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Strat -> low gain OD -> subtle chorus -> subtle delay -> subtle reverb would sound very much like a Strat, and the difference between the Strat and a Les Paul with the same effects chain would be night and day. I dare say you'd even be able to tell the difference between the CS Strat and a Squier too. Rather than overwhelming the guitar, potentially you'd struggle to hear the effects.
Substitute the low gain OD for a Big Muff, crank the chorus and reverb right up and throw a volume pedal in the mix to cut off the note attack and you'd probably have a much harder time telling what guitar was under all the mess (or that it was a guitar).
Some effects are meant to overwhelm the sound of the guitar, some aren't. Confusingly, different examples of the same effect might fall in to different camps, and different players want different effects to do one or the other- or maybe one of each to be able to do either at different times. I can see how a player who really likes compression would want one transparent comp and one "character" one, or how lots of players could use a "transparent" overdrive and another dirt pedal that imposes a particular sound on the guitar.
Don't talk politics and don't throw stones. Your royal highnesses.
Ring mod into reverb into fuzztortion into bitcrusher into delay into overdrive... probably. Also probably worth trying...
Effects can be "seasoning" on a tone that's primarily produced by the guitar and amp, like @jeztone2 says. They can also be a kind of "turd-polish" on a rubbish core tone. They can be used to conceal poor technique, or an under-rehearsed performance. They can also be of equal, or greater importance to a part than the choice of guitar or amp is- think of someone like The Edge's use of delay, or Tom Morello's whammy pedal, or any number of players who make playing the guitar sound like not playing a guitar. Sometimes they're just fashion- I suspect we'll cringe at the sound of 2010's shimmery reverbs in 20 years like we cringe at eighties chorus now.
Trouble is, it's not always clear which it is until it's too late
Don't talk politics and don't throw stones. Your royal highnesses.
I have a lot of signal things going on and single coils, P90's deffo work best.
*An Official Foo-Approved guitarist since Sept 2023.
George isn't sure. Did you say "Mothership: copyright"?
Don't talk politics and don't throw stones. Your royal highnesses.
Don't talk politics and don't throw stones. Your royal highnesses.
That may well be true, although a lot will depend on what the guitarist is playing and why. If you're playing in a Stones cover band then maybe just a fuzz, but if you're playing something more ambient then a wider ranger of tools will be essential. Of course most of us just do stuff in between, and find a variety of effects both useful live and a way to stop us getting bored.
I get to play in a couple of different situations, and for one I like a board with modulations and other time based effects, while for another I may just want clean and dirty. It's interesting that even when I play an acoustic slide gig I'm always trying to find new sounds and different ways to play the same song, even though it's essentiall just a 'one sound' setup.
http://tertl.blogspot.com - personal blog
Don't talk politics and don't throw stones. Your royal highnesses.
I just wonder whether the serial flippers of the delay world- the guys who sold their DD-3 for a DL-4, then flipped the DL-4 for a DD-20, then sold that for a Nova Delay, then sold that for a Timefactor, then sold that for an Empress, then sold that for a Timeline, sold that for the Free The Tone delay, then sold that for a DD-500, then sold that for a Nemesis etc- ever actually play those things in front of an audience, or just use them to "lubricate" their solo bedroom adventures.
Full disclosure: I've owned a total of nine different delay pedals, not counting the multi-effects. I'm on my fourth "super" delay. Make of that what you will.
Don't talk politics and don't throw stones. Your royal highnesses.
And I can still tell the difference. Not so much in the sound itself, it is a synth after all, but in the way the filter responds. But even that isn't as big a difference as swapping between flat and wound strings, or different pickup positions.
https://soundcertified.com/speaker-ohms-calculator/
Most of the time I play with just a keyboard player in a small environment, and the subtleties of what chorus pedal or whether I'm using my Carbon copy or a cheap analogue delay (both on the board) make an obvious difference. Sometimes I play with a full band in a big auditorium and it can be difficult sometimes to even tell whether the chorus is on or not. Yes, I'd agree.
Disclosure: I own 4 delay pedals and 3 reverbs, but I'm happy with what I use now and am pensioning off the stuff I don't use (nice Dano PB&J for sale in the classifieds ).
http://tertl.blogspot.com - personal blog
On a rig rundown for Alice Cooper's band one of the guys says he always plays in a venue so large he doesn't need a reverb pedal on his board, which reinforces your point.
I always wonder if there is an art forum where artists who exhibit in galleries look down their noses scornfully at those who paint for themselves in their conservatories.