delay pedal, and compression pedal. Which order should i put them ?
- Thread starter johnny k
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String Tree
Telefied
I put my Delay Last in the chain.
Otherwise, compressing the delay gets hard to control.
Otherwise, compressing the delay gets hard to control.
Dave Skowron
Tele-Meister
Delay and reverb last in the chain in that order.
^^^That's the usual way, because it mimics the way sounds occur naturally.
However, if you're going for special effects or want to experiment, you can get some weird and wacky sounds by moving pedals around in their order. For instance, an echo is followed by reverb in nature; reverb is really a bunch of echoes very closely spaced. But if you place a deep reverb in front of a delay, you get a dreamy wash of sound.
Another example: do you want to delay a flange, or flange a delay? They sound very different from one another.
However, if you're going for special effects or want to experiment, you can get some weird and wacky sounds by moving pedals around in their order. For instance, an echo is followed by reverb in nature; reverb is really a bunch of echoes very closely spaced. But if you place a deep reverb in front of a delay, you get a dreamy wash of sound.
Another example: do you want to delay a flange, or flange a delay? They sound very different from one another.
My delay is just a slapback, because i play with a clean sound, and a delay works as distortion if i make mistake. Like covering up a bit for me.
No wrong answer. I put compressor before time based effects like delay or reverb.
Cosmic Cowboy
Tele-Afflicted
Really depends on what you like. I like to run a compressor first...if you run it after the delay the repeats can get a lil harsh and "in the way".
Compressor before delay in that case.
Mike_LA
Friend of Leo's
Use the compressor to achieve your tone then repeat/double/loop the tone
bendercaster
Friend of Leo's
I like compression early in my signal chain since it can add a little noise, and that effect can be compounded by having more pedals before it.
If you like to keep your repeat a little softer than the dry signal on your delay, I would also put the compressor first. Otherwise, the compressor could level out the dry and repeat.
If you like to keep your repeat a little softer than the dry signal on your delay, I would also put the compressor first. Otherwise, the compressor could level out the dry and repeat.
I'm leaning toward the consensus on this question. I've mostly seen compression before delay and delay last or second to last ahead of reverb. I havent tried compression after delay yet, but you never know, might be some interesting sounds to be had with a little tweaking. If you're curious, try it. It just involves flip flopping 2 pedals and turning a few knobs.
Martinp
Tele-Afflicted
The compressor almost always goes first, that way you don't amplify all that upstream noise from the other gadgets.
Skyhook
Friend of Leo's
Depends on what you're going for... If you want really crazy results you should put the delay in front of the compressor.
If chaos is not the order of the day, then the other way around.
tfarny
Poster Extraordinaire
Normally it's wah, compression, fuzz, dirt, modulation (chorus, etc.) delay reverb
That's the typical order, there is no rule.
That's the typical order, there is no rule.
ahiddentableau
Friend of Leo's
The classic order is compressor -> OD/dist -> delay -> modulation -> reverb. A lot of people now put modulation before delay but there's no hard and fast rule for any of this. If it sounds good it is good.
I put compressor very first: guitar-->compressor-->wah-->fuzz-->OD-->modulation-->delay-->reverb-->amp.
loopfinding
Poster Extraordinaire
it depends on what you want to do. if you are using the comp for general feel/tone/squash effect of the guitar, then i would put it before the delay.
but if it is a short delay like a slapback, you can use the comp to tune the ratio of the repeats dying down to the dry more to your liking than the wet/dry knob allows (though this is the beauty of running a delay into the pre of a squishy/edge of breakup amp instead of the fx loop, the amp compresses and evens it out a bit). if your amp is a bit stiff, it can get you closer to that old school slapback + tape saturation sound. at the extreme end you can dial in like 3 or 4 repeats compressed to "unity-enough" (instead of just one) to do rhythmic stuff.
also with old school psych rock runaway tape echo stuff (or an emulation of it, where it degrades after every repeat), a comp after helps to not be so harsh and piercing, or peak too much.
but the end of chain stuff is easier to mess around with in a DAW, where you can just duplicate plugins for free, and save your nice sounding hardware comp for your board/earlier in the chain. i use my comp as double duty - first as a tone/feel shaper before boosting/driving the amp, but I also take advantage of its limiting property after my fuzzes to balance them out (octave fuzzes can get especially harsh on the high end).
but if it is a short delay like a slapback, you can use the comp to tune the ratio of the repeats dying down to the dry more to your liking than the wet/dry knob allows (though this is the beauty of running a delay into the pre of a squishy/edge of breakup amp instead of the fx loop, the amp compresses and evens it out a bit). if your amp is a bit stiff, it can get you closer to that old school slapback + tape saturation sound. at the extreme end you can dial in like 3 or 4 repeats compressed to "unity-enough" (instead of just one) to do rhythmic stuff.
also with old school psych rock runaway tape echo stuff (or an emulation of it, where it degrades after every repeat), a comp after helps to not be so harsh and piercing, or peak too much.
but the end of chain stuff is easier to mess around with in a DAW, where you can just duplicate plugins for free, and save your nice sounding hardware comp for your board/earlier in the chain. i use my comp as double duty - first as a tone/feel shaper before boosting/driving the amp, but I also take advantage of its limiting property after my fuzzes to balance them out (octave fuzzes can get especially harsh on the high end).
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THX1123
Tele-Afflicted
I feel like everything's been covered above. Then I got to thinking.
Last year I put a compressor into a heavy reverb pedal and a delay pedal and then ran all that into a fuzz at the end. It was terrifying and awesome. Then I put a Line 6 Liqua-Flange pedal after the fuzz. The Liqua-Flange was set on the Random setting. It sounded like a synth or some cross between Baba O'Reilly and NIN so I plugged a synth into it and it got even more insane. It is the basis for a song now.
I never would have got there if I didn't muck about.
Last year I put a compressor into a heavy reverb pedal and a delay pedal and then ran all that into a fuzz at the end. It was terrifying and awesome. Then I put a Line 6 Liqua-Flange pedal after the fuzz. The Liqua-Flange was set on the Random setting. It sounded like a synth or some cross between Baba O'Reilly and NIN so I plugged a synth into it and it got even more insane. It is the basis for a song now.
I never would have got there if I didn't muck about.
