Sound vibrations, then, travel outwards in all directions in waves from a sound source. As they travel outwards the energy they contain becomes dissipated and therefore the sound becomes weaker the further it is from the source. The shape of a sound wave with no obstacles in its way would be approximately spherical.

Sound waves can travel through any substance, including gases (such as air), liquids (such as water), and solids (such as the seafloor). For example, sound cannot travel through outer space because it is a vacuum that contains nothing to carry sound.

Unlike light, sound waves can only travel through a medium, such as air, glass, or metal. This means there’s no sound in space!

Sound cannot travel through a vacuum. A vacuum is an area without any air, like space. So sound cannot travel through space because there is no matter for the vibrations to work in.

Echo effects are one type of audio effect based on delaying a signal over time. In this case, listeners perceive an audible repetition of a signal after some duration of time. Listeners perceive distinct echoes when the time delay is relatively long (greater than ~30 milliseconds).

Technically, reverb (as well as chorus and flangers) is a delay effect. It’s a time-based repeating effect that emulates soundwaves bouncing around a room. Delay is also time-based. But it starts after a certain amount of time and lasts for a certain number of repetitions.

Since reverb and delay often fill the same space in a mix, be sure your use of them is complementary. If you want to use delay and reverb in series — meaning one effect feeds into the other — experiment with the order. Delay before reverb creates a longer pre-delay effect for the reverb that you may enjoy.

As we discussed earlier, reverb—and sometimes delay, depending on the space—is the last thing that happens before the sound reaches your ears in a physical space, so these go last. Delaying reverb can sound muddy, so it’s usually better to have the reverb after the delay.

Reverb will fill the sound of the vocals out nicely. It will give them more fullness and sustain, and will have a more “natural” sound to them. BUT reverb will also push the vocals back in the mix. It can cause them to lose energy and cohesion, because it overlaps the words and washes them out.

Gain based effects such as and overdrive/distortion pedals come next. Modulation effects such as chorus, flangers, phasers typically come next in the chain. Time based effects such as delays and reverbs work best at the end of the signal chain.

A series loop interrupts the signal path between the preamp and the power amp and inserts the effect processor signal into that path. A parallel loop offers two paths from the preamp to the power amp. One path is a direct connection from the preamp to the power amp as if the amp had no loop at all.

To buffer or not to buffer Like buffers on your pedalboard, a buffered effects loop is able to send a strong signal through multiple effects and long cable runs with minimal signal degradation.

Why Would I Want a Compression Pedal? When playing staccato chords, a compressor is ideal for getting that classic “squishy” funk guitar tone. For rock or blues leads, a compressor lets you get more sustain, without resorting to using so much distortion that you lose articulation.

Overdrive after fuzz = a louder fuzz tone, with additional distortion if the overdrive gain is turned up. This is a cleaner way to use the two together, because the overdrive can be used basically as a boost if the OD gain is low.

Overdrives such as the Tubescreamer are designed to be placed in front of an amplifier in order to drive them into even more distortion, harmonics, etc. You would therefore place the TS in front of the SCB to get the sound you described.

One of the other key reasons the Ibanez Tube Screamer is so popular with blues guitarists, is because of its ‘dynamic response’. Put simply, the pedal responds very well to the way that you play your guitar. If you dig in and use a heavy pick attack, you’ll get a more aggressive and overdriven tone.

To get that bluesy edge, Vaughan plugged into a small green box – an Ibanez TS-808 Tube Screamer Overdrive Pro. SRV used the Tube Screamer to drive his amplifier – either a Fender Vibroverb or a Dumble Steel String Singer, depending on accounts.

The main differences between the Ibanez TS9 and TS808 are: The TS9 has a more modern, edgier sound, whereas the TS808 has a smoother, creamier sound. The TS9 is generally at least $50 cheaper than the TS808.

TS808HW Hand Wired Tube Screamer The parts are about the same as a normal TS808 except I noticed they used our King Of Tone clipping diodes, which makes them a little louder and less compressed. They also have true bypass and come in a cool box.

The Ibanez Tube Screamer (TS9/TS808) is a guitar overdrive pedal, made by Ibanez. The pedal has a characteristic mid-boosted tone popular with blues, rock and metal players.

Fulltone OCD The OCD also has a high peak/low peak switch. The OCD differs from the Tube Screamer in that it retains a wider range of bass and higher frequencies, while the famous sound of the Tube Screamer “mid-hump” accentuates the mid frequencies.

The Fulltone Obsessive Compulsive Drive (OCD) is an extremely open sounding Overdrive/Distortion circuit that differs from other overdrives in that it has a good bit more Dynamic-Range…

What about notable famous guitarists who use Fulltone OCD pedals? Country star Keith Urban is a great example, having two OCDs on his pedalboard. Don Felder, best known from The Eagles, also uses one. Another fan is The Pixies guitarist Joey Santiago.