Editing Effects unit (section)

===Stompboxes===
[[File:FuzzFace Effect Pedal.jpg|thumb|left|170px|The [[Fuzz Face]] effect pedal]]

The electronic [[transistor]] finally made it possible to fit effects circuitry into highly portable stompbox units. Transistors replaced [[vacuum tubes]], allowing for much more compact formats and greater stability. The first transistorized guitar effect was the 1962 Maestro Fuzz Tone pedal, which became a sensation after its use in the 1965 Rolling Stones hit "[[(I Can't Get No) Satisfaction]]".<ref>{{cite web|title=The Art of the Stompbox|year=2010|url=http://www.museumofmakingmusic.org/stompbox-birth|access-date=13 September 2010}}</ref><ref>{{cite web|title=FuzzEffect: The Fuzz Story and Photos|url=http://www.fuzzeffect.com/|access-date=13 September 2010}}</ref>

Warwick Electronics manufactured the first [[wah-wah pedal]],<ref>{{cite patent |title=Foot controlled continuously variable preference circuit for musical instruments |number=3530224 |country=US}}</ref> The Clyde McCoy, in 1967 and that same year Roger Mayer developed the first [[octave effect]], which Jimi Hendrix named "Octavio".<ref>https://www.roger-mayer.co.uk/octavia.htm{{self-published inline|date=May 2021}}</ref> Upon first hearing the Octavia, Hendrix reportedly rushed back to the studio and immediately used it to record the guitar solos on "[[Purple Haze]]" and "[[Fire (The Jimi Hendrix Experience song)|Fire]]".<ref>{{Cite book|last1=Molenda|first1=Mike|last2=Pau|first2=Les|title=The Guitar Player Book: 40 Years of Interviews, Gear, and Lessons from the World's Most Celebrated Guitar Magazine|url=https://books.google.com/books?id=zu3owmYkpZ0C|year=2007|publisher=Hal Leonard|page=222|isbn=9780879307820}}</ref> In 1968, [[Univox]] began marketing Shin-ei's [[Uni-Vibe]] pedal, an effect designed by noted audio engineer Fumio Mieda that mimicked the odd [[phase shift]] and [[Chorus effect|chorus]] effects of the [[Leslie rotating speaker]]s used in [[Hammond organ]]s. The pedals soon became favorite effects of guitarists [[Jimi Hendrix]] and [[Robin Trower]]. In 1976, [[Roland Corporation|Roland]] subsidiary [[Boss Corporation]] released the CE-1 Chorus Ensemble, the first [[chorus pedal]], created by taking a chorus circuit from an [[amplifier]] and putting it into a [[stompbox]].<ref name="reverb">[https://reverb.com/uk/news/tribute-ikutaro-kakehashi-and-rolands-impact-on-music Tribute: Ikutaro Kakehashi and Roland's Impact on Music], [[Reverb.com]]</ref> By the mid-1970s a variety of solid-state effects pedals including [[flanger]]s, chorus pedals, [[ring modulator]]s and [[phase shifter]]s were available.<ref>Hunter, D (2004). [https://books.google.com/books?id=7DjYrk7Vap4C ''Guitar Effects Pedals: The Practical Handbook'']. Hal Leonard. p.&nbsp;11–15.</ref><ref>{{cite journal|author=Thomas E. Oberheim|title=A Ring Modulator Device for the Performing Musician|journal=AES Convention |volume=38|date=May 1970|page=708}}</ref>

[[File:BossFX.JPG|thumb|right|200px|Several [[Boss Corporation|Boss]] pedals connected together]]
In the 1980s, digital [[#Rackmounts|rackmount]] units began replacing stompboxes as the effects format of choice. Often musicians would record ''dry'', unaltered tracks in the studio and effects would be added in post-production.{{citation needed|date=June 2023}} The success of [[Nirvana (band)|Nirvana]]'s 1991 album ''[[Nevermind]]'' helped to re-ignite interest in stompboxes. Some [[grunge]] guitarists would chain several fuzz pedals together and plug them into a [[tube amplifier]].<ref name="gibson.com">{{cite web |url=http://www.gibson.com/News-Lifestyle/Features/en-us/grunge-guitar-0426-2011.aspx |title=Serve the Servants: Unlocking the Secrets of Grunge Guitar |website=Gibson.com |date=26 April 2011 |access-date=1 April 2016 |archive-url=https://web.archive.org/web/20160331190319/http://www.gibson.com/News-Lifestyle/Features/en-us/grunge-guitar-0426-2011.aspx |archive-date=31 March 2016 |url-status=dead }}</ref> Throughout the 1990s, musicians committed to a [[lo-fi]] aesthetic such as [[J Mascis]] of [[Dinosaur Jr.]], [[Stephen Malkmus]] of [[Pavement (band)|Pavement]] and [[Robert Pollard]] of [[Guided by Voices]] continued to use [[Analogue electronics|analog]] effects pedals.<ref>{{citation|last=Atria|first=Travis|title=Stephen Malkmus – Talks Real Emotional Trash|url=http://www.glidemagazine.com/articles/53170/stephen-malkmus-talks-real-emotional-trash.html|periodical=Glide Magazine|date=6 March 2008|access-date=13 September 2010|archive-date=21 May 2013|archive-url=https://web.archive.org/web/20130521164518/http://www.glidemagazine.com/articles/53170/stephen-malkmus-talks-real-emotional-trash.html|url-status=dead}}</ref>

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Effects and effects units—stompboxes in particular—have been celebrated by pop and rock musicians in album titles, songs and band names. The [[Big Muff]], a [[fuzzbox]] manufactured by [[Electro-Harmonix]],<ref>{{cite web|url=http://www.ehx.com/products/big-muff-pi|title=Big Muff Pi Distortion/Sustainer|publisher=Electro-Harmonix|access-date=18 September 2010}}</ref> is commemorated by the [[Depeche Mode]] song "[[Speak & Spell (album)|Big Muff]]" and the [[Mudhoney]] [[Extended play|EP]] ''[[Superfuzz Bigmuff]]''. [[Nine Inch Nails]], [[Pink Floyd]], [[George Harrison]], [[They Might Be Giants]] and [[Joy Division]] are among the many musicians who have referenced effects units in their music.<ref>{{Citation|last=Barker|first=David|title=33 1/3 Greatest Hits |volume=1|url=https://books.google.com/books?id=7v7wJqhaBhoC|year=2007|publisher=Continuum International|page=112|isbn=9780826419033}}</ref>