Whether you are a fan of effects loops or not, they can be useful tools. One of the go-to pedals in my collection isn’t an effect. It’s a standalone effects loop order switcher, which is basically a pair of dedicated effects loops (A and B) in an aluminum pedal enclosure. There are quite a few companies that make a version of this type of device. Some of these units have many other options included and some are very basic, with no knobs at all. I like to have a somewhat simple one hanging around, with an input, an output, and two sets of send/return jacks. Each channel needs a volume knob, a foot switch, and a bypass indicator light.
A loop switcher can be an especially useful tool when putting together a pedalboard, or even just adding a new stompbox to the mix. Signal paths can be auditioned to see how pedals will interact together before committing them to Velcro. I find it is also super fun and handy to use a switcher when doing sound explorations and, ultimately, in my writing and recording processes. There are so many more options sound-wise, depending on how effects are ordered. The rather simple unit I made allows for quick changes, which helps me economize my time. In fact, it’s so useful that I have one living full-time on my pedalboard, in a really accessible spot, so I can plug and unplug on the fly if something isn’t working out sound-wise.
Fancier loop-switching devices can have true bypass switching, buffers, lots of sends and returns, knobs, signal paths routed any which way.... The options are nearly endless. Plenty of pedal builders out there can build custom units for a reasonable price, tailored to anyone’s specific taste. You might even go the rackmounted, pro-audio hardware route if you want to get extra fancy!
There are several different commercial A/B loop switcher units available that are on the simpler end of the spectrum, like the JHS Switchback A/B Effects Loop Switcher ($102 street) and the MXR M196 A/B Box Pedal ($59 street). The EarthQuaker Devices Swiss Things Pedalboard Reconciler ($249 street) is an awesome utility pedal with a few more helpful options. My absolute favorite simple go-to is the Boss LS-2 Line Selector Pedal ($113 street). It’s got a small footprint and does all the basics. Plus, it’s Boss, so it’s built like a tank. Mine has survived 20 years of abuse so far.
Whether you are a fan of effects loops or not, they can be useful tools.
Some pedals sound totally different when inserted into an effects loop instead of being inserted directly in line. It’s really informative to be able to hear those differences. I feel like a whole new world opened up to me when I started using the LS-2. Some of my favorite sounds that I have been able to create came from putting pedals in the loop that normally get chained up in line directly. Give it a try! And for those who DIY, check out Beavis Audio Research’s awesome site. There are several different iterations to build.
Photo 1
I’d like to invite you to journey with me by exploring the importance of challenging your musical habits and see how to set the stage for inspiration, breakthroughs, and happy accidents.
Before stompboxes were common, there was no need for effects loops in amps. All effects (wahs, fuzzes, phasers, flangers, delays, reverbs) occurred before the amp, sometimes producing gloriously messy results.
There’s no better place to start than by focusing on effects (overdrives, delays, reverbs, wahs, tremolos, etc.) and the order in which they are arranged. Regardless of whether they reside on the floor, in racks, or inside your DAW, let’s shake things up, break our own rules, and see what remains of our old views. I believe this is how we truly gain wisdom. The Dojo is now open.
Look at your pedalboard. Most likely you have a wah, overdrives or other fuzz/distortions, and then effects like chorus, phaser/flanger, followed by a delay, and finally a reverb. If you’re using a multi-effects unit, like a Line 6 HX ($649 street) or similar, you have multiples of all these categories to choose from and the added flexibility to rearrange the signal flow without the hassle of unplugging and moving pedals around on your pedalboard. The options are even greater if you’re using a DAW and plug-ins.
When playing through Fender Princeton/Vibrolux-type combo amps that have both tremolo and reverb functions [Photo 1], the reverb will sound like it is last in the signal chain, although tremolo is actually last. Using real or virtual pedals to experiment, we can evoke that sound and add tremolo after our reverb.
Photo 2
On my end, I’m using EarthQuaker Devices’ Night Wire, a harmonic tremolo ($199 street), and their Afterneath reverb ($199 street) [Photo 2]. Place your tremolo effect after the reverb, grab your guitar and listen to the difference versus an amp. I love the way this sounds. It’s super vintage, retro, and lo-fi. If you have the ability to change the wave shape of the tremolo from sine to triangle or square, do that and keep playing. Record your experiments so you can note how things change without the distraction of a guitar in your hands.
Next, add a delay to the chain before the tremolo. Experiment with adjusting delay times manually, or, if available, use your tap tempo switch and dial up eighth, dotted-eighth, quarter notes, and subdivisions. You can also get some great textures by altering the wet/dry mix and adjusting the feedback as well. Depending on your delay, you might also have multiple types to choose from: maybe an old tape-delay setting (with lots of wow and flutter), or a bucket brigade, or even a reverse delay. Feeling creative yet? And remember, all of this applies to the virtual world of DAWs as well.
Photo 3
Here’s another one to try, and, again, it has vintage roots. Before stompboxes were common, there was no need for effects loops in amps. All effects (wahs, fuzzes, phasers, flangers, delays, reverbs) occurred before the amp, sometimes producing gloriously messy results. You can pay homage to this era and add a new twist by connecting a phaser followed immediately by a flanger. For this, I’m using Big Joe’s Phaser ($159 street) going into Earthquaker Devices’ Pyramids flanger ($299 street) [Photo. 3].
I like to adjust the rate, feedback, and depth settings on each unit with oppositional values relative to each other. For example, on the phaser I’ve set a fast rate, low depth and feedback, and 100 percent wet mix. I’ve inverted those values on the flanger with a slow rate, heavy depth, above average feedback, and 100 percent wet mix. I encourage you to spend a lot of time tweaking these parameters, as there are plenty of possibilities. Just be mindful of your feedback values since you have one unit cascading into the next. Finally, to bring a little danger to the equation, add a wah pedal. Hit record and then listen to how things change.
Most importantly, have fun and give yourself permission to make some crazy sounds! Next time I will explore adding this approach to groups of instruments, like synths, guitars, and drums, and entire sections of a mix. Until then, keep striving for your beginner’s mind and break your own rules. Namaste.
