The All-Important First Effect
 
 
For many instruments, compression or distortion are generally good choices for the first effect. A compressor increases sustain, which gives a “punchier” signal for subsequent stages. Also, a compressor is a unique kind of effect since if it’s not overcompressed, the effect is fairly subtle and can be left in the signal chain at all times.
However, note that if you’re using Oktaver, it wants to be the first effect. This is because it needs a clean, single-note line, and adding effects prior to Oktaver can work against this.
 
 
Series Effects Combinations
 
 
When determining an order for effects, start off by considering a series effects chain as consisting of three subsections that occur in this order:
 
 
• Modules that alter dynamic range (compression, limiting) and/or synthesize frequencies (e.g., distortion, Oktaver).
• Equalization (tone controls) to further shape the sound. This will usually include speaker cabinets.
• Time-altering devices (delay, chorus, reverb, etc.) to add ambience and animation
 
 
In addition, you may want to close out the chain with additional equalization to give an overall tonal tweaking, a noise gate to cut out noise, a speaker cabinet if one was not already included in the chain, and/or a limiter to reduce peaks.
The order in which effects occur can make a huge difference to the overall sound. For example, distortion before equalization sounds very different compared to equalization before distortion. Here are some specific examples of what to expect when you connect two effects in series.
 
 
• Compressor before distortion With guitar, this increases sustain and gives a more consistent distortion timbre.
• Distortion before compressor tends to be a bit noisy but provides a somewhat “gentler” sound compared to compressor before distortion.
• Equalization before distortion. This can make distortion seem more “touch-sensitive” by causing boosted frequencies to distort more readily than non-boosted ones. Also, as distortion synthesizes harmonics, the overall sound may be too bright. Pulling back on the highs before feeding the distortion can help control this.
• Distortion before equalization. In this combination, the equalization tailors the timbre of the distorted sound. In general, placing equalization both before and after distortion gives the most flexibility.
• Distortion before delay gives a clear echo sound.
• Delay before distortion gives a dirty echo sound since the echoes “melt” together when distorted.
• Echo before noise gate. The noise-gating action will also cut out some of the low-level echoes, which may not be desirable. Patching the noise gate before echo gives a more natural echo sound.
• Distortion before flanger or chorus. Flangers and choruses give the most intense effect when they’re fed a signal with lots of harmonics (overtones). Distortion delivers a harmonically rich sound that accents the flanging or chorusing effect.
• Flanger or chorus before distortion. Lots of distortion may mask the subtlety of the flanger or chorus effect. In fact, with extreme amounts of distortion, it may seem as if there is little, if any, flanger or chorus effect.
• Reverb before equalization. Boosting lower frequencies gives a larger, more “distant” reverb sound. Boosting higher frequencies gives more presence, resulting in a subjectively closer reverb sound.
• Reverb before chorus unit. Following reverb with light chorusing can impart a shimmering, full sound.
 
 
As an example of how to apply this, suppose you want a flexible, general purpose effects algorithm for power-chord rhythm guitar. Here’s one possibility:
Tube Compressor » EQ Parametric » Plex » Cabinet & Mic » Chorus/ Flanger » Noise Gate » Studio Reverb
The compressor adds sustain, and the EQ/distortion/amp+cabinet combination allows for a very precise tailoring of the distorted sound. The chorus helps diffuse the overall sound somewhat; the noise gate cuts out any low level noise, and the reverb “smoothes over” choppiness contributed by the noise gate as well as provides ambience.