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Best vocal pedal 2018 – [Buyer’s Guide]Last Updated September 1, 2020
Best vocal pedal of 2018
Simply review and buy them. The “Total” indicates the overall value of the product.
If you’re scouring the market for the best vocal pedal, you’d better have the right info before spending your money. Before you spend your money on vocal pedal, start by familiarizing yourself with the various types.
Test Results and Ratings
№1 – Boss VE-20 Vocal Processor Multi Effects Pedal -INCLUDES- Blucoil Power Supply Slim AC/DC Adapter 9V DC 670mA with US Plug AND 10’ XLR Microphone Cable
Why did this vocal pedal win the first place?
I am very happy with the purchase. It is definitely worth its money. The product is top-notch! I don’t know anything about other models from this brand, but I am fully satisfied with this product. The rear part fits perfectly! It is mounted really tight and reliable. The product is very strong. Its material is stable and doesn’t crack.
№2 – OMNIHIL
Why did this vocal pedal come in second place?
The design quality is top notch and the color is nice. I really liked it. It is amazing in every aspect. It did even exceed my expectations for a bit, considering the affordable price. The material is pretty strong and easy to wash if needed. I recommend you to consider buying this model, it definitely worth its money.
Why did this vocal pedal take third place?
I liked the design. We’ve been using it for 2 months and it still looks like brand new. It is inconvenient to use due to the size. I am going to get something different next time. A very convenient model. It is affordable and made of high-quality materials. It doesn’t squeaks nor bents. Looks great in my apartment.
vocal pedal Buyer’s Guide
TC Electronic Ditto X2
TC Electronic introduced the original Ditto looper as a compact solution for simple rhythm and lead playing. Its multi-functioning single footswitch acts as a record, overdub, stop, undo and redo button. For the more adventurous types, TC Electronic released the bigger brother to the Ditto family called the XWith the added “FX” footswitch, users can assign reverse, half-speed or a stop button with a flick of a switch.
Best for: Players with precious pedalboard real estate wanting to explore looping, practicing solos and making weird noises.
DigiTech JamMan Stereo
Plugging in the additional FS3X footswitch expands controls for reverse playback, instant undo/redo and setting the tempo of the loop. If that’s not enough, the Jamman Stereo features an amazing auto-record mode, which is great for capturing the entire length of your loop without the need to step on a footswitch.
Best for: Players wanting the ability to store multiple loops and samples, added looping controls in a relatively small pedal format, independent stereo signals for complex routing.
At their essence, platform – or flat – pedals are barely different from what we all learned on as kids. They have big, broad shelves to place your feet along with some means of providing some grip for the bottom of your shoes.
As it pertains to mountain biking, though, platforms are generally preferred more by downhillers and gravity riders who prefer a larger surface area to help protect their feet from impact, and the freedom to instantly pull them off at will to help with balance when the trail gets dicey (which can also be handy for beginners). Sharpened cage plates and/or traction pins lend a little more security to keep you from getting bounced off, too, and while they can be used with virtually any type of conventional footwear, it’s best to go with skate-type shoes with particularly sticky soles.
Platforms tend to be quite heavy, though, and some riders want an even more connected feeling than even the most aggressive pins and stickiest shoes can provide. In these cases, only clipless pedals will do and the range of options is tremendously broad.
So-called ‘clipless’ mountain bike pedals use cycling-specific shoes and metal cleats that bolt on underneath (instead of the old plastic cages, or ‘toe clips’, that wrapped around your feet and from which these pedals derive their name). Those cleats are then mechanically attached to the pedals like a lock-and-key, usually with spring-loaded devices that release your foot with a simple twist as needed – or if you crash.
What to look for in clipless pedals
Mountain bike clipless pedals are generally offered with one of three different platform sizes: the traditional (and most compact) option with a small body to house the retention mechanism and little more; a mid-sized ‘trail’ option that adds a small cage; and full-sized models that provide a large and stable foundation for your feet.
While the traditional size is the lightest, it’s best to choose based on what type of shoes you’ll use – and how much walking you expect to do. Race-type cross country shoes with very stiff midsoles should typically be paired with traditionally sized pedals; softer and more flexible skate-type shoes are best able to make use of full-sized pedals’ bigger platforms; and the new crop of semi-flexible trail shoes are usually best paired with medium-sized pedals.
Shimano launched the clipless boom in the early 1990s yet despite its age, SPD (Shimano Pedaling Dynamics) is still the predominant format. It’s not the best at shedding mud and snow nor are they usually the lightest around but the cleats are tough, the engagement is very secure, and the metal bodies are generally extremely durable. SPD is often the only option to offer an adjustable release tension, too, meaning you can start with a light hold on the cleat and gradually dial things up as your skills improve.
Crankbrothers is another major option with a feel that’s at the opposite end of the spectrum. The attachment is less mechanical feeling but the upside is more freedom of movement on the pedal before the cleat disengages from the pedal. Mud clearance is generally outstanding, too, and they’re among the lightest options out there.
Time and Look round out the major players with an overall feel, mud shedding, and durability that falls somewhere in between Shimano and Crankbrothers.
For any choice, be sure to consider the pedals’ serviceability. While most pedals have some sort of seals, their quality and effectiveness vary tremendously and they’ll all eventually need maintenance. Look for options that don’t require special tools (or if they do, make sure they’re inexpensive and easy to obtain) and won’t require an entire afternoon to relube.
Stereo or Mono Output
Most of the time, mono output is fine for jamming in front of your amp and just having fun. If you want to record in stereo, however, you will need a stereo ouput. Many pedals today provide ways of playing with stereo sound, such as chorus pedals that let you split your sound into stereo.
Studio-precision vocals on stage and at your feet.
You’ve worked hard to create a vocal sound that’s all your own, but leaving your live sound in the hands of others is hit and miss. Now you can make your sound engineer, your audience and your band smile with high-quality vocal processing that starts at the stage and is exclusively under your control with TC-Helicon VoiceTone pedals for singers.
The VoiceTone Correct pedal’s studio-quality sound, ready-for-action construction, and unobtrusive size let you carry it along with your favorite mic to the gig, whether it’s a club or a concert hall. And operation couldn’t be easier. You’ll get the sound you want in seconds, instantly boosting your performance the very first night you use a VoiceTone pedal. Up to now, only the most successful singers have taken their producer, live engineer and vocal coach on the road, but now it’s your turn to bring your vocal posse with you and ensure that your message–your sound–is heard.
Enjoy Complete Quality Quality can be witnessed in every aspect of the VoiceTone design. Studio caliber audio algorithms, transparent converters and fastidious analog audio design lead to a smooth sound that makes you want to sing your best while your fans get, well, fanatic. It just wouldn’t be enough to make products that sound this good without making sure they stand up to the rough treatment they’re going to get onstage or kicking around a rehearsal room floor.
Live Engineer and Correction-in-a-pedal The nicest and most simpatico sound engineer you will ever meet is inside VoiceTone Correct. It combines pitch correction with tone and dynamic shaping that put a recorded gloss on live singing. Sensing algorithms developed at TC-Helicon automatically adjust the recording industry techniques of multiband EQ, compression and de-essing for you, so you get the best sound with the least amount of effort.
Fender Classics Fuzz Wah
Every pedalboard deserves a decent wah. It’s the ubiquitous sound to which countless washing machines have been ‘repaired’, crimes in the 70s were solved, and Jimi Hendrix chopped down mountains. If your pedalboard deserves a little funk, check out our pick of the best wah pedals.
Gig-FX Kilo Wah
Every pedalboard deserves a decent wah. It’s the ubiquitous sound to which countless washing machines have been ‘repaired’, crimes in the 70s were solved, and Jimi Hendrix chopped down mountains. If your pedalboard deserves a little funk, check out our pick of the best wah pedals.
Gear returned in mint condition. If you’re looking for a virtually new instrument in possibly less-than-perfect packaging, this is a great value.
Not all vocal processors allow you to control a wide range of effects like compression, delay/reverb or EQ. Some are more basic when it comes to this and only offer core effects. If your music style is more experimental it’s probably recommended to look for more exotic voicings.
Adding some wild possibilities for your vocals, the TC Helicon VoiceTone Ceffects processor looks very promising for those with lower budgets. Among the main features of this compact device we can find sound correction from subtle to jagged HardTune, Mic Control for remote on/off toggling, and the ability to chain the unit with other VoiceTone C1’s for improving your sound even more.
Under the hood of this unit, you can expect to find the same quality processing from TC Helicon’s flagship VoiceLive vocal processors. A quiet mic preamp is also present and its reliability can rival that from high-end touring mixers providing a decent level of quality analog to digital conversion. A USB connection is included for firmware updates. The construction of the device is pretty solid, the metal casing seems to be built with durability in mind.
This vocal processor is capable of opening up some new vocal territory. It all starts with a clean correction of your voice. All that’s needed is to set the key or use the guitar input. The popular pitch-gliding HardTune effect is included and with just a simple knob twist you can sound like an alien in no time. Due to Mic Control, you can take charge of the unit right from your mic commanding both the stage and the audience.
What’s great is how you can chain it to other identical units for mixing and matching effects which create your own personal sound. It can also work nicely with Ditto Mic Looper, the looping pedal for singers. Using the Singles Connect Kit, you can mix and match a maximum of four vocal effect pedals without too much cable clutter.
As long as you understand the capabilities of the VoiceTone Cand its limits you won’t be disappointed. It can’t do magic for your vocals but it provides good correction and decent enhancements for this price. Looking back over its features, this remains a safe recommendation if you have an interest in a relatively inexpensive but great quality vocal processor.
Phasing, also referred to as phase shifting, is where a signal is duplicated, and then the new copied signal is shifted to be out of phase with the original signal. The resulting sound creates a spacey, “whoosh” effect evokes the sound of a watery atmosphere.
While signal phasing can sometimes be an unwanted by-product of audio recording, the effect began to be used intentionally on psychedelic records in the late 1960s, notably on “Itchycoo Park” by the Small Faces. The effect was later popularized in decades to follow from guitarists such as Eddie Van Halen, Queen’s Brian May, and Incubus axeman Mike Einziger.
Similar to phasing, flanging duplicates the original signal of a guitar’s output but delays one signal by a small and gradually changing period. The resulting sound is similar to a comb filter effect, one that has been characterized as “sucking air” or “the Darth Vader effect”. Whether used subtly to suggest a spacey feel or cranked all the way up to create an unnatural, synthetic-like sound, flanging is a guitar effect that doesn’t seem to be losing popularity anytime soon.
Although wildly popular as a guitar effect, flange was first popularly utilized by producer George Martin during recording sessions for the Beatles. John Lennon would often use the effect on his vocals; in fact, historian Mark Lewisohn claims that it was Lennon who first gave the technique its name. The first Beatles song to feature this effect was “Tomorrow Never Knows” on their album Revolver; almost every single song on that record had some sort of flanging effect on it.
Tremolo produces a sound similar to flanging in that it creates a vibrating sound similar to what it would sound like if you hit a note on your guitar and then turned the volume knob up and down rapidly. Speed can be adjusted to create alternating volume fluctuation rates, while the depth controls on a tremolo pedal affects the range at which that signal is altered.
Of all the effects that fall under the modulation umbrella, tremolo is perhaps the most popular simply because it’s an effect often incorporated as a default setting in guitar amps. Most popularized in niche genres like rockabilly and surf rock, tremolo has also been used prominently in songs by artists such as Radiohead, the Rolling Stones, Creedence Clearwater Revival, and more.
Perhaps the most subtle of all the modulation effects, chorus duplicates the original output signal and alters it slightly so that the signal sounds like it’s being voiced by multiple sources or as the name implies, by a “chorus” of instruments. Chorus is a great way to thicken up the sound of a guitar part, and can be used with other effects such as distortion to expand multiple layers of tones within a signal.
Perhaps one of the most instantly recognizable uses of chorus in popular music is the beginning intro guitar riff to “Come as You Are” by Nirvana. Like tremolo, chorus effects are often built into guitar amplifiers; however, working with processors like pedals (which are solely designed to produce this effect) will almost always result in a better and more nuanced sound.
Compression can make vocals sound dull.
But, keep in mind, dynamic range on a vocal is good, so you do not want to cut it too much, you simply want to make it manageable.
When compression is set correctly, you reap all the benefits without any of the drawbacks.
So, let’s go through the settings on a compressor one at a time and how to properly apply them to vocals.
The threshold sets the height of the loudness ceiling. In other words, it decides how loud the signal has to be to activate the compressor.
So, if the threshold is set to -10dB, it will compress anything louder than -10dB. If the signal is quieter than -10dB (i.e. -20dB), it will remain untouched.
The gain reduction meter shows you how much the compressor is compressing the signal. On vocals, I have found that they begin to sound lifeless and over-compressed when compressing more than 6dB.
The ratio setting on a compressor decides how aggressive the compressor will respond. A higher setting (i.e. 12:1) will compress much more aggressively than a lower setting (i.e. 3:1).
When talking about a ratio of 3:1, you may be wondering what the figure actually means. Basically, for every 3dB the signal exceeds the threshold, the compressor will allow a tolerance of 1dB to pass through.
Now, I have found that a good ratio for vocals is 3:If you go lower than that, you may not get the compression needed. If you go higher, the vocal will most likely end up sounding smashed.
Multi Effects Floor Units
TC-Helicon currently produces multi-effects floor units aimed at different kinds of players. They’re mainly for people who play an instrument and sing, but they also have dedicated vocal units across their different product lines.
These two products are dream for any guitarist behind a mic. Both models offer over 500 presets, live looping, and a wide array of effects for your guitar and voice. The pitch correction and harmony features give you complete control over your vocal performance, and the guitar effects section features some of the most popular sounds from the TC Electronic guitar effects line.
You can create up to harmony parts and use pitch correction that ranges from subtle to robotic. While other floor units let you program sounds for your guitar and voice, these units let you control specific parameters live, like delay and harmonies, rather than just scrolling through presets.
The two most feature-heavy products in TC-Helicon’s product line differ in a few important ways. The VoiceLive Extreme offers hours of looping time with a limit of minutes per track; the VoiceLive gives you 4minutes of looping time. If you’re the kind of player who likes to improvise loops live, then the VoiceLive is probably adequate.
For musicians who like to save loops for flawless performances, the VoiceLive Extreme is probably more up your alley. The VoiceLive Extreme also allows you to automate effects by syncing to a prerecorded track, so that you don’t have to worry about stomping on switches while performing. On top of this, the VoiceLive Extreme can record your performance to a USB key in 24-bit audio.
RoomSense is also an amazing feature that’s included in the VoiceLive units. The devices include small microphones built into the unit that listen to chords being played in the room. The unit takes the information it hears to give you more accurate harmonies. This lets you play songs with key changes and accidentals without having to switch to a different preset.
Honestly, most musicians probably won’t need the additional features of the VoiceLive Extreme. It seems specifically geared towards professional musicians playing along with prerecorded tracks.
View on Sweetwater
It lacks the guitar effects of the Harmony-G XT and some of the controls, but provides a lot of the basics. As of writing this, the Harmony Singer has not been released, so you may have a hard time finding it right now. It is, however, scheduled for a January 201release.
Distortion and Overdrive
Distortion effects include Fuzz and Overdrive and create warm buzzing or to recreate the distorted sounds of an overdriven guitar amp. Distortion is a great first choice for starting your collection of guitar effects. An Overdrive effect is also nice to have if you’re amp can’t deliver a good “tube” sound. Today, you can get digital, analog, and some overdrive effects with real 12AXtubes for a truly authentic tube amp sound. See our Distortion Pedal Buyers Guide.
Phrase Loopers require a bit of playing experience beyond rank beginner status. They let you record a phrase or passage of music, play it back on command, and play along with it. Using the better units, you can record more and longer passages and record layers of performance on top of them. See our Phrase Looper Pedal Buyers Guide.
Anyone with a stereos system is familiar with EQ. EQ boosts or removes certain frequencies and at extreme settings can create unusual effects, such as extra deep bass or an emphasized midrange. Tone controls are the most familiar EQ filters, but you can get very creative with an equalizer and this is where the EQ Pedal comes in. EQ Pedals can also be used to boost your signal by moving up all the faders and hitting the button, but watch out, it will be quite a boost and could damage your speakers. See our EQ Pedal Buyers Guide.
Wah Wah pedals
Wah Wah Pedals work by varying the filtering of frequencies dynamically with your foot to give a Wah Wah or quacking sound to your playing. A Wah Wah pedal is essentially an EQ that can be constantly varied by your foot. Since you need to coordinate the movement of the pedal with your playing, the Wah Wah is not a tool for rank beginners. See our Wah Wah Pedal Buyers Guide.
If, however, you want to play Beethoven in a symphony hall one day, then a piano is what you need. This is because the piano has a greater range as well as weighted keys.
Range refers to how many keys your instrument has. Most keyboards typically have 6keys, whereas pianos usually have 8keys.
As a beginner pianist, you can still play most exercises on a 6key keyboard. So if an 8key piano is out of your price range, you can still learn to play. You must, however, remember that the keys on a 6key keyboard are usually not weighted. This means that when you play on a real piano, the feel will be completely different.
Weighted vs Unweighted Keys
Real pianos use hammers. When you press down on a key, the hammer swings and hits strings inside the piano. This hammer action adds weight to the keyboard.
Companies like Roland use weighted keys on their digital pianos to simulate this feel. Roland even has a progressive hammer action feel; so that the bass keys are slightly heavier than the treble keys. Weighted keys add a huge range of dynamics to your playing.
Many of the very basic keyboards, however, do not offer this feature. So if you want to learn to play dynamically, you will need to ensure that your keyboard offers velocity sensitive keys.
The PSR-E25is an ideal first keyboard for aspiring musicians who are just starting out.
Polyphony is how many sounds a keyboard can play at once. If the keyboard has a polyphony of 2notes (a fairly low number), once you play note 29, note one will stop playing.
As mentioned in the purpose section, there are different keyboards for different applications. As a student, you would want a very basic keyboard with piano sounds. These will usually include drum samples and some basic synth sounds.
This keyboard buyers guide is trying to keep information to the most important topics you need to make your selection. If you, however, would like a more detailed explanation of each type of keyboard, go here.
Its price might say “budget,” but the E-09’s sounds and styles are nothing but first class.
The PSR-E35is an ideal Portable Keyboard for beginners and hobbyists, featuring touch sensitive keys, on-board lessons, computer and mobile device connectivity and much more.
Building on the success of Roland’s popular E-series arranger keyboards, the E-0raises the quality standard for entry-level arrangers.Perfect for the beginner to mid-level player alike.
Home Studio vs Professional Recording Studio
Before you can record anything, you should decide if a home recording rig is an ideal choice for you and your purposes. Home recording is a cost effective way to lay and improve upon your ideas. If you have never recorded anything before, there can, however, be a steep learning curve.
Learning how to get a mix right, how to mic up certain instruments, adding effects, isolating and eliminating noise can all take a while to master.
If you are looking for a top quality production sound, it is still possible to achieve that at home; assuming you are patient. A professional studio engineer has years of experience behind a recording desk. They should be able to identify and fix tonal errors. They will also be able to get a good mix, in a shorter period of time.
Learning to record is almost as complex as learning to play an instrument. It is easy to learn the basics but can take years of dedicated work and practice to perfect.
If you have that level of dedication and know that your first project will take longer to launch, then a home recording set-up could work for you.
PC vs Stand Alone Units
Stand alone units have been deemed obsolete. While basic dictaphones and cell phones can record, these will not produce the quality that is expected. All recording is done with computers nowadays. The requirements for PCs are always changing. If you are unsure whether or not your PC can handle what is required, just ask your salesman. Remember, the more intensive recording you want to do, the better your PC would need to be.
Soundcard & Inputs
If you are just looking at laying down some basic tracks with your guitar, then a simple USB soundcard will do the trick. You could start with a basic two channel USB sound card.
If you want to record a full band, then you would need a soundcard with more inputs.
A basic rule of thumb is to always take more inputs than you would need. It is better to have input channels that you never use than to only have two and end up needing four.
The light versions of the software often include all the basic effects that you need. In the long run, you will want to replace the light versions of the software for the more robust, full versions. The full versions offer more channels to work with, as well as more effects and samples.
Headphones are an important part of the recording process. While you are playing or singing, you should be wearing headphones. Headphones allow you to isolate what you are playing so that you can hear what you are playing better.
If you never practice with headphones on, listening to yourself at first can be disconcerting. Headphones tend to be unforgiving. They will highlight every mistake you make. This is good, though. Using headphones will show you your weaknesses and allow you to fix them.
If however, you want to record acoustic instruments or vocals, keep reading.
Different mics use different capsule designs and pick up sound in different ways. That is why it always uses the right mic for the job.
When you upgrade your kit, you should first upgrade your snare drum, cymbals, and kick pedal. You can upgrade these in whichever order you want.
These are the components that take the biggest beating overall.
One of the key signature tones of many drummers is the snare sound. Some like a tight firecracker sound, whereas others prefer a looser feel and tone. A good snare drum will last you many years and help define your tone.
Cymbals come in a variety of sizes, styles, and tonal qualities. Just look at any music shops cymbal selection and you will see a wall of cymbals staring back at you. While this can be intimidating, ask the salesman to talk to you about their individual tones and applications.
Some of the top drummers use a ton of cymbals. But the norm is three. You can, of course, add as many cymbals to your kit as you like.
Electric vs Acoustic Drums
The simple answers are price and feel. An electronic kit will often cost more than an acoustic kit. Many new students are reluctant to part with too much money when they are just starting out. The feel of the electronic kit is also very different.
So if you switch from an electronic kit to an acoustic kit, you might not have as developed a nuance for playing.
One of the biggest advantages for using electronic drumkits for music lessons is the reduced noise pollution. When you think about drums and drumming, “quiet” is seldom a thought that comes to mind.
Because of how loud drumkits tend to be, learning drums can often be a disruptive instrument. Traditionally, a drummer in a school environment is would be limited to practising at certain times when noise can go unnoticed. To that end, drummers would often not be allowed to have lessons during exam periods.
Electronic drum kits do not suffer from this problem. Assuming that the student is playing with headphones, the most noise an electronic drumkit makes is a dull thud.
Not only does this mean that students can have lessons and practice throughout the course of the day, it also means that exam schedules will not conflict with the need to practice. In addition, it also means that two drummers can sit in the same room and practice on their own kit without disrupting each other.
The body consists of six sides and is generally crafted out of ¾ inch hardwood giving the instrument a solid and secure feel. Typically the side panel opposite the front panel will have at least one hole that allows the air to escape. The front plate is often thinner than the rest of the it and is secured to the base with adjustable screws. These screws allow you adjust the amount of crash sound you hear while playing. The tighter the face plate is the quieter the crash. By loosening the screws you can achieve a louder sounding crash.
What Categories of Volume Pedal to Look Out For
There are a few main things that you need to look out for when choosing your volume pedal. Each different feature will affect the way your pedal works, sounds, and how long it will last before wearing out.
Yes…Made of Pots…
What happens is the Pots get worn out, and then they start to get scratchy and make some pretty irritating noise when you are trying to control your volume.
The upside of the Pots is that they are common. You will find them in almost every volume pedal out there. advantage of the Electro-Optical Circuit is that it doesn’t wear out.
That is because there are no moving parts in it. The Optical Circuit just uses optical technology to read the position you have put the pedal in, rather than an analog connector.
If you choose to have 2
Inputs/Outputs (Stereo), then you have the option of plugging in up to instruments into your pedal. You are probably already aware of the types of possibilities that it opens up for you.
As well, it gives you the opportunity to output your signal to more than one amplifier. If you do this, you now have the ability to create a “stereo” setting, which can be very useful for you if you are playing with different effects.
Some Guitar Volume pedals even give you the option to use your Stereo Guitar Volume Pedal as a pan, to pan the mix of your signal between two amps. Doing this can allow you to make some pretty wicked tones as you shoot your amp sound from one side of the stage to the other.
First of all thanks for reading my article to the end! I hope you find my reviews listed here useful and that it allows you to make a proper comparison of what is best to fit your needs and budget. Don’t be afraid to try more than one product if your first pick doesn’t do the trick.
Most important, have fun and choose your vocal pedal wisely! Good luck!
So, TOP3 of vocal pedal
- №1 — Boss VE-20 Vocal Processor Multi Effects Pedal -INCLUDES- Blucoil Power Supply Slim AC/DC Adapter 9V DC 670mA with US Plug AND 10’ XLR Microphone Cable
- №2 — OMNIHIL
- №3 — TC-Helicon Mic Mechanic 2