Effect pedals come in MANY varieties. From little stomp boxes to rack mounted studio effects, from making your sound beautiful to making your sound gross, subtracting from it, changing it entirely, effects can do most anything you can imagine.
That said, the title of this post is “getting a better sound.” So I’ll spend my time on some of the most useful and traditional effects you might use for ʻukulele.
Reverb creates a sense of natural space. It’s an organic sound we’re used to hearing and interpreting unconsciously to get a sense of the size of a room, canyon, street, etc…
You can hear the natural reverb of many environments in this song, recorded live in each place.
By putting reverb on the sound of an ʻukulele, you can create a false sense of space. This often makes the sound more evocative and beautiful.
A reverb pedal often has controls that work like this:
- Level/Mix – Changes how loud the reverb sound is compared to the dry (uneffected) signal.
- Time/Decay – Dictates the length of the reverb. This implies the size of the space.
- Pre-Delay – Longer times push back the first reverb reflections, creating a larger-sounding space.
- Tone – Turns the treble content of the reverb up or down. The more treble, the more the reverb stands out.
There are several reverb sounds like: spring, plate, room, hall that are often available as different modes in a pedal. I think plate and hall characteristics usually sound best with the ʻukulele.
A delay effect is pretty self-explanatory: it delays a copy of the sound. This creates a more obvious (less natural), but less dense sense of space than reverb.
- Mix – Adjusts the volume of the delayed signal.
- Delay Time – Controls the time between the first note you play and the delayed note.
- Feedback – The number of times the delayed note is played back.
Delay is usually best applied to melodies. Strumming with a bunch of delay on your sound can sound kind of goofy.
Just like reverb, there are a few different delay styles. These are mainly created by the technology used to achieve the effect – or modeled after the sound.
Digital delay has a bright, clean repeat. Analog delay gets “muddy” and grainy as it fades out. This dark sound sits back in the mix. Tape delay was created using a loop of tape run through a “write” head and then a movable “read” head that played back the delayed notes. This is mainly a modeled sound in this day and age since tape technology is old, huge, and unreliable. Reverse delay sucks the note from end to beginning creating a swell effect.
Shorter delay times create a slap-back sound, longer ones create more of an etherial echo. I really dig around 325 miliseconds of analog delay with 3 or 4 repeats for what I do.
Of all effects, ʻukulele players are probably most used to hearing natural chorus at their jam group. A chorus pedal recreates this sound by delaying the signal by a few milliseconds and de-tuning and modulating the delayed track a little bit.
It can be nice for thickening up the sound, but probably borders on not-so-useful in a performance setting.
Basic controls are:
- Effect level – The mix between the normal and modulated signal.
- Rate – Controls how fast the pitch LFO changes.
- Depth – How much the pitch is detuned.
Less Useful Effects
Compression clamps down on signal spikes and brings up the volume of everything else.
Clipping circuits create three flavors of distortion sounds. Distortion is the result of the signal overloading a solid state circuit. This creates a sustaining buzzy sound like an electric guitar. Overdrive is a milder form of distortion created by a tube amp. Fuzz is an aggressive type of clipping that creates a squared-off waveform.
Tremolo fluctuates the volume creating a choppy sound.
Flanger is similar to chorus, but with a shorter delay time and has a more aggressive sucking sound.
Phaser is the sister to flange except it is a frequency-based effect instead of delay-based.
Pitch effects analyze the incoming signal and add a second note. An intelligent pitch shifter will track harmony within a set scale, a conventional pitch shifter will harmonize in straight intervals which might place notes outside of the key. An octaver pedal instantly adds a duplicate of your playing an octave above or below (or both) the original signal.
Filters are fancy EQs that move automatically like an auto-wah Q-Tron or with a foot rocker pedal like a wah-wah.
Nobody ever died from not having effects. They are a luxury. But a preamp can be a make it or break it piece of gear.
You can approach pairing a preamp and effects a couple different ways.
Pedalboard With Single Effects
The most popular type of effect housing, a stompbox is a small unit with a footswitch that usually focuses on creating only one type of sound. You might pair a reverb pedal with your preamp and put them together on a board for ease of transportation.
More pedals obviously take up more space. It’s easy to want to have every sound available to you, but to do so you have to lug a huge case of pedals around.
Over time I’ve realized that all I really use are a preamp/EQ, tuner, reverb, and delay. Here are my picks for a simple, compact ʻukulele pedalboard:
Reverb – TC Electronic Hall of Fame Mini
Delay – MXR Carbon Copy
Having several pedals on a board is one thing, getting power to them in a compact and adequate way is another. The last thing you want is a wall-wart plug for each pedal. This takes up a huge amount of space – in addition to being a rats nest – and creates all kinds of opportunities for humming, hissing, and other noise in your signal.
I’ve been using the Strymon Zuma R300 power supply with great success. It fits neatly under my pedalboard and provides plenty of clean power to up to five pedals.
A multi-effect uses a streamlined interface to create several effect sounds in one compact housing. Oftentimes, the smaller these units are, the more programing they require to create sounds.
This makes it hard to make changes on the fly. But if you always use the same sounds, the space and simplicity it provides to your setup are probably worth it once you figure out how to program the unit.
Big Multi-Effect – Boss ME series. These pedals can be programed to recall sound patches, but also function as what-you-see-is-what-you-get collection of single effects all in one box. Acts as preamp: No.
Compact Multi-Effect – Line 6 HX Stomp. Stupid expensive, but amazing quality and attention to detail in a small box. It includes an input-loading feature to match impedance and effect options for days and days. Acts as preamp: Yes.
Pluging Your ʻUkulele Into a Preamp or Pedals:
Making the connections between your ʻukulele, pedals, and amp is not hard, but if you do it wrong you won’t get any sound.
The basic format looks like this:
ʻUkulele > cable > preamp > cable > amp.
That said, the quality of the cable will hugely affect how long it lasts. I’ve had bad luck with cheap Fender cables crackling after a few years. This is just one more headache that isn’t necessary.
So now I spend decent money on cables and haven’t had a single one go bad yet. My choice is Mogami Gold. I’ve had my first one since 2013 and still gig with it every week. When it does give up the ghost I’ll be trying out the Mogami lifetime warranty.
If you want to plug your ʻukulele into a preamp THEN an effect:
ʻUkulele > cable > preamp > cable > effect > cable > amp.
For each additional pedal, just add a cable and the effect.
Make sure your amp is off, then turn on the pedal. Doing this in the reverse order can cause your amp to hear the “pop” of the effect turning on.
Turn your ʻukulele volume to 3/4. Then slowly strum and bring the volume of the amp up to the desired level.
If you have several pedals, lining them up in the correct (or incorrect) order can change your sound.
Here’s an ideal lineup, though it’s not a hard and fast rule:
- Preamp (So that the following pedals have the most polished sound to work with)
- Filters (Wah-wahs, envelope followers)
- Dirt (Overdrive, Distortion, and Fuzz)
- Modulation (Chorus, flanger, phaser, tremolo, etc.)
- Volume pedal
Conclusion and the GAS disclaimer
Pedals can really help make your ʻukulele sound better plugged in. Start with a preamp, then a reverb, then a delay if you’re inclined. Everything else tends to being more like toys than tools.
GAS is known as gear acquisition syndrome. It’s a silly tag people give themselves when they spend lots of money of gear. Remember that pedals, ukes, strings, etc… will NOT make you a better player. Practice does that. Gear simply provides a tool to make it heard.
So keep it simple and honestly assess what you need.