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An effects loop is a series of audio effects units, connected between two points of a signal path (the route that a signal would travel from the input to the output); usually between the pre-amp and power amp stages of an amplifier circuit, although occasionally between two pre-amp stages. The two principal uses of effects loops are in ...
Guitar feedback effects can be difficult to perform, because it is difficult to determine the sound volume and guitar position relative to a guitar amp's loudspeaker necessary for achieving the desired feedback sound. [112] [113] Guitar feedback effects are used in a number of rock genres, including psychedelic rock, heavy metal music and punk ...
A post master volume, transformer coupled, guitar level effects loop is also provided. [ 10 ] In addition, the amp contains much of the same circuitry as the original Single Channel non-reverb amp. In 2020 Jim Kelley began building a two channel version of the Line Amp.
The pedal also features a rarity for an overdrive pedal: an effects loop, which allows a second pedal to be connected and activated at the same time—e.g., using the Guv'nor paired with a delay effect for solos. [61] Notable players include Gary Moore, with the pedal visible in artwork for his album Still Got the Blues. [62]
The Langevin EQ-251-A, designed by Art Davis, was the first equalizer to use slide controls. [when?] It featured two passive equalization sections, a bass shelving filter, and a pass band filter. Each filter had switchable frequencies and used a 15-position slide switch to adjust cut or boost. The passive design required 14 dB of make-up gain. [9]
The main unit was a 2U with separate controls for each effect. There was a footpedal (M-181) that enabled the player to switch the different effects on and off, as well as changing the order of the distortion and equalizer effects, a master bypass as well as an effects loop.
The effect varied according to amplitude. [6] Later Fender amplifiers used a different presence control. The presence control on the 1975 Fender Super Twin did not modify the negative feedback loop, but was an active equalization circuit, controlling the 3.9 kHz frequency range. It had the ability to both amplify (boost) and attenuate (cut ...
A practical, non-cosmetic method for determining whether a Mark IIC is a C+ is the "Loop Test": [4] 1) Plug your guitar into the Effects-Return-jack 2) Switch to lead-mode 3) Turn the Lead Drive and Gain controls with a note ringing. 4) If they have NO effect on the volume and sound you have a “+”.
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