This note was originally written in Japanese and translated by google translate and my poor English. Therefore, please understand that there may be included somewhat childish English descriptions.

Introducing music usage examples of various audio effects (like Fuzz, Tremolo, Chorus, Flanger, Wah, Pitch Shifter, Vocoder, Talk Box, Tape reverse effect, etc) along with Spotify playlists. It also adds the principle of each effects, the historical background, and notable points of the songs on the playlist.  There are not so many songs of recent years in this selection, but I hope you will enjoy these songs created by pioneers of the sound and music. If you listen to them in this way, you may discover new sides of effects and songs even you are familiar with them. Respecting the sound creators and musicians of our predecessors who did not get tired of the existing sounds and expanded the sounds and music. I hope we can use this article as hints and provisions in pursuing our own sounds from now on.

Fuzz

Fuzz is intentionally distorts the sound of the guitar that appeared in the early 1960s, Gibson Fuzz Tone and Maestro FZ-1 fuzz made in the United States are said to be the first fuzz. It obtains strong distortion and a lot of overtones by overloading transistors or installing a full-wave rectifier circuit. It sometimes reminiscent of wind instruments such as saxophone or Asian reed instruments, but stimulating, destructive and violent sound as well. The earliest examples were " The 2000 Pound Bee " by The Ventures in 1962 and " Zip-A-Dee-Doo-Dah " by Bob B. Soxx and The Blue Jeans produced by Phil Spector. Then, it was used in The Rolling Stones "Satisfaction" (1965), The Beatles "Think for Yourself" (1965, which was used for the bass guitar), and there are numerous use cases in the late 1960s.  

Roger Mayer's Octavia by Tycobrahe and Baby Crying by Honey(Japan) are typical examples of full-wave rectifier circuit fuzz (it seems to be a coincidence that both adopted full-wave rectifier circuits at the same time), While strong and destructive distortion can be obtained, it is interesting to get a sound that emphasizes one octave higher sound when you play the guitar in high positions with setting the tone pot in low position.  The guitar solo of Jimi Hendrix 's "Purple Haze" (1967) is a prime example of using Octavia. 
 On the other hand, Honey's Fuzz Baby Crying had re-produced by so many companies like Shin-ei, Uni-Vox Super Fuzz, Shaftesbury, etc - the brand name was changed depending on the region and distribution channel(see here for details). Pete Townshend of the Who, Steve Hacket of Genesis, Soft Machine's bassist Hugh Hopper , Radiohead's bassist Colin Greenwood and so on had left a violent / exciting sound performance using this type of fuzz.  Also, depending on Asian reed instrument-like tone, it fits the sound sensation of the Asian region, and you can often hear it from music of Japan, Taiwan, Korea and Hong Kong at that time as well. For example, this Spotify Song List includes Taiwanese diva Teresa Teng's "心酸孤單女(Heart-Broken Lonely Girl)" (1971) which features the sound of a full-wave rectified octave fuzz which is presumed that Honey fuzz is the original source.

Also refer here for detail about fuzz effect
Tone Bender Time Line(Part1) 
Tone Bender Time Line(Part2)
Tone Bender Time Line(Part3) 

　In the 1970s, after the psychedelic era, the use of its stimulating and destructive sounds decreased. And it became to aim to reproduce the natural distortion sound that overdrives the guitar amplifier, or that feeling. Distortion pedals, which are more sophisticated in terms of sound and circuit, have become mainstream. Regarding the distorted guitar sound after that, it is very profound and it is enough to write one draft by itself, but since it is a super standard thing and has been talked about in various places, I would like to cut my information about it.

Tremolo

An effect that periodically adds dynamics to the sound and shakes it. Originally attached as one of the functions of old guitar amps, it can be often confirmed in the songs of guitar instrumental bands such as The Ventures in the 1960s. Most of the modulated waves are sine waves to trapezoidal soft waves, but sometimes there are also examples of using sharp pulse-like modulated waves such as Radiohead's "Bones".  Also, Rage Against the Machine's "Know Your Enemy" has a unique usage of changing the speed of a square wave modulated wave according to the rhythm. It applied on vocals of The Rolling Stones "In Another Land", and on bass of "Starship Trooper" by Yes. There are also many examples of electric pianos usage such as "Que Sera Sera" by Sly and the Family Stone, and there is also the distinctive tremolo effect which shifts the period of the modulated wave in stereo left and right in opposite phase. It is also called Auto Pan (Electric piano sound of Jeff Beck's "She's a Woman" is an example).

Furthermore, there is the switching tremolo technique that the pickup changeover switch of the electric guitar ON and OFF by manually at high speed can be said to be a kind of tremolo effect due to the feat technique. (such as the ending of "John I'm Only Dancing" by David Bowie)

Chorus / Automatic Double Tracking

Speaking from the background of the appearance of this effect, there already existed the Double Tracking by using overdub technique to get unison vocal or unison instrumentation which adds breadth and thickness to sounds. And it has been around since the pioneering period by Les Paul et al from 1950's. And this technique was also used extensively in the early works of the Beatles.

To fulfill John Lennon's desire to make double tracking automatically, new method was devised by Abbey Road Studios engineer Ken Townsend in 1966 . That is the origin of the CHORUS effect and is called Automatic Double Tracking(ADT). This is obtained by superimposing a sound that is slightly detuned on the original sound. The method of shifting the pitch is obtained by causing the Doppler effect by increasing or decreasing the delay time of the delay effect. At that time, it was obtained by changing the playback speed with a tape delay using a tape recorder, and the desired effect was obtained by slightly fluctuating the delay amount around a time of about several tens of msec.

Also, if you move the delay time from 0 to several msec, it will become the Flanger effect described later, and if you shake the delay time at high speed (such as 10Hz), it will become the Vibrato effect. Thus another aspect of the effect will appear as well.

It began to be used in The Beatles' work from "Revolver" album in 1966 (used frequently on vocals such as "And Your Bird Can Sing" and "I Want to Tell You"). By the way, it is interesting to see that there are both the manual double tracking by overdubbing and Automatic Double Tracking depending on the song on this album (for example, Paul McCartney's vocals in "Here There and Everywhere" and "Got to Get You into My Life" are applied definitely manual double tracking. ADT often applied on Lennon's vocals.) It was used not only for vocals but also for processing various instrument sounds, but the most impressive one is probably the use for lead guitar in "While My Guitar Gently Weeps"(played by Eric Clapton) included in the White Album(1968). There was Clapton's suggestion that "the sound is too straight. it has to make it more Beatlely."

After that, in the 70's, a delay device called BBD (Bucket Brigade Device) was applied instead of tape delay, and it appeared in a compact form with voicing that made more wider and deeper sounds. And it was named CHORUS effect. There have been many very effective use cases since the end of the 70's, including Andy Summers of Police, and many songs released in the 80's. Then the delay element became digital device and the sound became more clear, and you can listen to it on many guitar sounds of 80's hit song. It is very effective not only for vocals and guitars, but also for electric string ensemble keyboards, and it is also the cornerstone of sounds such as Arp Solina string ensemble keyboard.

Flanger

The method is the same as CHORUS / Automatic Double Tracking mentioned above in the sense that the sound is slightly delayed and the sound whose delay time is moved is mixed with the original sound to obtain the effect. But Flanger effect is obtained when it is moved in an extremely short delay time between about 0 and 5 msec. It is also called a Comb Filter because of its comb-shaped frequency characteristics. It is the same principle as the sound that you can hear when the jet plane physically passes by. Even though it is a delay type effect, with such an extremely short delay time, human feel that the tone changes due to interference rather than delay or double tracking effect, and there is a big difference in sound from the CHORUS effect. And, of course, with that intermediate delay amount, it becomes an intermediate sound between CHORUS and FLANGER.

The practice is surprisingly old and has already been done in Toni Fisher's "The Big Hurt" in 1959. This is done by preparing two tape players, playing the same recordings on each player at the same time, slightly moving the playback speed of one player to obtain the relative time difference between the two. Then the effect can be obtained by mixing these two signals. (There is a demonstration video here)

There was no practice for a while after Toni Fisher, but in the psychedelic era of the late 1960s, the number of practices increased dramatically. Used by The Beatles on "Blue Jay Way" etc. as a side effect of Automatic Double Tracking (Flanger was named after a conversation between John Lennon and George Martin in the studio), and "Itchycoo Park" by Small Faces, Jimi hendrix's "Axis Bold as Love " and "Wasn't Born to Follow" by the Byrds are typical examples. In the early 70's in Japan, Happy End(はっぴいえんど)'s"抱きしめたい(Dakishimetai)" and Maria Anzai(安西マリア)'s "涙の太陽(Namida no Taiyou)" are probably the earliest examples of flanger use in Japan. Conny Plank, a well-known German producer who does not allow other followers in spatial processing of sound is also a person who used Flanger very effectively. For example, Kraftwerk's "Ruck Zuck" from their 1st album(1970), Neu!'s "Für immer" (1973) and so on.

For a while, as mentioned above, a large-scale system using two tape recorders in the studio was required, and instead of applying effects in real time, it had used on post-production at the time of mixing. But when BBD (Bucket Brigade Device) for delay element has been on the market, compact type flanger was appeared since the latter half of the 1970s, and it has become possible to use for live gig and generalized. Currently, the one using a digital delay circuit is the mainstream.

Finally, I would like to introduce two unique flanger type effects. First of all, in the guitar part at the beginning of Frank Zappa's "Envelopes", it is not a cyclically changing flanger effect, but it changes according to the input level(envelope) of the guitar. (although I think that it has nothing to do with the song title.) Second, general flanger repeats rising and falling feelings, but Judas Prest's "Turbo Lover" has a flanger effect that is heard to rise endlessly throughout the song, and the expression is matched to the song title.

Phaser

A modulation effect obtained by interfering sound by mixing the sound that is periodically out of phase with the original sound. The principle and sound are similar to Flanger. Flanger mixes a slightly delayed sound with the original sound to obtain interference. And its delay time does not depend on the frequency. On the other hand, Phaser mixes a phase shifted sound with the original signal. Amount of phase shift depends on the frequency, in other words, its delay time is depending on the frequency. That is difference between them on its principle.

In the 1960s, Flanger required a large-scale device with two tape recorders, while Phaser was able to be made smaller by a transistor circuit (Flanger was also made smaller thanks to BBD - Bridge Brigade Device, after the latter half of the 1970s). In some cases, it is difficult to distinguish between the two sounds, but in my sound image, Flange has an image that effects consonants, while Phaser has an image that effects vowels (it's just a personal feeling and image representation).

The Psychedelic Machine is a device that combines fuzz and modulation effects, released by Honey in Japan in 1967. Modulation part of the Psychedelic machine can be said to be the earliest phaser effect. The Psychedelic Machine could have been a dream machine at the time, but it didn't sell very well, and Honey quickly decided to sell the fuzz section as Baby Crying and the modulation effect section as Uni-Vibe separately. As a result, each became a masterpiece effect pedals used in various fields (see the Fuzz section of this note for Honey's Fuzz -- Baby Crying and its genealogy and usage status). Uni-Vibe became a favorite of Jimi Hendrix, and the undulating sound heard in the legendary "Stars and Stripes Forever" performance at the 1969 Woodstock Festival was processed by Uni-Vibe. You can listen to Uni-Vibe sound in various scenes of his live performance of 1969-70.  Flanger effect was Hendrix's big favorite - you can listen to Flanger sound on the album "Axis Bold as Love" (1967) and especially on "Electric Lady Land" (1968). But at the time, it needed large scale two tape recorders to get Flanger effect. And it was only applied post-production at the time of mixing, and it was difficult to apply in real time processing. So it could not be used at live gig. When the much more compact Uni-Vibe appeared, it seems that he acceptance to it with pleasure for using at live performances. On the other hands, You can listen Uni-Vibe processed guitar sound such as Pink Floyd's "Breathe", Robin Trower's "Sign of Bridges", Japanese old rock band - Happy End(はっぴいえんど)'s "氷雨月のスケッチ" and "無風状態(Windless)".

In the 1970s, Maestro, MXR, and Electro Harmonics changed the voicing such as making the modulation waveform milder and changing the applied frequency band, and came out with more compact ones. They came to be known as Phaser, and they became to be able to heard in various music. Please refer to the songs in the spotify playlist below. Among them, Keith Richards of The Rolling Stones likes Phaser so much, and you can listen to phaser sounds with various settings in the songs in the 1978 album "Some Girls".

It is often used effectively not only on guitars but also on electric pianos ("Fool to Cry" by The Rolling Stones, "Just The Way You Are" by Billy Joel, and many songs played by Richard Tee -- a keyboard player from Stuff.) You can also listen to phaser sound on synthesizer music, such as Jean Michell Jarre's "Oxgen", Tangerine Dream's "Mysterious Semblance At The Strand Of Nightmares", Tomita Isao's "Pictures at an Exhibition - Old Castle", etc.

Rotary Speaker

Originally a speaker with a modulator for the Hammond organ, it is also called the Leslie Speaker named after the developer's name. The horn of the speaker is literally rotated to obtain the modulation by the Doppler effect. In principle, it is resemble to phaser, chorus and flanger elements, but it also has a different signature sound from them. The orthodox usage is to use it for the Hammond organ. But Leslie 16 and Fender Vibratone are a small version of the Leslie speaker for guitar. It came out in the latter half of the 1960s and used by musicians who were eager to expand the sound at that time. Although the original developer Mr. Leslie didn't like it would be used for anything other than an organ, it can be said that it contributed for sound variations of pop music. 

For example, You can listened to this effect on guitar solo of "Let it Be" (Single version) by the Beatles , Jimi Hendrix's "Angel" and "Drifting", "Badge" by Cream. On the first part of Pink Floyd's "Echoes" , it applied on the acoustic piano. In a unique example, it is applied on vocals on Black Sabbath's "Planet Caravan". Of course, we also should pay attention to the orthodox usage of organ players such as Jimmy Smith, Matthew Fisher of Procol Harum, and Rick Wright of Pink Floyd. When it applies on Organ, there is feeling of excitement, but when it applies to sounds other than organs, it become tasteful sound or ghostly sound. I think it is so interesting.

Wah / Filter

Wah Pedal is an effect that literally gives a wah-wah like sound by moving the center frequency of the bandpass filter controlled by a foot pedal. In the mid-1960s, there was a tone changeover switch with a three-stage midrange boost called Mid-Range-Boost switch (MRB), which was a function included in VOX's guitar amplifier at that time. When MRB was continuously changed by volume instead of switch changeover, a very interesting sound was obtained. It seems that this fact is origin of wah pedal(see here). It started to sell by VOX in early '67, it is called Vox Clyde McCoy Wah-Wah Pedal, it named after the sound of Clyde Mccoy, a trumpet player who created a timbre change by fluttering the bell with a mute from the 1920s. In other words, Mccoy himself was alive at the time, but had nothing to do with the use or development of the pedals(see here). Mccoy, whose name is more or less known as a wah pedal now, but the trumpet performance is wonderful at the same time(see here).

Frank Zappa, Eric Clapton who was in Cream at that time, and Jimi Hendrix were the first musicians to adopt VOX wah pedal. "Tales of Brave Ulysses" by Cream(1967) was the first appearance in a recorded work. After 1968, many other guitarists started to use it.

Although Clyde McCoy himself did not use it, Miles Davis, who was also showing off mute trumpet more often than before, made the electric band at the end of the 1960s, and played the electrified Wah trumpet. He makes heavy use of wah trumpet, and the members of Miles Band at that time also used wah pedal for each instrument as well.

As there is a wah with the brand name Cry Baby, it is possible to rhythmically control the foot control of the expression such as crying in combination with distortion (eg Hendrix's "Voo Doo Child", "Margot Brain" by Funkadelic). Funky cutting playing (eg Jeff Beck's "Got the Feeling", David Bowie's "1984"), loose movement or use with delay effect to create a floating feel (eg the latter half of jam of Gong's "Sold to the Highest Budda" and "Castle in the Clouds", organ part of the latter half of "Slightly All the Time" by Soft Machine). The tremolo expression by moving legs diligently (eg "Stay" by Pink Floyd)... and so on. You can listen to various expressions of play depending on how you control it.

Fixed Wah is distort the sound while stopped wah pedal at the desired position and produce a distorted sound like a woodwind instrument or a boiling sound, For example "Communication Breakdown" by Led Zeppelin, David Bowie's" Ziggy Stardust "(played by Mick Ronson), Michael Schenker's" Attack of the Mad Axeman ", "Satori Part 2" by Flower Traverin Band(Ishima Hideki), "Sweet Child o Mine" by Guns N'Roses.

Frank Zappa applied wah for guitar with piezo pickups to show off a unique acoustic-like wah guitar with songs such as "Twenty Small Cigarettes" , "Grand Wazoo" and "Blessed Relief".

In addition to guitars, all electric instrument players since the end of the 1960s, such as bass, electric piano, organ, clavinet, trumpet, saxophone, and electric violin, who are greedy for sound expansion, used wah pedal. Also, guitarists at that time used to distort with an amp, so the order of wah → distortion is common, but if you use a distortion pedal in the order of distortion → wah, the sound will be synthesizer-like, which is also interesting. By the way, if you change the band pass filter of the wah to a low pass filter and strengthen the resonance, it will sound more synthetic (eg. Radiohead's "Paranoid Android"). This is because the filter section of analog synths mainly uses low-pass filters with resonance.　

The Mid-Range-Boost switch - MRB (which I mentioned at the beginning of this article) was installed in the Vox amplifier at that time, which was the basis of the Wah pedal. The Beatles used an electric piano plugged into MRB-equipped Vox amplifier on their song "Birthday"(1968). In this song, MRB was switched according to the rhythm to obtain a unique effect (see here).
Another extra story is that the sound of a seagull-like sound that can be heard in the middle of Pink Floyd's "Echoes" works by connecting the In and Out of the VOX wah pedal in reverse. Is used in reverse. And the sound of squeal image is controlled by adjusting the volume of the guitar (see here).

Auto Wah / Envelope Filter / LFO Filter

As a variation of the wah, there is an auto wah (envelope filter) that changes the cutoff frequency of the filter according to the input level, instead of the control by the foot pedal described in the previous section. For example of guitar use, "Going Moblie" by the Who, "Inca Roads" by Frank Zappa, "Mysteryous Ways" by U2, "Estimated Project" by Grateful Dead, "I Dissappear" by Metallica and more. In addition, Queen's "I Want to Break Free" is applied auto wah for guitar solo part when they play this song at live show instead of the synth solo part in the studio version.

Among bass players, Auto Wah is also popular for its funky and synthetic sounds. Bootsy Collins and Frea of Red Hot Chili Peppers are heavy user of Auto Wah in a variety of songs. Other examples include David Bowie's "Fascination" on saxophone (David Sanborn) and bass (Willie Weeks), and Brecker Brothers' "Inside Out" on Michel Brecker's saxophone (by the way, Randy Brecker's trumpet playing in this song is applied a pedal wah).

It's also interesting to use a Low Frequency Oscilator (LFO) to periodically move the cutoff frequency of the filter. For example, "Orange Lady" by Weather Report, "Won't it Get Fooled Again" by The Who, "Falling into Grace" by Red Hot Chili Peppers and so on.
The Random Step Filter, which randomly switches the cutoff frequency of the filter at regular intervals, is also synthetic and interesting, and can be heard on Frank Zappa's "Black Napkins" and "Ship Ahoy".

Talking Modulator / Talk Box

The history of the Talking Modulator goes back to the 1930s, when the sound is added to the oral cavity and the shape of the oral cavity is changed and the resonated sound is picked up by a microphone to obtain the effect of a speaking musical instrument . The effect is very similar to Vocoder, but Vocoder has a complicated process of analyzing each frequency band and synthesizing sound, but this is a primitive method in a sense. One of the earliest ones was Sonovox, which showed some 1940 performances on youtube using a technique of pressing a sound-vibrating actuator against the throat to resonate the sound in the oral cavity and picking it up with a microphone (Video 1, Video 2). Guitarist Alvino Ray applied it to pedal steel guitar performance (video). Sonovox was designed for both entertainment and medical purposes, and was used medically for people who lost their vocal cords.

After a while, there was a method of transmitting the sound of the speaker with a hose, sending it to the oral cavity, and picking up the sound resonated in the oral cavity with a microphone. This is what is now called the Talking Modulator, or Talk Box. One of its early performers was pedal steel guitarist Pete Drake, who released a hit in the 1960s using a Talk Box called "Forever" (his performance video is on youtube). Then, guitarist and singer Peter Frampton was inspired by Pete Drake's performance in a certain session, and in 1976 he released a blockbuster song called "Show Me the Way" using Talk Box. Typical users of Talk Box include Jeff Beck, Jeff Baxtor, Kazumi Watanabe, Joe Perry, Joe Walsh, Ritchie Sambola as examples for electric guitar, and Stevie Wonder and Roger of Zapp as examples for synth keyboards.

By the way, it is not clear why the Sonovox-type method that originally existed has disappeared in the music scene, and the hose-type Talk Box has become the standard in the music scene. However, Sonovox's method continues to be used as an auxiliary device for people who have lost their vocal cords. Also, in Vietnam, there is a very interesting instrument called Q-ni, which should be called an acoustic talking modulator bow instrument, so if you are interested, please check it out (Video).

Vocoder

Vocoder has a microphone input and an instrument input, and when you sing or speak into the microphone while playing an instrument, the instrument sound is modulated according to mic input sound. It is an application of ancient speech synthesis technology and audio compression technology, and is a diversion of the technology originally used as a secret voice device for communication for government officials and military personnel after World War II to the music field. It was so large-scale device, but its performance is still not good as a secret voice device, and the user was disgusted and frustrated by the voice that the robot was talking about (according to British Prime Minister Churchill and others. Refer the book "How to Wreck a Nice Beach: The Vocoder from World War II to Hip-Hop"). 

It was in the late 1960s that some musician realized to take advantage of such a strange vocoder sound and use it musically. American electronic music pioneer Bruce Haack released his 1970 album "The Electric Lucifer" and in this album, he performed his own vocoder on the song "Electric to Me Turn", and this seems to be the first appearance of vocoder in music scene. It was probably around Kraftwerk's 1974 "Autobahn" that became known to the world in earnest. Then, Stevie Wonder and Herbie Hancock used it well. Also, because of its robotic sound, it can be said that it was a great match for Kraftwerk, Yellow Magic Orchestra and other techno pop music around 1980. Also, techno-inspired Neil Young's album "Trans" (1982) is noteworthy. The sound is very similar to the Talking Modulator / Talk Box in the previous section, and if a song before the 1960s features a robot voice, it can be said that it is due to the Talking Modulator rather than the Vocoder.

In the mid-90s, pitch-correcting effects appeared and were used mainly in the karaoke industry, and sophisticated ones became known as Auto-Tune. This is also sometimes referred to as a type of Vocoder, but it is a completely different thing that applies FFT technology etc. in terms of method as it has a very different texture (closer to human voice) from the above-mentioned old Vocoder. Auto-Tune has been actively used in music production since the late 90's as an effect that expresses a new sense of robot voice by quantizing the pitch as well as for correcting the pitch. It started to be used in major scenes from around the songs recorded in Cher's "Believe" in 1999 and Puff Daddy (Diddy)'s album "Forever", and Daft Punk's "One More Time" (2001) can be said to be a representative song. Nowadays, if you listen to the songs on the US hit chart properly, you can confirm its use on many hip-hop songs. I personally feel that it is the most successful and utilized new type of effect that has come out in the last 30 years.

E-Bow

This is a tool that excites the guitar strings and produces a continuous sound by bringing it closer to the strings near the bridge of the guitar. Unlike the other effects that electrically process the audio signals introduced so far, they physically act on the strings. It is called Electric Bow (E-Bow) named after the bow of a bowed string instrument. In principle, it can be said that it is an application of the string vibration of an electric guitar, which is also used as a feedback playing method, and the feedback phenomenon between speakers, but the texture of the sound is quite different because there is no attack sound. It is sounds like bagpipe, flute, violin, cello or literally. According to the Wiki, it was developed in 1969 and used in "Carpet Crawlers" by Genesis in 1974. After that, Frank Zappa, Japan, Big Country, U2, Pink Floyd and others have left an impressive performance. Yukiya Taneishi of Wananabani-en - the band who I belong, plays the bass on E-Bow with the song "Floating Clouds".

Spring Reverb

Spring reverb has literally spring unit that is given sound vibration by an actuator, and the resonance is electrically picked up and treated as a reverberation effect(refer here). Depending on the length and quality of the spring, it can range from cheap to gorgeous. Generally it is built into Hammond organs that appeared in the 1940s, and guitar amps and electronic organs from the 1950s to the 1960s. The length of spring is about 50 cm is probably standard. (By the way, the author owns a spring reverb that reverberates very well with 1m length spring → see the second instrument on this web page) 

The Astronauts, the Ventures and other electric guitar instrumental combo are actively making use of its signature attack sound. Jamaican dub originator King Tubby also uses the spring reverb sound very effectively in the mix, along with tape delay.

Compared to the Plate Reverb and Echo Chamber which are professional usage and need enough room, it can be made much cheaper and smaller, and until the mid-1980s, spring reverb was the standard reverb for amateurs. From around the end of the 80's, high-performance digital reverb became cheaper, so spring reverb seemed to be a thing of the past. But since the beginning of this century, its characteristic sound has been re-evaluated. Of course, there are some that use real springs, as well as digitally reproduced ones.

Pitch Shifter / Whammy Pedal

Pitch Shifter is an effect that shifts the input by a constant pitch amount, and is devised to obtain the constant pitch shift by applying the pitch change technique due to the Doppler effect used in CHORUS. It is effective not only to use only the shifted sound, but also to mix it with the original sound to produce a harmony.

Historically speaking, for non-real-time processing, pitch changes can be obtained by changing the number of rotations during tape playback / recording. And Les Paul used high-speed playback in 1950s works such as "Nola". He has already used the pitch-raising effect a lot, and has gotten both the tone color change and high-speed performance (called Double Speed Gutar etc.). In Japan, "帰って来たヨッパライ(Returning Yopparai)" by フォーククルセーダーズ(Folk Crusaders)(1967) is also an application of high-speed tape playback. In these cases, in order to change the playback speed, it was necessary to create the music in consideration of the fact that not only the pitch but also the tempo changes.

Then, pitch shifter that can process input pitch changes in real time appeared in the mid-1970s. As an example of its early use, on both Michel Brecker's saxophone solo and Randy Brecker's trumpet solo of "Purple Lagoon" by Frank Zappa (1977), Brecker Brothers themself "Some Skunk Funk" (1978), on the guitar solo of "To You" by Paul McCartney & Wings(1979), on the guitar solo of "Owner of the Lonely Heart" by Yes (1983) and so on. It is also memorable for me that Japanese comedian Ken Shimura(志村けん) applied pitch shifter for a female singers singing and messed up their pitch on his skit (youtube).

Another unique use in the early days is the snare drum sound of the ending of the song "Electric Gypsies" recorded on Steve Hillage's album "L" (produced by Todd Rundgren in 1976). Here, the output of the pitch shifter set in the low pitch direction is fed back to the input to obtain a snare drum sound in which the pitch drops with time, which is a synthesizer-like use. The drum sound that can be heard on David Bowie's 1977 album "Low" was developed from this method and used for the whole drum sound of the album. Here, the sound is further gated and the tail of the sound is cut off, creating a radical and elaborate sound. An interview article (THE EFFECTOR BOOK Vol.13 Shinko Music Mook) mentions Hillage himself that "Drum sounds of Bowie's Low album are an application of my Electric Gypsies method." I think they are certainly very similar. This "Low" drum sound had a great influence on the drum sounds after the new wave and the gate drum sounds that flourished in the 1980s.

Around 1990, the Whammy Pedal, which made it possible to control the pitch shift amount of the pitch shifter with a foot pedal, appeared. Dave Gilmour of Pink Floyd, Dimebag Darrell of Pantera, Johnny Greenwood of Radiohead and others have made great appearances. Also, Steve Vai's masterly performance of Whammy playing is a must-listen. All of them can be referred in the playlist below.

Octave Effect

It is an effect that produces a sound with one octave below of the input, and is sometimes called Octave Box or Octaver. The concept is similar to the Pitch Shifter mentioned above, but instead of the pitch shift sound due to the application of the Doppler effect, this is based on one octave lower (or two octave lower) rectangular wave that can be obtained by passing through the divider circuit. Then rectangular wave is made to softer sound with a low-pass filter. It is used for applications such as adding a sub-bass sound to the original sound. Due to the fact that the frequency divider circuit is used, a muddy sound is output when a chord is input, so basically use it for single note playing. (However, in recent years, there are some types that have solved it)

If you use it with a clean sound, you can get a sound similar to the octave playing method that Wes Montgomery used to play. On the other hand, if you apply distortion after this effect, you will get a heavy distortion guitar sound. The playlist below focuses on such distorted types of sound.

In addition, there is a story that this effect was originally made for wind instruments, and there is a story that John Coltrane was interested in this effect just before his death (refer book "Life of Coltrane - Giant of modern jazz legend"). In fact, Bank Gardner, who was in charge of wind instruments on Frank Zappa & Mothers of Invention at the time, he left the recordings of the trumpet which used this effect. Here, I chosed Zappa's "King Kong(Gardner Varieties)" (1968).

Ring Modulator

The ring modulator is an effect processor that shifts the input pitch in both the addition and subtraction directions by a constant frequency (hence there is another name Double Side Band Modulation), and does not shift in the multiplication direction like the pitch shifter described above. So musical tone (generally composed of integer harmonics) transforms into a non-integer harmonic sound, resulting in a metallic sound that cannot be predicted from the input pitch. Due to its nature, it is often thought that it is used as sound effect or percussion-like approach, but when it set a modest shift amount, it gets a touch-tone-like sound while leaving some melody. The principle is simple and can be realized by multiplying the input by a sine wave. A sound with a pitch shifted in the addition direction and the subtraction direction by the frequency of the sine wave can be obtained. It is called a ring modulator because it uses a ring-shaped diode bridge in the main part of its basic circuit.

It is a very old thing and was used early in the field of sound effects in soundtrack for movies and contemporary music in the mid-20th century. Early use cases include electronic music works such as "Forbidden Planets-Main Theme" (1956), Karlheinz Stockhauzen's "Gesang der Jünglinge" (1956) and "Kontakte" (1960),  Delia Derbyshire's "Doctor Who" (1963) and so on. It was often used for making unknown sounds before the appearance of synthesizers.

In rock / jazz / fusion songs, guitar solo of "Paranoid"(1970) by Black Sabbath has a normal sound on the left speaker and a slightly out sound processed by ring mod on the right speaker. Also, "Iron Man" on the same album, Ozzy Osbourne's voice is used to create a robotic feel by ring mod. On Frank Zappa's "Big Swifty" (1972), George Duke performed a metallic and percussive sound on an electric piano. Jeff Beck is a good user of ring mod and he expressed strong vibration on the key points of "Goodbye Porkpie Hat" (1977), and flashy use in the solo of "Earth (Still Our Only Home)" (1977). On "I Won't Leave My Wooden Wife for You" (1968) by United States of America, you can listen to a flashy ring mod processed violin on the interlude of the song. On the other hand, Wayne Kranz's "Left it on the Playground" (2009), ring modulator is featured throughout the song.

Usage of Miles Davis's band or the musicians who belonged there, is also eye-catching. John Mclaughlin is used ring mod at key points in Mahavishnu Orchestra's album "Visions of Emerald Beyond" (1974), especially "On the Way to the Earth" featuring ring modulator guitars throughout the first half of the song. It is very effective use. Joe Zawinul is often used on electric pianos in Weather Report 1st Album (1971). Chick Corea also used it for a lot for electric piano when he was in the Miles Band around 1970 (Play List selected "Directions" (1970) from Miles live at Filmore). Guitarist Pete Corsy also used a ring modulator on Miles's "Agharta" (1975). Both Corea and Corsy are accelerating their incandescent performances by using ring modulators in the Miles Band.

Guitar Synthesizer

The voltage-controlled synthesizer released by Moog in the latter half of the 1960s was gradually used in the pop music genre in the 1970s. Among that time, it was also experimented guitar synthesizer that the guitar pitch was converted to voltage to drive the synthesizer.  For example, in Pink Floyd's video work "Live at Pompeii"(1972), there is a recording scene video when the album "Dark Side of the Moon" was produced, and there is a scene where the guitar is input to the EMS synthesizer and played. However, it seems that the guitar synth sound was not adopted in the Dark Side of the Moon album. At the same time, Brian Eno was also an avid EMS synthesizer enthusiast, with some of the songs on his early albums, such as "Here Comes Warm Jets" in 1973 and "Another Green World" in 1975, through the guitar through the EMS synthesizer. (credited under various names such as Snake Guitar) . Eno also used this technique to create guitar-synthesized sounds on albums such as David Bowie's "Low" and "Heroes" albums (both 1977). The synthesized guitar sounds on "Beauty and Beast" and "Blackout"(both are on the album "Heroes" and played by Robert Fripp) are impressive.

Meanwhile, Roland in Japan released the GR-500, which specializes in guitar synthesizers, in 1977, and Steve Hillage's 1978 album "Green" uses this guitar synth entirely (from Wiki). The layer sounds that can be heard on coda part of David Bowie's "Ashes to Ashes"(1980) is also played by the GR-500(see here). In addition, ARP made a guitar synthesizer called Avatar at the end of the 70's, and although it did not use so much and recorded only a few songs such as "Reception" in Paul McCartney & Wings album "Back to the Egg" (1979). (I feel it was a sound that should be used more). KORG released a guitar synthesizer called X911 around 1980, and it is said that it was used by fusion guitarists.

Roland continued to develop the Guitar Synthesizer, and the GR-300, which was released in the 1980s, can hear its signature sound using Pat Metheny and King Crimson. (King Crimson's songs are not on the list because it's not on Spotify, but it's songs like "The Sheltering Sky"). Kazumi Watanabe (still not in Spotify neither, but often used in the his "Mobo" album series in the 1980s), Ryo Kawasaki, and Alan Holdthworth are also guitarists who have manipulated guitar synthesizers a lot. In the case of Holdthworth, he also used a guitar-type controller called Syntaxe, which came out in the late 80's. This was a "synthesizer controller instrument" that was played by the guitar-like controller, apart from the guitar as a string-vibrating instrument.

After that, various higher-performance guitar synthesizers that control PCM sound sources came out from each company. It's just my personal opinion, but the appeal of a guitar synthesizer is to create a synthesized sound while retaining the taste of the guitar. I am not fascinated by controlling a MIDI piano sound source with a guitar.

Electric Sitar

It's not an audio effect but a special guitar (it can be said that it is an electric guitar with a physical effect processing that is not electrically), but I would like to introduce it as a unique guitar sound.

The Indian musical instrument sitar has a mechanism called Jivari on its bridge and causes the buzz the string vibration, and when this attach to bridge part of an electric guitar, it produce a sitar-like sound. The way to play is the same as a guitar, and this instrument should be called an electric sitar guitar. Developed by session guitarist Vinnie Bell in collaboration with Dan Electro in the late 1960s, Vinnie Bell himself released the album that could be called a demonstration of this guitar. Since then, it has been used in many songs, but by the way, there are few examples of use in Indian-style songs and performances, and regardless of Indian-style songs - soul, pop, rock, prog-rock, hard rock, metal It is interesting that most of the songs in various genres are used in the form of adding oriental tones. Above all, the usage of Philadelphia soul groups such as Stylistics and Delfonics are felt me so fashionable. (Note that Indian-Middle East-inspired songs such as "Love You, too", "Within You Without You" by The Beatles, and "Paint it Black" by The Rolling Stones are played in real sitar)

Reverse Tape Effect

It is easy to imagine that an open reel tape user would have listened to the reverse rotation of the tape as a happening by intentionally setting the tape in the opposite direction or accidentally making a mistake in the setting. It can be said that it was a turning point whether to think it was just a mistake, or interesting thing to try to use it musically.

From the 1950's, it was practiced in the music using tape (a kind of music concrète) in the modern music scene, and Ron Grainer and Delia Derbyshire who were at the Radiophonic Workshop of the BBC in the UK are also conducting such experiments. And the TV program The theme song "Doctor Who" (1963) uses the reverse tape sound. After that, the members of The Beatles, who also heard the reverse tape sound in the happening in the studio, explored whether it could be applied musically. Producer George Martin was tolerant of such experiments, because he was in and out of the BBC's Radiophonic Workshop mentioned it before. Since the 1966 album "Revolver", some the Beatles works have featured impressive reversed tape sounds, which made me feel as if I was being taken to another dimension. At the same time, Jimi Hendrix also jumped at the reverse tape sound, and his "Are You Experienced"(from 1967 debut album) left a strong impression. Hendrix has since left a masterpiece of reverse tape sound with enhanced sophistication in songs such as "Castle Made of Sand" and "Drifting".

I personally think of songs from this era, but as I recalled deeply or researched them, I learned that they have been used in various songs to this day, and this list also exceeds 3 hours. Also, King Crimson's "Book of Saturday" (from the album "Larks Tongues in Aspic") and "Ladies of the Road" (from the album Album "Islands") were not included in the list because they were not on Spotify. But It's a great reverse tape performance, so please check them out.

Also, there are the variations of reverse tape effect. Some of the songs recorded in Led Zeppelin's 1st Album, for example, around the ending of "You Shook Me", are mixed and recorded with reverb applied in the reverse rotation state, and then it is played back in the forward direction. You can listen to the resulting retrograde reverb (applied on the vocal). Another example of applying a retrograde delay effect to vocals using the same method can be found in David Bowie's "Holy Holy"(1971 the Spiders version), both of which are included in this playlist.

It's a sound that can't be done in real time processing, and it's an effect unique to recorded works (although there may be some people who mimic it so well). However, the Reverse Delay Effect, which records for a certain period of time and reproduces the reverse playing section in real time, exists as a variation of a digital delay effect. It's difficult to play a controlled phrase, but you can create an atmosphere with it.

References

Tone Bender Time Line(Part1) 
Tone Bender Time Line(Part2)
Tone Bender Time Line(Part3) 

UNIVOX SUPERFUZZ (FROM THE 70S): HISTORY
Honey～Shin-eiの伝説

Wikipedia - Automatic Double Tracking
Wikipedia - Flanging
Tape Flanger
Wikipedia - Phaser

Fumio Mieda - original developer talks about  Uni-Vibe

The Beatles Recording Sessions - by Mark Lewison
Jimi Hendrix complete studio recording sessions 1963-1970

How to Wreck a Nice Beach: The Vocoder from World War II to Hip-Hop, The Machine Speaks
The Inventor of the Sonovox
Wikipedia - Talk Box
Wikipedia - Vocoder
Wikipedia - Phase Vocoder
Wikipedia - Auto-Tune

Wikipedia - E-Bow
Wikipedia - Electric Sitar

Wikipedia - Reverse tape effect
Wikipedia - BBC Radiophonic Workshop