Stanton Music-West Cobb
(770) 429-8816
3636 Dallas Hwy Sw
Marietta, GA
 
Music & Arts
(678) 761-3401
Battle Ridge Pavillion, 1690 Powder Springs Road, Suite 213
Marietta, GA
 
Jw Pepper & Son
(610) 648-0500
9053 Riverside Pkwy
Lithia Springs, GA
 
Paulding Music Center
(770) 974-1158
10175 Dallas Acworth Hwy #121
Dallas, GA
 
Ken Stanton Music
(770) 429-8816
3636 Dallas Hwy
Marietta, GA
 
Ponier Music
(770) 422-7766
2325 Dallas Hwy Sw
Marietta, GA
 
Ponier Music
(770) 422-7766
2325 Dallas Hwy Sw
Marietta, GA
 
Dirt Cheep Music
(770) 433-0196
2415 S Cobb Dr Se
Smyrna, GA
 
Sam Ash Music
(770) 818-0042
2999 Cobb Parkway
Atlanta, GA
 

Stomp Boxes

Why on God’s green earth would a person use a horrid little guitar stompbox with all the effects processing horsepower of the present day DAW? Of course, I’m not recommending eschewing all those wonderful plug-ins you’ve spent your hard-earned dosh on, but guitar stompboxes—especially the analog variety—offer a brute-force sonic overkill that digital recreations have yet to touch.

Cheapo realtime control over audio mutations is another real plus. Trying to manipulate virtual knobs in real time can be akin to trying to pick your nose using one of those giant foam #1 fingers—an exercise in true frustration. However, by simply placing your thumb and forefinger on a knob, the stompbox can tweeze your tracks with a subtle variation or a full-on audio mutation. And when it comes to forging some unique sounds that can save an otherwise anemic track from digital mediocrity, many of today’s top artists such as Nine Inch Nails, Radiohead, and the Fiery Furnaces reach for a stompbox.

Interfacing

Admittedly, you may run into a spot of trouble when incorporating guitar effects into a mixing medium. Depending on your system, you may have to run pedals through an outboard aux send/return or another mixer bus (and returning on a separate track). You may also need to plug a pedal into a direct box to match the high-impedance, unbalanced line level of the guitar pedal with the balanced, low-impedance input of your recording system, preamp, or other interface. There are also some guitar-oriented audio interfaces that provide unbalanced “guitar inputs”—which can be used to route stompboxes into your DAW. You may need to experiment—and read a manual or two— to get your system conversant with guitar pedals, but once you do the work, you’ll have a whole other universe of sound modifiers at your disposal.

Cool Sounds & Apps

Fuzz, Distortion, Overdrive. Fuzz is generally nastier square-wave sounding, while distortion and overdrive pedals tend toward a distorted tube-amp tone. Great for the ubiquitous industrial distort-o-vocals, these pedals are also great for pumping up a wimpy organ or clavinet patch on older digital synths.

Delay. This effect comes in two flavors: analog and digital. Analog pedals generally have shorter delay times and a warmer tape-echo sound. Digital delays are cleaner sounding, and they often have longer delay times, as well as freeze and loop functions that repeat endlessly. Playing with the delay time and intensity controls can conjure trippy Dub effects that would make King Tubby choke on his spliff.

Pitch Shifters. Use these to twist and bend tracks to your will. Analog models such as the Boss OC-2 feature sketchy tracking that can turn the sweetest female vocal into Beelzebub’s girlfriend. The incredibly groovy DigiTech Whammy includes a control pedal you can manipulate to create wicked, elastic grooves from drum loops.

Ring Modulators. Takes just about any source input and converts it into clangy, metallic disson...

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