The Best Guitar Pedal

Guitar pedals are crucial pieces of gear for players in nearly every genre imaginable. Famous guitarists use their unique pedal setups to create innovative tones and push the boundaries of the instrument.

Guitar pedals are also one of the most confusing items of gear around for many new and inexperienced players. The pedal market is more saturated than ever, even for niche effects and boutique amp emulator pedals. The off-the-wall names and colorful enclosures manufacturers give their creations only worsen the confusion.

Choosing one guitar pedal in a certain category may seem like an impossible process for even a highly skilled player. But while it may certainly be difficult, a few tips and tricks can help you find the best unit for your new pedalboard.

This article breaks down the different types of guitar pedals to help you better understand how these machines work, and what pedals you can use for your desired sounds. Then, we’ll discuss some common features all pedals share. Evaluating different units on these common features is the best way to come to a clear, thought-out decision.

Types of Guitar Pedals

Though there are thousands of different guitar pedals on the market today, the overwhelming majority of them fit into one of a few different categories: grit pedals (overdrive, distortion, and fuzz), modulation effects, and time-based effects. Let’s take a closer look at each of these categories to get a better idea of how these pedals work and what they can do for your sound.

The Fulltone OCD is a popular mid-tier overdrive unit.

Overdrive, Distortion, and Fuzz

Overdrive, distortion, and fuzz pedals — collectively known as drive pedals — are some of the most common effects on the market today. While they’re often used interchangeably, overdrive, distortion, and fuzz are actually all different terms, each referring to a different sound. It’s easy to find both low-cost drive pedals and higher-end versions, so it’s important to know the differences between each particular design.


Overdrive pedals emulate the sound of a tube amplifier that’s cranked up to its loudest volume. Vacuum tubes naturally distort as they grow louder — overdrive pedals capture that distorted sound at lower volumes. Effectively speaking, overdrive pedals are small boxes that make the tubes in your amplifier work much harder than they normally might at low volumes.

While the use of the term “distortion” to explain the sound of overdrive is a bit confusing, there are other differences that separate overdrive and distortion pedals as well. Because overdrive pedals seek to emulate an amp, they respond to changes in your dynamics as you play. Play quietly, and you’ll get a cleaner tone; dig in and you’ll hear more distortion.

Some of the effects of overdrive are more noticeable with tube amps, though you can use overdrive pedals in front of solid-state amps or digital modeling amplifiers just as easily.

Overdrive pedals also come in multiple different varieties — “transparent” overdrives are designed to sound like your specific amplifier’s distortion, while more “colored” or “flavored” overdrives impose their own signature distorted sound on your amp. The Fulltone OCD Overdrive is a great example of a traditional transparent overdrive circuit.

No matter what type of overdrive pedal you buy, it won’t achieve any sounds as dirty as proper distortion and fuzz pedals — overdrives produce light- to medium-gain tones.


Distortion pedals are a darker, more aggressive cousin of overdrive stompboxes. These pedals utilize hard-clipping to inject more dirt and grit into your signal than overdrive pedals can.

In terms of power, distortion boxes also blow away overdrives — many distortion pedals incorporate a large volume boost into the effect for a punchy, in-your-face sound. Compression is often rolled into the package as well, which increases your guitar’s sustain and can be used to create ringing, musical feedback.

The built-in volume boost makes it more difficult to play a distortion pedal quietly than it is an overdrive pedal. No matter how loud you play, though, your distortion pedal will sound pretty much the same, without cleaning up at lower volumes. The distortion effect in a pedal alters your signal before you reach the volume stage of your amp. The Fender Pugilist Distortion is an outstanding and inexpensive distortion pedal. 

The Ibanez Tube King and Tube Screamer are two popular heavy-duty distortion pedals. 


Finally, fuzz pedals are the heaviest form of distortion available on the market. Unlike soft-clipping overdrive pedals and hard-clipping distortion stompboxes, fuzz pedals use square-wave clipping technology to blanket your signal in an overblown, scratchy, fuzzy layer. The intense distortion boosts the volume of your amplifier and lends your single-note lines a creamy, saturated character.

Fuzz pedals can sound extreme for more relaxed styles of music, particularly when you play chords. However, they allow you to harness incredible amounts of power and volume to take your distortion to a new level. Fuzz pedals like the Electro-Harmonix Op-Amp Big Muff became ubiquitous during the grunge movement of the 1990s.

Modulation Effects

Modulation effects, like chorus, vibrato, tremolo, wah, phaser, octave, and flange, change the sound of your guitar by shifting either the pitch or the frequency of your signal (and sometimes both!). Certain modulation pedals are fairly standard on pedalboard rigs, while others are incredibly niche.

Common modulation effects include chorus, vibrato, and tremolo.


Chorus pedals split your signal into unprocessed and processed sounds. Then, they slightly alter the pitch of the processed signal to create a doubling effect that’s rich in harmonics. Guitarists often use chorus to create a shimmering, glistening sound akin to that of a 12-string guitar — in fact, many players refer to a 12-string as a sort of “natural chorus” effect.

Most chorus pedals allow you to control the rate and depth of the modulation for either a smoother or bubblier sound. The Boss CE-2, which offers only rate and depth controls, is widely regarded as one of the quintessential chorus pedal effects.

Vibrato and Tremolo

Vibrato and tremolo pedals both utilize a quick, smooth variation in your tone. However, vibrato pedals shift your guitar’s pitch — they perform the same function as a vibrato bar without needing to move your hands. Tremolo pedals, on the other hand, affect the volume of your guitar signal. Like chorus, these effects are relatively common to change the feel and sound of your playing.

Though the three effects listed above may be the most common modulation pedals around, there are plenty of more obscure modulation effects that can have an even stronger impact on your signal. Phaser effects split your guitar into two signals (like chorus pedals) then alter the phase of one signal and recombine the two for a swooping, wavy sound.


Flanger pedals use the same two-signal splitting approach, but delay one of the signals slightly before recombining them. This creates an effect that’s similar to a phaser, but more pronounced — flanger sounds are often compared to planes taking off.


Finally, wah pedals are certainly some of the most famous modulation pedals around. They generate their signature wah sound by creating a filter that boosts certain frequencies from your guitar. As you move the pedal up and down with your foot, you change the frequencies it highlights. Funk, psychedelic, and even metal guitarists love to use wah pedals.

Of course, Jimi Hendrix is probably the most famous guitarist to ever touch a wah effect. He made the tones of the Dunlop Cry Baby Wah pedal (among other units) famous.

Wah pedals often use large foot-shaped pads like the pedal here.

Time-Based Effects

Guitarists love to employ grit boxes and modulation effects to amp up their tone during specific points. However, certain effects work great when left on throughout your set. Reverb and delay are the two most common types.


Reverb is often found on amplifiers; this effect mimics the decay of your sound in a large space. Electric guitars often sound harsh or unnatural without reverb — that’s why it’s one of the most common effects for both live and studio use.

Unless you have a digital modeling amp with hundreds of different presets, your amp will most likely only offer one type of reverb. Pedals, on the other hand, can approximate dozens of different “tails.” Whether you want to hear reverb from a hall, plate, cathedral, or spring, pedals are your best option. The TC Electronic Hall of Fame Reverb offers all of those different sounds with plenty of knobs to control the finer points of your tone.


Delay pedals take your sound and repeat it with echos. Though the effect is simple in concept, modern delay units offer a plethora of zany options to alter your delay. You can change how long your repeats sound, the volume level of the repeats, and the speed at which your signal repeats. Delay is common in all different types of music, but prog rock, rockabilly ambient, and indie rock are particularly known for their delay sounds.

Other Effects

Beyond these categories, you’ll also find a couple of other effects on common pedalboard setups.  Boost pedals, as the name implies, boost your signal. Transparent boosts preserve your EQ settings, while colored boosts impose their own sonic signature. Boosts are great if you need a bit of extra volume for a solo, or if you want to push your amp into breakup without serious distortion.

Compressors even out the dynamic differences between the quietest and loudest notes in your signal. They create a “squeezed” effect and helps your sound stand out over a band. They’re great for playing lead guitar, though country guitarists are known for using them in nearly all situations.

Looper pedals allow you to record and play back your signal at will. They’re common practice tools for guitarists at all levels.

Players like Ed Sheeran also use looper pedals live to create layered arrangements — the overdubbing capability allows you to sound like an entire band with just one guitar! If you’re looking for a basic practice unit, the Boss RC-1 is a time-tested option.

These features form the meat of any pedal’s performance.

Important Pedal Features: What to Consider

Any pedal benefits from a cool name and a sleek enclosure — but that doesn’t mean you should select your next buy on name alone. Before you make a decision on your next pedal to purchase, you’ll need to compare the features of multiple different options to find the best fit for your rig.

These factors below are common to every pedal, no matter the brand or category. Taken together, they form a comprehensive list of features. You’ll be able to find some of the necessary information online, while you may need to test out the pedals at a local guitar shop to evaluate other categories.

This system works best if you consider a wide array of different pedals and compare them all to each other in the categories below. A ratings system might help you narrow down your options; a chart or spreadsheet could also help you compare two different pedals at a glance.


Obviously, the most important category for any pedal is its sound. Unfortunately, this is also one of the most nebulous categories to grade. Different people may perceive the sound of one pedal differently depending on their background and stylistic preferences. Because there’s no “right” or “wrong” way to play guitar, you’ll largely need to make your own decisions regarding the sound of a given pedal.

There are, however, certain sound qualities that you can evaluate objectively. Certain pedals are transparent, meaning they largely preserve the sonic signature of your amplifier. Others are colored, meaning they impose their own sound on the rest of your rig, no matter what guitar and amp you use.

Whichever you prefer is up to you — but if you play with a lot of different guitars or amps, you should test out transparent effects through multiple setups to get a better picture of how they’ll sound in all situations.

Setting goals for your tone gives you a clearer evaluation of each pedal you test out. Consider what your “ideal” effect would sound like, and compare each pedal to that standard. Even if you don’t find any one unit that reaches the ideal, the exercise will help you hone in on the strengths and weaknesses of each individual stompbox.

Boss pedals, like this BF-2 Flanger, are known for their simple and intuitive controls.


Poor controls can ruin any pedal, even one with outstanding sound. Be careful not to discount the importance of smooth, intuitive controls as you test out a variety of different units.

As with sound, the ideal setup here may differ depending on your preferences — more controls create greater flexibility to pick out your perfect tone, while a simpler layout makes it easier to dial in different sounds without needing to adjust as many different dials and switches.

No matter how many controls a pedal has, you should be able to clearly understand what each one does. It may take more time to get familiar with certain units than with others (particularly boutique or high-end pedals that feature more precise control systems). However, if you just can’t understand what a certain dial does, you might want to think twice about that pedal.

Even if you can understand what all of the controls do individually, putting them together is another story entirely. Make sure that you can easily adjust each dial to create different sounds without too much trouble.

Pedals with fewer knobs make it much simpler to cue up a specific effect, particularly if you’re playing a gig or jamming with other people. On the other hand, they carry more built-in limitations than more precise pedals do. If you’re focusing on using a new pedal for recording, the ability to adjust some extra facets of the sound could be a major bonus. If you need a new pedal for your live show, however, a simpler layout will be much easier to adjust on a dark, crowded stage.


Versatility is another major component of any pedal. While certain pedals sound great under specific circumstances, they’re one-trick ponies — they don’t offer any other compelling sounds outside of their sweet spot.

Players on a budget and gigging pros switching up their pedalboards must pay extra attention to each pedal’s versatility. Not only are highly specialized pedals expensive, but they take up space and energy in your rig and may not be effective for large swaths of your playing style. If you’re still developing your own style, you’ll need a pedal that can accommodate shifts in your tastes.

Looking at things in a more positive light, added versatility can be a major bonus for any pedal. Getting multiple effects sounds out of a single unit — whether it’s with a multi-effects pedal or just a particularly flexible single effect stompbox — saves money, space, and time.

Though certain effects are far more niche, other common pedals can typically cover a wide range of sounds. Many guitarists just employ one distortion pedal for both lighter overdrive and heavier distortion sounds; fuzz pedals can also emulate a standard distortion unit when turned down a bit.

Reverb and delay combo pedals are also fairly common. If you prefer a lot of choice in your reverb sounds, you can also buy a pedal like the TC Electronic Hall of Fame Reverb or the Electro-Harmonix Oceans 11. These stompboxes offer a bunch of different reverb sounds compressed into one enclosure to save you time and money.

Fans of late-1960s classic rock guitar may love the sound of a Leslie rotating speaker effect, but Leslie emulator pedals are expensive and rare. Some players use chorus pedals to approximate the sound of a Leslie, particularly by cranking both the rate and depth of the effect.

If you’re looking for your first pedal or only have a little money to spend on new gear, versatile effects pedals are an absolute must. Testing out different pedals can help you determine a unit’s versatility, particularly for your specific playing sound and style.

With the pedal market so saturated, it’s important to consider secondary features to distinguish different options from each other.

Secondary Features

Though the aspects listed above are the first things most players will evaluate when they search for a new pedal, these secondary features often form the difference between two different models.

Note that, depending on your specific setup, certain features here (like size and power required) may be absolutely necessary. If you buy a pedal that doesn’t fit on your board, or one that doesn’t run on your power supply, you won’t be able to use the effect at all. A bit of extra research can save you a lot of time and hassle on the back end.


The size of the pedals you’re considering may be determined by your budget and specific needs. Cheaper pedals tend to utilize smaller enclosures, while higher-end ones often take up more space. It’s also more common for certain types of pedals, like distortion, multi-effects, and looper pedals, to take up some more space on your board.

Larger, more complicated pedals have more space for more advanced controls. If you want the extra flexibility and are willing to find a spot for it, the larger pedal might be a good fit for you.

Looper pedals in particular often carry an LED display to help you keep track of your loop and overdubs. While this isn’t an essential feature — outstanding budget loopers like the TC Electronic Ditto don’t have any screen or lights at all — it can come in handy when you use the pedal for practice and on gigs. Most high-end loopers often take up the space of two or three normal pedals, and come loaded with screens, switches, and dials.

As long as you build a pedalboard with enough room to accommodate the extra space and a budget with enough flexibility to handle the increased price, there’s no real downside to purchasing a larger pedal. The precision you gain with the added controls usually outweighs any concerns over a stompbox’s footprint.

The vast majority of pedals run on 9V DC power, with a center negative pin. Pretty much any power supply you can buy, whether it’s a daisy-chained setup or an isolated brick, will service 9V DC pedals just fine. The tricky part comes with expensive and boutique pedals that don’t take 9V.

Most of these pedals prefer 12V or 18V of power; some will run on 9V as well as 18V. To get 18V of power, you’ll most likely need to purchase a true isolated power supply. Though they’re more expensive than a simple daisy-chain power cable, full-size power bricks can handle thirstier pedals and carry more spaces to power your entire pedalboard at once.

If you’re looking for an outstanding all-around solution, check out the Truetone 1 SPOT Pro CS7. It offers seven inputs, including an 18V slot and four other inputs that you can switch between 9V and 12V depending on your needs. As an added bonus, the CS7 creates fully isolated power. This means that each pedal draws from its own source of clean current, which prevents any dirtiness or feedback from working its way into your pedal’s sound.

Beyond determining your pedals’ voltage, you’ll also need to figure out how much current they draw. The current is measured in milliamps (mA) — analog pedals, particularly simple overdrive and distortion circuits, draw very little current. Digital pedals draw much more. To ensure optimal performance, you should make sure your power supply can handle at least double the pedal’s stated draw.

Using the wrong voltage or amount of current for a pedal can fry it instantly — run 18V of power into a 9V pedal, for example, and you can kiss it goodbye. It’s incredibly important, then, to pay attention to the power needs of each of your pedals! Make sure you have more than enough power for each of your pedal choices to avoid any problems with your supply.


Thanks to recent growth in the pedal market, durability is less of an issue than ever before. Even budget pedals are usually strong enough to take plenty of abuse without breaking.

Look for pedals with full metal housings and sturdy, smooth control knobs. As long as you don’t manhandle your pedal, you shouldn’t run into many issues with durability. On cheaper pedals, the on/off switch may be the first thing to break down and wear out over time — be gentle and don’t stomp on your pedals to prolong their lifespan.

Certain ultra-cheap pedal lines may use plastic housings instead of metal. In certain cases (like Danelectro’s food-themed pedal series) these units may even be very well regarded among pedal enthusiasts. However, the plastic housing is simply much more fragile than a metal enclosure. It’s unlikely to hold up for very long, particularly if you mount it to a pedalboard for gigs or tours.

If you find one of these pedals for cheap and like the sound, you could bring it to a technician to have it re-cased in a metal housing. Oftentimes, the price of the modification will still be lower than the price of competing all-metal pedals. The outstanding sound of some plastic-housed pedals only improves the bargain.

Joyo pedals, like the ones shown here, are high-quality budget pedals. However, they’re often not as precise or as durable as some higher-quality boxes.


Price is a sticky subject for many pedalheads. On one hand, the increasing popularity of effects pedals has driven down the price of cheap mainstay units. It’s easier than ever to assemble a professional-quality pedalboard on a shoestring budget. On the other hand, boutique and high-end pedals still command extremely high prices.

It can be difficult to decide just how much you need to spend on a new pedal, particularly if you’re building your first board.

Pedal newbies should check out the sub-$100 range to get started assembling a pedalboard. The lower prices will help you pick out more pedals to fill your board on a tight budget. As you experiment with different effects and find the ones you like, you can always upgrade those specific pedals. If you actually dislike a certain pedal, these cheaper models also tend to be easier to sell and don’t fluctuate too much in price.

Mass-market manufacturers like Boss, MXR, TC Electronic, and Electro-Harmonix make outstanding lines of pedals in every imaginable effect for under $100. Searching Reverb, Ebay, and Craigslist can score you even lower prices.

While you can find even cheaper pedals (companies Danelectro, Mooer, and Joyo come to mind), below a certain price point component quality becomes a legitimate issue. There are clearly some exceptions, but $75-$100 for a new pedal is a good sweet spot for budget models that sound great and will last you a long time.

As you climb the price ladder, you’ll find that pedals become increasingly niche. Rather than a one-size-fits-all overdrive pedal, you might find a unit created to deliver the sound of one particular amp when overdriven. Other pedals might copy the schematics and components of classic pedals in a modern reissue. Still others approximate the sound of the guitars on a certain song or album.

High-end pedals can range in cost from less than $200 all the way to $400 or more. Some models, like the legendary Analogman King of Tone Overdrive, routinely fetch over $450 on the resale market. And that’s before we even discuss vintage pedals, which can sometimes crack four-digit prices!

These units usually deliver a more targeted sound than less expensive options. However, they may also take more time and effort to understand — Catalinbread’s Echorec echo and delay pedal, for example, is far more complex than a basic digital delay unit. The extra dials and esoteric control choices you’ll often find on expensive pedals can be confusing.

Some of these pedals may become your go-to effects, but you probably won’t love the sound of every one. Boutique pedals certainly offer a lot to players willing to learn how to use them properly, but that doesn’t mean they’re “better” than cheap, more intuitive models.

There’s no right or wrong way to make a sound, and if you prefer using a simpler option there’s no shame in that. After all, guitar legends from Kurt Cobain to Johnny Marr built pedalboards almost entirely out of budget pedals. And earlier players like George Harrison rarely used any effects pedals at all!

If you have the money to spend on new pedals, the range between $100 and $200 is a good place to start looking for higher-end effects. In some cases, you might also look into $200+ or even $300+ pedals if you like the sound. Beyond the $300 range, you move into highly specific amp emulator pedals, boutique hand-built effects, and vintage classics. While they may all be outstanding pedals, you’ll start to notice that your returns diminish even as you pay much more.

Unless you’re an absolute pedal expert, exercise caution before spending over $300 on a certain effect. Make sure that you know how to get the best sounds out of the model, and play through the pedal if possible before you buy it.

It should go without saying, but don’t drop that much cash on an item you might not use or one that isn’t a great fit for your playing style. Instead, save your money for a pedal you know you’ll love. Cheaper pedals are a great way to try out an effect to see if you like it without such a large investment.

To test a pedal properly, you’ll need to manually evaluate all of its different settings. 

How to Test a Guitar Pedal

As we mentioned above, sound is one of the most difficult categories to assess on a guitar pedal. Every player is unique, and their perceptions of a given effect’s sound will all probably vary slightly. Factors like your playing style, favorite genres, and guitar heroes can all influence your taste in effects tones.

No matter what music you play, though, it’s important to get a complete picture of a given pedal’s sound. Online demos can be helpful, but the best way to determine whether or not you like a pedal’s sound is to test it out yourself in a guitar store.

Try to use a guitar and amp similar to your personal setup, and make sure to turn every knob and flick through every switch as you test the pedal out. You may find that the effect sounds much different without the benefit of professional recording equipment and an expert player!

Just as you need to test out every sound a pedal makes to evaluate it completely, you should also play as many different styles as possible when you test a new effect. Don’t restrict yourself to any one genre, and be sure to work in both single notes and chords. Play some songs you’d like to use the effect on, then play some other licks in a completely different style.

Even if you’re not sure you’d ever use that pedal on a certain song, the change of pace might help you pick up aspects of the pedal’s sound that you previously couldn’t hear. Will you ever use a distortion pedal to play jazz guitar? Probably not. But playing a complex jazzy extended chord while testing out a distortion pedal could help you learn new things about its tone. Does it preserve some clarity between each note, or do they run together? Is it sharp through the treble range, or does it offer a warmer sound? Can you dial the pedal down to clean it up, or no?

Whenever you sit down with any stompbox, you should also ask yourself what your goals are for your tone. Do you want a fuzz pedal to emulate The Smashing Pumpkins? Are you looking for a delay pedal to play on a new song you just wrote? Or do you just want a wacky new sound to toy around with at jam sessions?

No matter what pedal you’re considering, you should have some concrete ideas about how you’ll use it. If you can’t come up with any applications for the effect off the top of your head, you shouldn’t buy the pedal.

If you’re just looking to experiment with a certain effect, try out a cheap pedal in a store and see if you like it enough to buy it. Resist the urge to shell out for a pedal at the top of the market immediately! You can always upgrade later and you won’t risk wasting a large amount of money if you don’t connect with the effect.

Because low-end pedals are far more common, their resale value also tends to be more consistent. Boutique pedals, which often fluctuate significantly in price, are much riskier buys for beginners. If you try and don’t like a low-cost pedal (or want to upgrade to a premium version) you’ll generally be able to get your money back — particularly if you buy used. High-end pedals don’t offer the same security.

Most players have their own unique pedalboard setups. Don’t be afraid to experiment and find what works for you!

Common Pedalboard Configurations

Ask ten different guitarists to show you their pedalboard, and you’ll likely see ten different configurations. Even when different players use the same effects on their board, they rarely have all of the same pedals. This can make it difficult for beginners to pick which pedals they want to start out with.

Thankfully, most pedal users incorporate a few standard effects onto all of their boards. The specific models may vary, but these effects are always safe choices for your first couple of pedals.

Overdrive and distortion units are often guitarists’ first pedals. Whether you just practice around the house or play gigs every night, a dependable grit pedal is an absolute must on your board. It can be used in pretty much any style of music and allows you to obtain raunchy, aggressive sounds without cranking your amp up to 11.

Next, most guitarists pick up some form of delay or echo. Though it’s not as common as distortion, particularly in genres based on blues rock, delay is critical for alternative and indie rock, along with many styles of modern guitar music. A little delay is a great way to add an ambient, cavernous vibe to your playing; turn it up for a more pronounced effect to magnify the sound of your solo guitar lines.

Echo pedals aren’t always as versatile as broader delay pedals, but they fulfill much of the same function. They’re also used more often in certain rock genres: a bit of short, snappy delay (often termed “slapback” echo) is common in early rock and roll and rockabilly records. Pink Floyd’s David Gilmour, meanwhile, used the Binson Echorec machine for vibrant syncopated echo — an effect that you can recreate with the Catalinbread Echorec echo/delay pedal.

Though a lot of guitarists obtain their reverb through their amp, certain styles of music require an external reverb pedal. These pedals offer multiple different types of reverb and can provide much more prominent reverb tails than most amplifier reverb tanks. Reverb pedals are great for strummed rhythm playing, particularly in ambient, relax genres and in surf music.

Flashy, front-and-center effects dominate many players’ pedalboards. However, there’s also a place for always-on effects that spice up all of your playing. Compressor pedals are the most prominent of these effects; they’re particularly popular in country music for injecting some focus and clarity into your signal. Outside of country, players like Mark Knopfler have also used compressors to outstanding results.

Finally, modulation pedals tend to be the luxury pedals players buy once they’ve guilt out the rest of their pedalboard. Though they’re common in certain genres, many modulation pedals are niche, unorthodox effects. Modulation pedals are underrepresented in basic pedalboards — multi-effects pedals that offer many modulation effects in one casing are a great solution for players who need a more basic, streamlined configuration.


No matter your musical style, there are pedals around that can help you create new sounds.

Remember that at the end of the day, there’s no “right” or “wrong” pedals around — only ones that work for you and ones that don’t. Take your time to evaluate all your options, and don’t be afraid to go for something new or unique! After all, experimenting with new sounds is half the fun of pedals.