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這是2005年Music Player網(wǎng)上雜志評(píng)選出的自從有單塊以來(lái)歷史上50個(gè)最牛逼(greatest)的單塊。給喜歡收集單塊的朋友做個(gè)參考，少走些彎路。當(dāng)然這種評(píng)選難免掛一漏萬(wàn)，因?yàn)槭菑臍v史角度回顧，自然還有很多很好的單塊不在其中。不過(guò)列在這里的都是最有代表性的，開創(chuàng)音樂(lè)新領(lǐng)域的原創(chuàng)性的單塊。



引用出處：http://www.musicplayer.com/article/50-the-greatest/Mar-05/4174


ADA Flanger
Debut: 1977
With its 35-to-1 sweep ratio—which was more than doublethat of the MXR A
uto Flanger and Tycobrahe Pedalflanger—the ADA could sweep anaudio signal over the horizon faster than you could say “voltage controlledclock oscillator.” When it comes to extreme flange effects, the ADA is stillunbeatable.
就是說(shuō)有35比1的sweep比率，比MXR和Tycobrahe的同類產(chǎn)品都好。




Arbiter Fuzz Face
Debut: 1966
You’d have to have been frozen in a glacier for the past3,000 years to not know about the Fuzz Face or the left-handed Strat player whomade it famous. Introduced in 1966 by London’s Arbiter Music, thedynamic-sounding Fuzz Face represents mankind’s best use of two transistors,four resistors, and three capacitors.
就是說(shuō)這個(gè)fuzz相當(dāng)有名，因?yàn)榧?，亨德里克斯?966年的倫敦用過(guò)。動(dòng)感的fuzz代表了使用兩個(gè)晶體管，四個(gè)電阻和三個(gè)電容的單塊的最高水品。




Bixonic Expandora=
Debut: 1995
Surfacing at the height of the mid-’90s stompbox boom, theExpandora made friends fast with its rich fuzz sounds and its ability to beoptimized for distortion or overdrive via a pair of internal dip switches.Billy Gibbons’ onstage use of multiple Expandoras (most of which weren’t hookedup to anything) helped make the effect an overnight success.
90年代中期的fuzz單塊，很容易調(diào)出來(lái)牛逼的失真。Billy Gibbons舞臺(tái)上用的，所以該單塊一夜成名。





Boss CE-1 Chorus Ensemble~
Debut: 1976
Famous for its lush analog sound, the stereo CE-1 set thestandard by which all chorus pedals are judged. With its dual footswitches(chorus/vibrato and effects bypass), input-level switch, chorus intensity andvibrato depth and speed controls, the CE-1 was also one of the most flexible ofthe breed.
模擬聲音，立體聲合唱，已經(jīng)是工業(yè)標(biāo)準(zhǔn)了。雙開關(guān)?？烧{(diào)性是同類產(chǎn)品中最好的之一。




Boss DM-2 Delay
Debut: 1981
Highly regarded for its tape-flavored tones, this classicanalog delay pedal specializes in short echoes (33ms to 330ms), and featuresecho, intensity, and repeat rate controls. Cranking the intensity knob makesfor a pretty rad effect in itself!
磁帶延時(shí)的感覺(jué)。短延時(shí)很牛逼(33ms to 330ms)。






Boss DD-3 Digital Delay
Debut: 1986
This ultra-popular digital pedal gave guitarists fargreater sonic flexibility than was possible with analog technology. Clearsounding, quiet, and delivering up to 800ms of delay, the DD-3 was an immediatehit. Features include dual outputs and a handy hold function that will loop adelayed part infinitely.
這個(gè)相當(dāng)有名。當(dāng)時(shí)電子延時(shí)剛出來(lái)，吉他手們一下子覺(jué)得聲音的多樣性增加了。而且很安靜，延時(shí)達(dá)到800毫秒。還有雙輸出等功能。




Boss DS-1 Distortion
Debut: 1979
This ultra-classic distortion box is known for its warm,tube-like growl and excellent dynamics and punch. If you could have only onedistortion box, you couldn’t go wrong with a DS-1.
這個(gè)經(jīng)典失真有溫暖類似電子管的聲音。動(dòng)感和力量感都很好。如果只能有一個(gè)失真單塊就是它了。



Boss MT-2 Metal Zone
Debut: 1991
Packing furious gain and powerful EQ, the MT-2 is wellequipped for scorching lead tones and gut-shaking, modern-metal chunk.
巨大的增益和失真。均衡也特牛。很適合現(xiàn)代金屬的主音和大塊的強(qiáng)力和弦。





Colorsound Overdriver
Debut: 1972
Boosted grind is the forte of this great-sounding,British-made overdrive. Equipped with drive, treble, and bass controls, theOverdriver is ideal for making even clean amps perform very dirty tricks—justask Jeff Beck.
英國(guó)產(chǎn)的失真。能讓最干凈的箱子發(fā)出臟聲音。Jeff Beck用的。






Demeter Tremulator
Debut: 1982
Designed to deliver soft, amp-style tremolo with no volumelosses or unwanted coloration, the compact Tremulator needs only speed anddepth controls to yield smooth, Fender-style pulse.
能發(fā)出柔軟，管箱一樣的顫音，而沒(méi)有音量損失和印染。體積小。類似FENDER 管箱式的平滑顫音。






Guyatone Flip Series VT-X Vintage Tremolo
Debut: 1999
The VT-X is a fat-sounding, tube-powered tremolo thatoffers a wide range of trem speed, as well as a bevy of controls. Along withintensity, speed, and tone knobs, the unit sports a slow/fast range switch andan Emphasis function that adds bite to the tones without taking the warm,amp-like undulations straight to the chopping block. The VT-X features dualoutputs and is powered by a 12-volt AC adapter. Put it last in line and digwhat it does for your tone!
聲音肥厚，電子管顫音，可調(diào)范圍很廣。雙輸出。12伏特交流電輸入。



DigiTech Whammy
Debut: 1991
This 11-year-old audio acrobat is currently performing itsdigital wang-bar tricks, chorus-like manual detuning, and pedal-controlledinterval morphing for a generation of nu-metal players. Even jazzers such asJohn Scofield and Jim Hall have grooved on this wild pedal. If you’re itchingto get down with something spicier than an octave fuzz, but not as diabolic asa ring-modulator, the Whammy is a great middle ground.
哇音單塊。電子哇音。新金屬里用得多。但是爵士吉他手比如John Scofield和Jim Hall也用?？梢援?dāng)作音調(diào)升降單塊用。





Dunlop 535Q Wah
Debut: 2001
The 535Q is like having several wah pedals in one. Itsmultitude of functions (which include a 6-position wah range switch, a wahfine-tune control, a boost on/off switch, and “Q” and volume trimmers) mayinvite option anxiety, but they give the 535Q the flexibility and power tofield everything from funk to metal.
這個(gè)哇音單塊仿佛是幾個(gè)哇音單塊和在一起。6檔的哇音范圍調(diào)節(jié)，哇音微調(diào)控制，增益開關(guān)等等。



Electro-Harmonix 16-Second Digital Delay
Debut: 1982
Electro-Harmonix introduced a ton of revolutionary pedalsin the ’70s and early ’80s, and one of the most adventurous was the 16-SecondDelay. Able to record parts on the fly, and then replay them at the touch of abutton, this early digital sampler opened the door to onstage looping, and itwould become a key element in the textural styles pioneered by Robert Quine andBill Frisell.
EH公司七八十年代******性單塊之一。能延時(shí)16秒。還可以錄音。最早的數(shù)碼Looper。





Electro-Harmonix Deluxe Memory Man
Debut: 1976
Famous for its warm, tape-like delays and detailedchorusing (owing to the fact that only the feedback signal was chorused, thuspreserving the integrity of the dry signal), this classic chorus/echo/vibratounit stands out as one of the major reasons so many guitar players still freakat the mere mention of the word “analog.”
因?yàn)槠錅嘏?，類似磁帶延時(shí)的聲音。延時(shí)的聲音加了合唱，但是本音沒(méi)有合唱。這是一款經(jīng)典的合唱，回聲，和顫音單塊。模擬單塊。




Electro-Harmonix Big Muff
Debut: 1971
Though not quite the distortion-free sustainer the originalEH ads cracked it up to be, the Big Muff’s soft-clipping and treble-rolloffcircuitry yielded smooth, singing tones that were way more tube-like than anyfuzzbox could deliver.
EH公司最初的廣告說(shuō)這個(gè)是沒(méi)有失真的延音加長(zhǎng)單塊，雖然這倒未必是真的，但是這個(gè)款的soft-clipping和高切讓聲音更平滑和動(dòng)聽，比其他fuzz單塊更象管箱。



Electro-Harmonix Electric Mistress
Debut: 1977
The Electric Mistress is a pretty unique sounding animalthat’s less of a flange/chorus box and more of a spacy detuning machine thatdoubles as a portal into the mind of Robert Fripp. Using the Filter Matrixswitch to disengage the automatic sweep lets you manually dial in metallicchimes and other strange noises.
對(duì)于Robert Fripp來(lái)說(shuō)，這款單塊不象是合唱/flanger單塊而更像是范圍廣闊的音調(diào)變換器。Filter開關(guān)讓你發(fā)出金屬般的共鳴聲和其他奇奇怪怪的聲音。




Electro-Harmonix LPB-1
Debut: 1968
The LPB-1 wasn’t a stompbox—it plugged right into the inputjack of a guitar—but this single-transistor power booster gave guitaristsunprecedented powers of distortion. Able to drive even the cleanest amplifierinto clipping, this tiny titan not only put Electro-Harmonix on the map, italso paved the way for the advent of high-gain amplifiers.
這款其實(shí)不是單塊，它直接插入吉他的輸入口產(chǎn)生強(qiáng)大的，前所未有的增益失真。當(dāng)年這款不僅讓EH公司擴(kuò)大市場(chǎng)，而且為高增益音箱的誕生鋪平了道路。


Electro-Harmonix Small Stone
Debut: 1976
This simple phase shifter needs only a rate knob and acolor switch to deliver rich, swooshy, psychedelic swirl. Costing about half asmuch as the MXR Phase 90, the Small Stone was an immensely popular phaser and ahuge hit for Electro-Harmonix.
這個(gè)phaser單塊聲音肥厚，移動(dòng)而且迷幻。而且比MXR的Phase 90便宜一半。相當(dāng)有名。

Foxx Tone Machine
Debut: 1972
One of the hippest octave–fuzzes ever made, the ToneMachine packed tons of output and it tracked well to boot. Obtaining one ofthese flocked boxes will prove costly nowadays, so it’s worth noting that theDanelectro French Toast mini pedal incorporates the vintage Foxx circuit.
最嬉皮的octave/fuzz單塊。

Fulltone Distortion Pro
Debut: 2001
This highly evolved pedal offers thick distortion, potentoutput, and the ability to precisely tailor the dynamic response to suit youramplifier, playing style, and mood. And it does all this while keeping thesound of your guitar intact. Amazing! Definitely one of the most talented newoverdrivers on the market.
肥厚的失真，有力的輸出，可調(diào)行也很廣闊。重視表現(xiàn)吉他原來(lái)聲音。是最近幾年最有才的新失真單塊。

Fulltone Full-Drive 2
Debut: 1995
This dual-channel unit features the usual volume, tone, andoverdrive controls, but adds a footswitchable boost function with a separatelevel control. A great-sounding overdrive in its own right, the Full-Drive 2 isparticularly hip for its ability to deliver two distinct distortion flavors
這個(gè)雙輸出通道失真單塊在一般的控制之外，還加了一個(gè)增益開關(guān)。兩種失真的聲音很不同。
Ibanez TS-808 Tube Screamer
Debut: 1980
Made famous by Eric Johnson, this definitive overdrive is aclose cousin of the popular TS-9. The TS-808 delivers warm, grainy distortion,plenty of output, and has a strong upper-midrange bump that colors your guitarsound considerably.
由于Eric Johnson而出名。是另一個(gè)款有名的失真單塊TS9的堂兄。聲音溫暖而有顆粒感，輸出大，而且突出中高頻。

Klon Centaur
Debut: 1994
Featuring a beautiful cast-metal enclosure and a retro-coolbronze/oxblood color scheme, the Centaur is a medium-gain pedal noted for itsopen-sounding distortion and beefy low-end.
漂亮的金屬外殼。中等輸出的失真單塊，聲音寬闊而且有beefy的低音。

Line 6 DL4 Delay Modeler
Debut: 1999
One of the first digital-modeling stompboxes, the DL4provides simulations of 15 classic analog delays and tape-echo units. With itsuser-friendly interface, and smart features such as tap-tempo, stereo ins andouts, and a 14-second looping function, the DL4 is one-stop-shopping for delayfreaks.
最早的數(shù)字單塊之一。模擬15種經(jīng)典的模擬線路的延時(shí)。使用方便，立體聲輸入輸出。14秒loop。喜歡延時(shí)的老兄有這個(gè)其他都不用買了。


Lovetone Meatball
Debut: 1995
Featuring four frequency ranges, multiple filter types(with depth and resonance controls), attack and decay knobs, a trigger section,and a handy effects loop, the British-made Meatball can do the funky-filterthing as readily as it dishes up animal snorts, bird whistles, insect matingcalls, and endless iterations of lower-tract distress.
四段均衡，多種filter。英國(guó)造。什么都能玩。

Maestro Fuzz-Tone
Debut: 1963
As the first commercially available fuzzbox, thiswedge-shaped device added signature buzz to hundreds of ’60s-era country, pop,and rock recordings. Based on a transistor circuit cooked up by a Nashvillestudio engineer, the Fuzz-Tone kicked off the beginning of the stompboxrevolution.
這個(gè)是第一個(gè)投入市場(chǎng)的fuzz單塊。給60年代的鄉(xiāng)村流行和搖滾樂(lè)錄音帶來(lái)了許多毛糙的邊緣感。


Morley Power Wah Boost
Debut: 1973
Morley broke with the wah pack by introducing a model thatused a photo resistor in place of the standard potentiometer. The PWB doubledas a volume pedal, and it also featured a footswitchable, variable boostfunction. With its wide, smooth sweep and quiet operation, the PWB was arevolutionary design that opened the door for a slew of ever more elaborateMorley pedals.
用一個(gè)膠片電阻取代了標(biāo)準(zhǔn)的電位器。這個(gè)新發(fā)明是后來(lái)更進(jìn)步的Morley哇音增益單塊的鼻祖。


Musitronics Mu-Tron III
Debut: 1972
Developed for Musitronics by electronics designer MikeBiegle, the Mu-Tron III envelope follower/voltage-controlled filter producedautomatic wah effects that changed timbre in response to your playing dynamics.Made famous by Stevie Wonder—who plugged one into a clavinet for the hit“Higher Ground”—the Mu-Tron III was a key element in ’70s funk, and it was alsofavored by Larry Coryell and Jerry Garcia.
自動(dòng)哇音效果器，但是也對(duì)彈奏的動(dòng)感很敏感。Steve Wonder用過(guò)。70年代的Funk音樂(lè)里少不了這個(gè)。LarryCoryell and Jerry Garcia也用這個(gè)。


MXR Distortion +
Debut: 1973
This early buzz box—a favorite of Randy Rhoads—used asimple op-amp circuit that provided both insane gain and tube-soundingdistortion textures (provided that you made sure to roll off the treble on yourguitar and amp). The + was also one of MXR’s most popular effects, selling inexcess of 20,000 units per year at its peak.
早期的失真單塊。Randy Rhoads最喜歡的單塊。簡(jiǎn)單的線路，曠野的失真，聽起來(lái)象管箱的質(zhì)感，必須要把吉他和音箱高音切掉一些。這個(gè)是MXR最受歡迎的單塊，最多時(shí)候每年賣掉2萬(wàn)個(gè)。

MXR Dyna Comp
Debut: 1973
Putting the pop in country licks and helping slide partssound silky smooth has long been a specialty of this king of stompboxcompressors. The Dyna Comp was quickly adopted by ace Nashville session playerssuch as Reggie Young and Jerry Reed—who used the script-logo versions onhundreds of hit recordings—and it was also a key tool of slide master LowellGeorge.
搞流行和鄉(xiāng)村的喜歡用，比如Reggie Young and Jerry Reed在幾百首上榜歌曲中使用了一個(gè)特別版?；舸髱烲owellGeorge也用。

MXR Flanger
Debut: 1980
The moment Eddie Van Halen kicked on this baby for“Unchained” in 1981, the MXR Flanger was guaranteed a place in the stompboxHall of Fame. Besides delivering deep, powerful swoosh, this AC-powered analogbox could delve into chorusing, steel-drum simulations, and other shades oflo-fi lusciousness.
自從1981年范海倫在Unchained中使用，這款Flanger就出名了。音色深廣有力。交流電推動(dòng)。

MXR Phase 90
Debut: 1973
This orange box needs just a speed knob to yield complexswirl and cool, rotary-speaker simulations. Another essential ingredient in VanHalen’s classic setup (he set it for a very slow sweep), the Phase 90 is theone to get if you can only have one phaser.
這款橘紅色Phase單塊就一個(gè)速度鈕。也是范海倫的經(jīng)典。如果只能有一個(gè)phase單塊，就是這個(gè)了。

Prescription Electronics Experience Pedal
Debut: 1993
This boutique octave-fuzz offers intense sustain, loads ofoutput, and a unique swell circuit that can simulate the effect of playingbackwards. The Experience’s soft, wooly octave sound is one of the attributesthat makes this pedal a standout.
這個(gè)八度音fuzz單塊提供緊張的延音，大量輸出，還可以模擬反彈的效果。柔軟的八度音很杰出。

Pro Co Rat
Debut: 1978
The Rat’s distortion and wide-ranging filter controls yieldtones that are straight from the Tube Screamer quadrant, but with considerablymore gain and bass. Plug into this thing and you’ll understand why Ratsinfested so many pedalboards in the ’70s and ’80s.
老鼠的失真有廣泛的filter，和多種Tube Screamer系列的單塊一樣廣闊的音譜，但是失真和低音更多。70和80年代無(wú)數(shù)單塊盒里都有它。


Roger Mayer Octavia
Debut: 1966
If Roger Mayer wasn’t the first boutique stompbox builder,he certainly was the most famous. His biggest hit was the Octavia, whichdelivers a ringing second-octave effect. Mayer recalls that within a few daysof hearing the effect, Jimi Hendrix took the Octavia to the studio and pluggedit straight into a Marshall for his solos on “Purple Haze” and “Fire.”
又最有名的boutique單塊制造者Roger Mayer制造。這個(gè)單塊提供第二個(gè)八度音效果。聽了這個(gè)單塊之后幾天，JimiHendrix就拿著這款去錄音室直接插到一個(gè)Marshall音箱里錄了“Purple Haze” and “Fire.”的獨(dú)奏。

Roland AP-7 Jet Phaser
Debut: 1975
Best known for creating the swirling, nasally fuzz sound onthe Isley Brothers hit, “Who’s that Lady,” the Jet Phaser combined amulti-setting phase shifter with a fuzz circuit that was probably lifted fromRoland’s Bee Baa pedal. The rarely-seen AP-7 packs a bunch of controls andspecializes in psychedelic colors that no combination of fuzz and phaser canquite duplicate.
這是一個(gè)fuzz 和phaser的2合1單塊。Isley兄弟的名曲 “Who’s that Lady”中旋轉(zhuǎn)的，充滿鼻音的fuzz音色。而且phaser很迷幻。

Snarling Dogs Mold Spore Psycho-Scumatic Wah
Debut: 1999
It’s easy to believe that a pedal packing wah and ringmodulation would be pretty extreme. But even those who think they’ve heardeverything will likely be blown away once they start messing with this baby’sFreakwincy, Psychoscumation, and Straightjacket controls—not to mention theFreak Sweep button, which allows for foot control of the ring modulationcenter-point. Bottom line: If you want to show you’re nuts, this is the pedalto do it with.
哇音器和鐘鳴模擬器的合并單塊。

T.C. Electronic Stereo Chorus + Pitch Modulator& Flanger
Debut: 1982
Lots of players consider this Danish-made unit to be theultimate chorus pedal—and it’s great for Leslie-style tones, too. Thanks to abeautifully designed analog circuit that delivers a 20Hz-20kHz bandwidth andimposes a noise-gate on the wet signal, the T.C. is one of the clearest andquietest chorus boxes ever made.
許多吉他手都為人這個(gè)丹麥產(chǎn)的合唱單塊是最牛逼的合唱單塊。模擬線路提供20Hz-20kHz音頻寬度，還有一個(gè)降噪門。這個(gè)是最干凈而安靜的合唱單塊。

Tech 21 SansAmp
Debut: 1989
This brainy D.I. device uses analog circuitry to simulatethe sounds of different amplifiers in clean and distorted configurations. TheSansAmp’s eight character switches—which can be used individually or incombination to do such things as boost mids, alter the treble response, andenhance the lows—are at the heart of this studio-oriented device’schameleon-like powers. Kurt Cobain used a SansAmp onstage.
這個(gè)多樣的模擬器模仿多種音箱，清音和失真都可以。8個(gè)旋鈕提供變色龍一般的多樣性。一般在錄音室里用，但是涅磐的KurtCobain在舞臺(tái)上也用。

Tube Works Tube Driver
Debut: 1979
The Tube Driver has at least three distinctions: It was thefirst distortion pedal to use a real tube, it was designed by a keyboard player(Brent Butler), and it was made famous by Eric Johnson (who used one straightinto a Marshall for his lead sound). Several versions of this box were made,and the four-knob models built by Butler for Chandler are generally consideredthe best.
這款是第一個(gè)用真的電子管的單塊，由鍵盤手Brent Butler發(fā)明，而Eric Johnson讓它成名，Johnson直接插入Marshall箱******主音。有幾種型號(hào)，為Chandler做的4個(gè)旋鈕的型號(hào)被認(rèn)為是最好的。

Tycobrahe Octavia
Debut: 1970
In the beginning, there were only two ways to get anOctavia: You could become a rock star and get it directly from Roger Mayer, oryou could purchase a Tycobrahe clone. The tale of two Octavias began whenbassist Noel Redding brought one of Jimi Hendrix’s broken units to theTycobrahe folks to be repaired. The rest, as they say, is history.
在最初，獲得一個(gè)Octavia單塊的方式只有兩個(gè)，一個(gè)是成為搖滾明星，這樣Roger Mayer就會(huì)給你做一個(gè)送來(lái)，另一個(gè)方法是買一個(gè)Tycobrahe的克隆版。這個(gè)單塊的故事是貝司手Noel Redding買了Jimi Hendrix的一個(gè)壞了的Octavia送去給Tycobrahe公司的人維修。然后這幫人就開創(chuàng)了克隆的歷史。

Univox Uni-Vibe
Debut: 1969
Another stompbox made famous by Hendrix is the Uni-Vibe—anearly rotary-speaker simulator that used a pulsating light source and fourphoto resistors to modulate its four-stage phase-shifting circuit. It’sprimitive technology, but what would Band of Gypsys be without the Uni-Vibe’sthick, smoky swirl? Or, for that matter, Robin Trower?
這是另一個(gè)因?yàn)镠endrix成名的單塊，本來(lái)是模仿喇叭旋轉(zhuǎn)的效果的。很原始。但是吉普賽樂(lè)隊(duì)沒(méi)有它不行。

Voodoo Lab Sparkle Drive
Debut: 2000
What makes this distortion/overdrive pedal special is itsability to simulate the layering effect of two amplifiers. The Sparkle Drive’skey feature is its clean knob, which lets you add boosted clean signal to thedistortion sound to enhance clarity and detail.
這個(gè)失真單塊的特殊性在于可以模仿兩個(gè)音箱的層累的效果。還有一個(gè)清音旋鈕，讓你在失真聲音上加一層增益過(guò)的清音型號(hào)，來(lái)提升清晰度和細(xì)節(jié)。

Vox CryBaby
Debut: 1967
Hendrix was the first and most famous to jump on thisessential effect—which was invented by a Thomas Organ engineer named BradPlunkett. The CryBaby’s distinctly vocal inflections are irresistible tohumans, who have used the device with impunity on practically every style ofmusic ever since.
Hendrix是第一個(gè)也是最有名的使用這個(gè)單塊的樂(lè)手。Crybaby有獨(dú)特的音色變化，每一種音樂(lè)種類都需要。

Vox Tone Bender
Debut: 1967
This classic British fuzz was Vox’s answer to the MaestroFuzz-Tone. Listen to Jeff Beck’s exotic-sounding guitar work on “Over UnderSideways Down,” and you’ll get a pretty good idea of why the Tone Bender islegendary.
經(jīng)典的英國(guó)Fuzz，是Vox對(duì)Maestro Fuzz-Tone的回應(yīng)。聽Jeff Beck充滿異國(guó)情調(diào)的作品“OverUnder Sideways Down,”來(lái)理解為什么這個(gè)這么有名。

Way Huge Blue Hippo
Debut: 1998
Broad, rich chorusing and the ability to preserve thetonality of your guitar make the Blue Hippo a heavyweight of the analog jungle.This is one chorus you can really lay into without feeling like you’ve dunkedyour tone in a muddy Muzak watering hole
廣闊多彩的合唱，同時(shí)保持你的吉他本身的音色。模擬線路。

Way Huge Swollen Pickle
Debut: 1996
Though one of the most corpulent-sounding fuzzes, thisherkin’ gherkin can also deliver explosive treble bite.
最肥厚的fuzz的音色單塊。同時(shí)有爆炸式的高音。

Z.Vex Fuzz Factory
Debut: 1995
Featuring volume, gate, comp, drive, and stab controls, theFuzz Factory produces everything from classic, Beck/Clapton-style buzz toanimal squeals, garbled spacecraft chatter, and dying-transistor sputters. Thisis one of the widest-ranging fuzzes of all time.
有volume, gate, comp, drive, and stab等控制，這個(gè)Fuzz單塊能發(fā)出經(jīng)典的Beck和Clapton的音色到模仿動(dòng)物的叫聲和其他怪聲。有史以來(lái)聲音種類最廣闊的fuzz單塊。

Z.Vex Seek Wah
Debut: 1996
Packing eight individually tunable, sequentially driven wahcircuits (which can be set to fire in four-, six-, or eight-voice patterns),the Seek Wah is well equipped to produce such trippy effects as modulated-wahtremolo, oddball-sounding arpeggios, and myriad dialects of robot speak.
這個(gè)哇音單塊有8種不同的哇音線路。還有哇音顫音和琶音，還可以模擬各種各樣的機(jī)器人講話的聲音。