Editing Effects unit (section)

===Amplifiers===
[[File:comboamp.jpg|thumb|left|A [[Fender amplifier#Early solid-state models|Fender Vibrolux]] Reverb amp and a ROSS amp]]

Effects built into [[guitar amplifier#Vacuum tube|tube-powered guitar amplifiers]] were the first effects that musicians used regularly outside the studio. From the late 1940s onward, the [[Gibson Brands|Gibson]] began including [[vibrato]] circuits in [[combo amplifier]]s that incorporated one or more speakers with the amp. The 1950 Ray Butts EchoSonic amp was the first to feature a [[tape echo]],<ref>{{Cite web|title=All About... Ray Butts|url=https://guitar.com/guides/essential-guide/ray-butts/|date=2018-04-23|website=Guitar.com {{!}} All Things Guitar|language=en-GB|access-date=2020-05-24}}</ref> which quickly became popular with guitarists such as [[Chet Atkins]], [[Carl Perkins]], [[Scotty Moore]], [[Luther Perkins]], and [[Roy Orbison]].<ref>{{Cite web|title=10 Things You Didn't Know About Scotty Moore|url=https://www.americanbluesscene.com/10-things-you-didnt-know-about-scotty-moore/|date=2016-12-28|website=American Blues Scene|language=en-US|access-date=2020-05-24}}</ref> Both [[Premier]] and Gibson built amplifiers with [[spring reverb]]. [[Fender Musical Instruments Corporation|Fender]] began manufacturing the tremolo amps Tremolux in 1955 and Vibrolux in 1956.<ref>Hunter, D (2004). [https://books.google.com/books?id=7DjYrk7Vap4C ''Guitar Effects Pedals: The Practical Handbook'']. Hal Leonard. p.&nbsp;11–13.</ref>

[[Distortion (music)|Distortion]] was not an effect originally intended by amplifier manufacturers, but could often easily be achieved by ''overdriving'' the power supply in early [[tube amplifier]]s. In the 1950s, guitarists began deliberately increasing [[Gain (electronics)|gain]] beyond its intended levels to achieve ''warm'' distorted sounds.<ref name="rubin61">{{Cite book|last1=Dave|first1=Rubin|title=Inside the Blues, 1942 to 1982|url=https://books.google.com/books?id=0amzAiwBmOcC|year=2007|publisher=Hal Leonard|page=61|isbn=9781423416661}}</ref> Among the first musicians to experiment with distortion were [[Willie Johnson (guitarist)|Willie Johnson]] of [[Howlin' Wolf]],<ref name="rubin61"/> [[Goree Carter]],<ref name="palmer14">[[Robert Palmer (American writer)|Robert Palmer]], "Church of the Sonic Guitar", pp.&nbsp;13–38 in Anthony DeCurtis, ''Present Tense'', [[Duke University Press]], 1992, p. 19. {{ISBN|0-8223-1265-4}}.</ref> [[Joe Hill Louis]],<ref name="decurtis_phillips">{{cite book|last=DeCurtis|first=Anthony|title=Present Tense: Rock & Roll and Culture|year=1992|publisher=[[Duke University Press]]|location=Durham, N.C.|isbn=0-8223-1265-4|url=https://books.google.com/books?id=bsT3RQ9e58kC|edition=4. print.|quote=His first venture, the Phillips label, issued only one known release, and it was one of the loudest, most overdriven, and distorted guitar stomps ever recorded, "Boogie in the Park" by Memphis one-man-band Joe Hill Louis, who cranked his guitar while sitting and banging at a rudimentary drum kit.}}</ref><ref name="rolling_memphis">{{cite book|last=Miller|first=Jim|title=The Rolling Stone illustrated history of rock & roll|year=1980|publisher=[[Rolling Stone]]|location=New York|isbn=0-394-51322-3|url=https://archive.org/details/rollingstoneillu00mill|url-access=registration|access-date=5 July 2012|quote=Black country bluesmen made raw, heavily amplified boogie records of their own, especially in Memphis, where guitarists like Joe Hill Louis, Willie Johnson (with the early Howlin' Wolf band) and Pat Hare (with Little Junior Parker) played driving rhythms and scorching, distorted solos that might be counted the distant ancestors of heavy metal.}}</ref> [[Ike Turner]],<ref>{{Cite book|last=Shepard|first=John|title=Continuum Encyclopedia of Popular Music of the World|publisher=Continuum International|series=Performance and Production|volume=II|year=2003|page=286|isbn=9780826463227|url=https://books.google.com/books?id=pJvzEzjahkQC&pg=PA286}}</ref> [[Guitar Slim]],<ref>{{cite book|last=Aswell|first=Tom|title=Louisiana Rocks! The True Genesis of Rock & Roll|year=2010|publisher=[[Pelican Publishing Company]]|location=[[Gretna, Louisiana]]|isbn=978-1-58980-677-1|pages=61–5|url=https://books.google.com/books?id=BSHTGsnI8skC&pg=PA61}}</ref> and [[Chuck Berry]].<ref>{{Cite book|last=Collis|first=John|title=Chuck Berry: The Biography|publisher=Aurum|year=2002|page=38|isbn=9781854108739|url=https://books.google.com/books?id=0AgUAQAAIAAJ}}</ref>

In 1954, [[Pat Hare]] produced heavily distorted [[power chord]]s for several recordings (including [[James Cotton]]'s "Cotton Crop Blues"), creating "a grittier, nastier, more ferocious electric guitar sound,"<ref name="palmer">[[Robert Palmer (American writer)|Robert Palmer]], "Church of the Sonic Guitar", pp.&nbsp;13–38 in Anthony DeCurtis, ''Present Tense'', [[Duke University Press]], 1992, pp.&nbsp;24–27. {{ISBN|0-8223-1265-4}}.</ref> accomplished by turning the volume knob on his amplifier "all the way to the right until the speaker was screaming."<ref>{{cite web|url={{AllMusic|class=artist|id=p84274/biography|pure_url=yes}}|title=Pat Hare|author=Koda, Cub|publisher=[[AllMusic]]|access-date=25 January 2010}}</ref> Link Wray's 1958 recording "[[Rumble (instrumental)|Rumble]]" inspired young musicians such as [[Pete Townshend]] of [[The Who]], [[Jimmy Page]] of [[Led Zeppelin]], [[Jeff Beck]], [[Dave Davies]] of [[The Kinks]], and [[Neil Young]] to explore distortion by various means.<ref>{{Cite book|last1=Gracyk|first1=Theodore|title=Rhythm and Noise: An Aesthetics of Rock|url=https://books.google.com/books?id=HUB7Wu-Kn1QC|year=1996|publisher=I.B.Tauris|pages=121–123|isbn=9781860640902}}</ref> In 1966, the British company [[Marshall Amplification]] began producing the Marshall 1963, a guitar amplifier capable of producing the distorted ''crunch'' that rock musicians were starting to seek.<ref>{{Cite book|last1=A. J.|first1=Millard|title=The Electric Guitar: A History of an American Icon|url=https://books.google.com/books?id=zUlt7Q71_ssC|year=2004|publisher=JHU Press|page=136|isbn=9780801878626}}</ref><ref>{{Cite book|last=Doyle|first=Michael|title=The History of Marshall: The Illustrated Story of "The Sound of Rock"|publisher=Hal Leonard Corporation|year=1993|pages=28–33|url=https://books.google.com/books?id=E90tMBs9_FEC&pg=PA20|isbn=0-7935-2509-8}}</ref>