In the mid-20th century, the music scene was undergoing a transformation. Jazz, blues, and emerging rock ‘n’ roll genres were evolving, and guitarists were constantly seeking ways to expand the sonic possibilities of their instruments. Traditional guitar sounds, while beautiful, had limitations in terms of creating unique textures and enhancing the expressiveness of their playing. The amplification of guitars was becoming more common, but the natural sound of the instrument often struggled to stand out in larger ensembles or to add that extra “spark” to a performance. This growing need for something different led to the exploration and development of devices that could alter the guitar’s sound, setting the stage for the birth of the guitar pedal.
The First Commercially Available Guitar Pedal
The DeArmond Trem Trol 800: A Pioneer in 1948
The first commercially produced independent guitar pedal was the DeArmond Trem Trol 800, which hit the market in 1948. This pedal was a revolutionary device at the time. It worked by processing the instrument’s electrical signal through a water-based electrolyte solution. The result was a distinctive tremolo effect, which added a rhythmic pulsation to the guitar’s sound. The tremolo effect was not entirely new, as it had been achieved in some earlier amplifier designs, but the Trem Trol 800 brought this effect to guitarists in a portable, stand – alone unit.
Initial Impact and Adoption
The Trem Trol 800 found its way into the hands of several notable musicians. Bo Diddley was among the first to embrace this new technology. His use of the Trem Trol 800 in his music, such as in hits like “Diddley Daddy” and “Pretty Thing” in 1955, helped to showcase the pedal’s capabilities. The tremolo effect added a unique, syncopated rhythm to his guitar playing, which became a signature element of his sound. This early adoption by a prominent musician like Diddley was crucial in popularizing the concept of guitar pedals and demonstrating their potential to enhance musical creativity.
The 1950s: Expansion of Effects within Amplifiers
Built-in Effects in Amplifiers
By the 1950s, the music industry was witnessing a significant development in guitar amplification. Many guitar amplifiers started to come equipped with built – in effects. Tremolo, both in the form of volume modulation (Tremolo) and pitch modulation (Vibrato), became common features in these amplifiers. Additionally, the reverb effect was successfully developed and integrated into amplifiers, and it quickly became a favorite among guitarists. Reverb added a sense of spaciousness and depth to the guitar sound, mimicking the natural reverberations of a large room or hall.
The Absence and Emergence of Distortion
While tremolo, vibrato, and reverb were being incorporated into amplifiers, distortion was not initially a standard built-in effect. However, guitarists, always eager to push the boundaries of sound, began experimenting with ways to achieve distortion. They found that by increasing the gain on their amplifiers beyond the normal levels, they could create a distorted, gritty sound. This was a serendipitous discovery that would eventually lead to the development of dedicated distortion pedals. Guitarists like Howlin’ Wolf’s Willie Johnson, Goree Carter, Joe Hill Louis, Ike Turner, Guitar Slim, and Chuck Berry were among those who were early adopters of this “accidental” distortion, using it to add a raw, edgy quality to their blues and rock-influenced music.
The 1960s: A Decade of Groundbreaking Pedal Innovations
The Birth of the Fuzz and Distortion Pedals
In 1961, an incident in a recording studio became a pivotal moment in the history of guitar effects. During a recording session, Grady Martin’s bass guitar experienced distortion due to a malfunction in the studio’s mixing console’s pre-amplifier. The resulting sound had a unique, fuzzy quality that caught the attention of musicians. This accidental discovery led to the development of the first commercially successful fuzz pedal, the Maestro FZ-1 Fuzztone, in 1962. This small device, which retailed for $40, allowed guitarists to replicate the new, distorted sounds they had heard. The Fuzztone pedal was a game – changer, as it opened up a whole new sonic palette for guitarists. Keith Richards of the Rolling Stones was one of the early users of the Maestro FZ-1 Fuzztone. His use of the pedal in the band’s 1965 hit “(I Can’t Get No) Satisfaction” was a landmark moment. The fuzzy, distorted guitar sound became an integral part of the song’s iconic sound and had a profound impact on the development of rock music. It also significantly increased the popularity and sales of the fuzz pedal, as countless guitarists around the world wanted to achieve that same edgy sound. As the demand for distorted sounds grew, different types of distortion pedals emerged. Depending on the degree of clipping and the amount of gain added to the audio signal, distortion pedals evolved into three main styles: fuzz, which produced a thick, saturated, and often fuzzy sound; overdrive, which provided a more subtle, warm distortion, often emulating the sound of an amplifier pushed to its limits; and distortion, which typically offered a more intense, high-gain distortion.
The Introduction of the Wah-Wah Peda
In 1967, Warwick Electronics made another significant contribution to the world of guitar pedals with the release of the first wah – wah pedal. The wah-wah pedal allowed guitarists to control the frequency response of their guitar in real-time, creating a distinctive “wah-wah” sound. This effect was achieved by using a potentiometer that could be adjusted by the guitarist’s foot, changing the tonal characteristics of the guitar from a narrow, treble-focused sound to a wider, more bass-heavy sound and back again. The wah-wah pedal quickly became popular, especially in rock and funk music. The same year, Kelsey – Morris Sound’s Jim Morris created the first octave effect pedal, which was made famous by Jimi Hendrix. Hendrix’s innovative use of the octave pedal, along with other effects, helped to expand the sonic possibilities of the electric guitar and influenced generations of guitarists. Also in 1967, Vox introduced the classic Cry Baby Wah – Wah pedal. Jimi Hendrix’s use of the Cry Baby in his hit song “Purple Haze” further popularized the wah-wah effect, making it an iconic sound in rock music.
Other Notable Pedals of the 1960s
In 1968, Univox started selling the Uni-Vibe pedal. The Uni-Vibe produced a unique, swirling effect that was a combination of chorus and phase shifting. It became a favorite among guitarists for creating a psychedelic, otherworldly sound. In 1969, Univox’s U-250 Uni-Fuzz was used by Pete Townshend of The Who in his live solo on “Young Man Blues.” This use of the Uni-Fuzz showcased the pedal’s ability to produce a powerful, distorted sound, further contributing to the growing popularity of fuzz-type pedals.
The 1970s: A Diverse Array of New Pedal Types
The Rise of Phase, Chorus, and Flanger Pedals
The 1970s saw the introduction of several new types of guitar pedals that added to the sonic diversity available to guitarists. Phase pedals, such as the Electro-Harmonix Small Stone, were developed. These pedals used an all-pass filter to create a sweeping, phasing effect by shifting the phase of the audio signal. Chorus pedals, like the Boss CE-1 Chorus Ensemble, were also introduced. Chorus pedals simulate the sound of multiple guitars playing in unison but with slight differences in pitch and timing, creating a rich, thick sound. Flanger pedals, such as the MXR Flanger, were another innovation of the 1970s. Flangers use a short-delay line and feedback to create a unique, swooshing effect, similar to the sound of two tape recorders playing the same audio with a slight offset.
The 1980s: The Digital Revolution in Guitar Effects
The Ascendancy of Digital Rack Units
In the 1980s, the guitar effects landscape underwent a significant shift with the rise of digital technology. Digital rack units began to gain popularity, overshadowing traditional single – pedal effects. These digital devices offered a level of functionality and versatility that was previously unheard of. They were able to combine multiple effects into a single unit and often included presets, allowing guitarists to quickly switch between different sonic settings. For example, the Boss SCC700 multi-effect unit was a revolutionary product. It allowed guitarists to control seven different compact effect pedals with the push of a single switch, providing a high level of convenience and flexibility in live performances and studio recordings.
The 1990s: Continued Digital Advancements and a Return to Basics
Digital Guitar Effects Refinement
The 1990s witnessed further advancements in digital guitar effects. Companies continued to improve the quality and variety of digital effects pedals and units. In 1991, Digitech released the Whammy pedal, which offered three different effect modes. This pedal was made famous by Rage Against The Machine guitarist Tom Morello, who used it in creative and innovative ways, such as in the song “Bullet in the Head.” The Whammy pedal allowed guitarists to achieve pitch – shifting effects, including the ability to play intervals above or below the original note, adding a new level of expressiveness to guitar playing. In 1994, Zoom introduced the 9002, a lightweight multi – effect unit. This unit was notable for featuring signature tones designed by well-known guitarists such as Brian May, Richie Sambora, and Tim Kelly. These signature tones provided guitarists with the opportunity to replicate the sounds of their favorite musicians with relative ease.
Conclusion
The first guitar pedal, the DeArmond Trem Trol 800, was made in 1948. Since then, guitar pedals have undergone a remarkable evolution. From the simple tremolo effect of the Trem Trol 800 to the complex, multi-effect digital units of today, guitar pedals have continuously expanded the sonic horizons of guitarists. Each decade has brought new innovations, from the development of distortion and wah-wah pedals in the 1960s to the digital revolution of the 1980s and the continued refinement of both digital and analog effects in the following decades. Guitar pedals have not only become an essential part of a guitarist’s toolkit but have also played a crucial role in shaping the sound of various music genres, from rock and blues to jazz and funk. As technology continues to advance, it is certain that guitar pedals will continue to evolve, offering even more creative possibilities for guitarists around the world.
