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7

As Indrek pointed out, this gives at least partial answers to your questions. In short, the answer to who first put foot pedals on a piano is not known exactly, but the practice seems to originate in England. A piano of Americus Backers from 1772 might be the first one to use foot pedals instead of knee levers. Then you have a different question in the ...


7

1) Wireless has nothing to do with this. Wireless goes from the guitar to the pedalboard (if there is one) and into the amplifiers. The amps will see a normal signal through a normal cable, cause that's all they know. A clean/dirty setup like you are describing can be done a multitude of ways. 2) Absolutely, read on for suggestion of what product does ...


7

Most simple loop pedals don't know about bars - it's just a sound sample of a length you set. Typically: You start recording by tapping a pedal You play your instrument You mark the end of the loop by tapping the pedal. The length of the loop is now set. The loop keeps playing, over and over. When you overdub, you add sounds to the loop More advanced ...


7

The short answer is yes, it matters. How much it matters, and whether it matters to you, depends on your pedals, the combinations in which you use them, and your desired sound. Here are some general rules that most people follow; nothing's hard and fast: Gain before synth. Effects come in two basic families. Gain effects alter the amplitude of portions of ...


6

If you want to perform Bach, I do not believe that you should be concerned with any editor's pedal markings whatsoever. Do not think that the score markings of a famous editor are any more important than your own ideas about how the piece should be performed, particularly with regard to a composer like Bach. Bach wrote for the harpsichord and organ, and ...


6

I would say the more recent the music, the more often it's notated (at least in classical music). In modern music it is very common but it was used already at least by Beethoven. For example, in the 4th concerto, you can find all of una, due, and tre corde in the second movement. Liszt certainly used it; check the beginning of the Liebesträume, for example. ...


6

Short answer: Certain effects like overdrives and distortions typically go in front of the amp. Other effects like reverbs and delay typically go in the effects loop (when possible). Long answer: The effects loop on an amp usually sits between the pre-amp and power amp sections. Most of the "tone" of your amp comes from the pre-amp. Pre-amps tend to ...


6

It is "bad" for the piano in that a piano is not designed to have the una corda pedal (that's the "soft pedal") stomped on. The danger here is that by stomping, you can damage the mechanism that moves all of the hammers over, thereby breaking the instrument. On upright pianos the una corda pedal is replaced with a practice pedal in which a felt curtain is ...


5

The conventional usage is to put distortion effect in front of the pre-amp; then, when you engage it, it drives the pre-amp harder, so that you get both the pedal's intrinsic distortion as well as pre-amp distortion. That being said, you should try both positions, and see what you like; there are no hard and fast rules.


5

This is a complicated subject. The answer depends on which effects pedals you are using. The best way to learn the results of putting your pedals in a different order is simply to plug them together in different configurations and listen to the results. For example, a compressor works best if it is first, because a compressor works best if it receives a ...


4

There's one sostenuto pedal marking in Bartók's 3rd piano concerto, measure 75. It's in a slightly small type, though, so it might be added by an editor. I don't recall any markings from earlier composers but you'll find them in modern literature. There are many examples in Ligeti's etudes, like in L'escalier du diable, measure 26. As a side note, Bartók's ...


4

It will always be easier to sit and operate pedals - the required uneven shift in weight from one foot to the other and holding it for extended periods can become quite tiring. If your biggest concern is how it looks to the audience then yes, you'll probably have to put up with the discomfort and awkward stance of standing but there are a couple of things ...


4

Answering to this: if a professional artist wants to pedal Bach's music, how percentages of his pedaling falls exactly at the same places and in the same manner, according to the Busoni edition suggested Nowadays pianists tend to use very little pedal when playing Bach (instead of Busoni). The pedal is usually not used for effect or to get a full ...


3

Pedals often have a different effect depending on the pitch and volume etc. of the sound going into them. If a pedal changes one of these attributes of the sound, it means the behaviour of every pedal after it could be changed. Let's say you're only using an autowah pedal. It will respond to the volume of the signal, giving loud notes/chords quite a ...


3

Say your first bar is 4 seconds long, so the first recording then becomes 8 secs. The overdub is only 4 secs long, so will only replay alongside the first 4 secs. (1st bar).The second bar remains as original. They are great fun, and a good tool to have.Make your own backing track in a few minutes, add bass, whatever, and play lead along to yourself.Scrub ...


3

There are no solid rules. Try all the combinations, and use the sound you want. Having said that, feeding a distortion pedal into an overdriven amp is going to cause a very noisy mush. Some people want that, some don't. It depends on your tastes and the style of music you're playing. If you want the ability to switch between (pedal + clean) and (no pedal + ...


3

No, you cannot generally use a footswitch with another model. Some are latching, meaning they stay in the position to which they're switched (either on or off). Some are momentary, which mean they're only on while either depressed or released depending on the design. Be especially careful with Peavey footswitches between models.


3

No - you can't just use any footswitch with any amplifier. Some footswitches are really simple - a make or break connection, but others do different things - sometimes voltage drops, sometimes active circuitry, sometimes polarity changes. So while it may work, it may not, and in some circumstances you may be able to damage your amp (rare, but possible)


2

Yes, but... It would depend on the effect and vocal range of the singer. It will sound much better through pedals designed for vocals, but it will still work. Distortion won't sound too great, but delays, echoes, and compression will work just fine. I can tell you from experience, as I run guitars and keyboards through bass pedals and the other way around. ...


2

As someone who uses various effects with my electric violin as well as with electric guitars, I can tell you that you don't need any special tests or reviews. Delay pedals You are right that without the pick attack, a delay sounds different for a violin than for a strummed guitar, but it does sound very similar to a bowed guitar, or when you use volume ...


2

From an executional standpoint, it helps to know how the harp's mechanism works. The harp's pedals are laid into a zig-zag pathway, and have the same kind of spring tension in an upwards vertical direction as a piano pedal. However, the pedals can also be moved side-to-side to go through this pathway. When the pedal is all the way up, it can be pressed ...


2

Open Preferences->Midi Sync. In the bottom half you have your input ports, with buttons for track, sync, and remote. To control Ableton midi maps, remote must be selected. You probably want to make sure the same device is not selected for a control surface in the top half of that screen as it's possible for them to both respond to the same message. If ...


2

Just following up here. I bought a cajon pedal from my local drum shop for $160 with their promise that I could return it within two weeks if it didn't work out. Well, it didn't work out. There were two issues: first, the height at the heel was uncomfortably high, and it was a lot of work from a sitting position (it might work from a standing position); and ...


1

The cheapest solution. Take a cardboard. Draw the keys on it (of the original size). At least, You can be confident with coordination. I used this method (however, for hands), when I needed practicing piano pieces written for the grand piano on my upright piano (which doesn't have some keys at the top). That's enough for studying a piece on the first ...


1

I find that moving my feet as if there were a pedal board, when practicing on a piano, for example, helps. It engages the learning centre of the brain - not as much as if you had the real thing, but better than not. Playing the Organ is hard - it will take a long time to get proficiant. Have you got pedal exercises to do? working through them will ...


1

Don't know where you live, but here in U.K. the old style of organ (2 manuals, pedals), come along on occasions for little money. I bought one for £10 sterling, just for the pedalboard (although the 2 12" speakers were a nice bonus). If you can find room, this is a good option, as pretending won't tell you when you've hit a wrong note. There may only be one ...


1

Some pedals such a fuzz pedals or wahs are very temperamental about the order in which they're placed. Typically, these two types of pedals like to see the signal straight from the guitar, before other pedals and especially before any buffered pedals. It's an impedance thing, although you'll have to Google the specifics about that. Long story short, a fuzz ...


1

First off, the Kurt Stone is a great notational resource, so kudos for introducing that resource to this site. I'd also suggest Gardner Reed's 20th Century Notation as well. To get the best sense of this sound, I would highly suggest talking to a harpist and hearing the effect in real life. The difference is akin to seeing a picture of a famous painting, ...


1

Amplifier switching is indeed sometimes done. It is very easy to split an instrument-level signal between two preamplifiers, and to have A/B switching. It can be done very quietly and transparently by a simple devices. There are MIDI controlled patchbays that let you route signals in various ways, and store these as presets. So when you stomp on your MIDI ...


1

It APPEARS to be latching as the switches are 'old style' and should audibly click when pushed.The amp connections APPEAR to be 1/4" stereo jack so something like a Peavey double footswitch COULD work.Whether this would switch the 2 functions you need with one wire depends on the configuration of the amp wiring.Certainly one switch out of the two will switch ...



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