Effects

Parallel processing while mixing is a common technique — so why not try it with your pedals when recording?

The Vibraslide is a genuinely unique and impressive take on the guitar sustainer concept.

Hotone believe you shouldn’t have to tweak a million virtual components to find a great guitar tone...

The 1973 version two Big Muff Pi — with a ram's head printed on the casework — was used on so many classic records that EHX have decided to bring it back.

The ODR‑Mini is essentially a slightly tweaked version of Nobels' ODR‑1 overdive pedal (by all accounts extremely popular with Nashville musicians), with true bypass and a tightened low end, but squeezed into a mini‑format case.

The Gigboard crams the processing power of Headrush's flagship Pedalboard into a compact and easy to use format.

This four-stage analogue phase-shifter pedal delivers the kind of chewy swirl that we all know and love...

Electro-Harmonix’s Operation Overlord Allied Overdrive is a slightly unusual overdrive pedal, in that it has full stereo capability.

Building on Avid’s Eleven Rack technology, this new hardware amp modeller promises to combine great sound with ease of use.

This stompbox aims to put the sound of classic analogue synths at guitarists’ feet.

Designed and built in Germany, and paying tribute to the Tube Screamer sound...

Need a drum accompaniment at the flick of a switch (and the tap of a foot)? Then look no further than this crafty device!

Laney’s versatile Ironheart amps are impressive, but can you really get the same sound from a stomp box?

Is this the ultimate Swiss Army knife for bassists?

Is the Electro-Harmonix Super Pulsar the most sophisticated and versatile tremolo pedal money can buy?

Is this the most faithful imitation yet of the fabled Uni-Vibe effect?

Ogre’s Tubeholic pedal overdrive contains neither tubes nor, as far as I can tell, any alcohol. It does, however, feature 440g of barking-mad cast metal as its case.

The phase-style effects created by these two new TC Electronic TonePrint-series pedals are anything but ordinary.

While an overdrive pedal might not seem like an obvious studio accessory I’ve often found that using an analogue overdrive pedal before a software modelling amp/speaker produces more musical results.

While we’ve all been sitting waiting for the next big thing in studio recording, there’s been a quiet but very significant revolution going on literally beneath our feet in the world of effect pedals.

If you read my review of the Electro–Harmonix B9 Organ Machine effects pedal, their C9 will look very familiar but this latest pedal offers different sounds.