Electronic pitch shifting started as a studio technique with the reel-to-reel tape machine. Pitch shifters go back to the earliest days of sound processing. Let us know in the comments how you use these effects, and what pedals are your favorites. We're kicking things off with pitch shifters, and will be adding a new effect each week for the next three weeks. But as we'll see, the surface complexity of many of these effects often comes with amazing musical potential that can change the way you approach the guitar. Some effects may fall into several categories and some will defy categories entirely. The categories we investigate here typically cover a single device type. Here, we'll try to demystify some of the most mystifying gadgets by breaking them into some loose categories-Pitch, Synth, Destruction, and Ring Mod-and providing some guidance in how to access the tones hidden inside and implement them in your own pursuit of musical majesty. And it can seem like the road to interesting and inspiring guitar tones is sometimes paved by equipment that appears built for obsessive geeks only. Innovations in manufacturing techniques, inexpensive microprocessors, and computer connectivity help designers push the limits of what is possible within the finite space of an effects pedal. This is the world of bizarre effects, and if you're confused by stompboxes with more than a few knobs and switches, you're certainly not alone. But double the knobs and add parameters with names like Crash, Warp, and Glide, and things can get murky fast. And a single-knob boost isn't gonna throw you for a loop. You know how a three-knob overdrive works.

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