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Last edited: Feb 01, 2024 02:42:48

Tqi wrote:

I'm just shocked that two of these pedals are not Surfy Industries! You almost had a Bjorn/Lorenzo clean-sweep!

Yep, and they have won it in honest tests with really good rivals!

Waikiki Makaki surf-rock band from Ukraine

https://linktr.ee/waikikimakaki

Lost Diver

https://lostdiver.bandcamp.com
https://soundcloud.com/vitaly-yakushin

Bonedigger, Surf is such a varied, broad genre of music, containing many diverse sub-genres, that there is no way to adequately answer your question without more info. Even within traditional surf, there is the question of heavy reverb, or little to no reverb. Example: the split of Paul Johnson and Eddie Bertrand in the Bel-Airs. How about the largely American use of reverb, versus the echo used by the Shadows, Atlantics, and so many Scandinavian bands? How about the crunchy sound of the Link Wray acolytes? Ironically, the glorious crunch of the brownface Fenders, and the wild sound of the BrownFace's harmonic tremolo (approaching uni-vibe territory) is really pretty far removed from the ultra-clean sound desired by many trad surf enthusiasts. Traveling from there, through the 2nd wave and into modern surf bands, there is legitimate use of almost every effect under the sun at some point or another. At the furthest extreme, Jim Thomas, of the Mermen, currently uses 3 massive pedalboards, including loopers, rack units, and multiple volume pedals, going into an array of largely tweed Fender clones, not the cleanest of Fender's 50's-60's amps. The Surf Kings are comparable to the Mermen, in the use of many effects. The Insect Surfers get out there with phasers and other non-traditional surf effects.

Essentially, it depends on what sounds you're going for. In my opinion, there is no right or wrong effect, as long as used in a creative way that works. Ultimately, it depends on your artistic vision, and what specific sounds take you there. As the others have said, you may need nothing more than what you already have. For more, a good starting point is adding echo (big can of worms: Binson Echorec-style, analog delays, digital delays, Roland Space Echo style, Echoplex style, etc, etc etc.) a boost, and/or Overdrive of some kind (perhaps the Surfy Blossom Point/Brownfacer?). I'm not generally wild about modulation effects, but the use of phasers by the Insect Surfers is really something to hear. Eric Penna (Trabants/Insect Surfers) and Jono Jones (Pollo Del Mar/Frankie and the Pool Boys) judicious use of a wah-wah is creative and absolutely appropriate. How about fuzz? Do you want to go into spaghetti western soundscapes, Davie Allan biker tunes, and the like?

Anyway, figure out what it is that you want to do, let your ears guide you to what effects take you there. Experiment. Nothing is definitive. This quest could very well be a moving target that changes from time to time. There are no absolutes.

Bob

Last edited: Apr 06, 2025 17:07:25

Nice thoughts, Mr. Reverb. What we heard in the Surf music of 1962 was, in part, because that’s what was available in 1962. I happen to like reverb and tremolo, so those are the effects I use, along with a Blossom Point as the last stop before the amp. It’s a nice homage to the sound of Surf, as it existed 60 years ago. But there’s nothing wrong with some of the newer effects. Chorus (which is actually vibrato with the dry signal mixed into the wet signal), Flanging and Phase Shifting, all have their place, and can sound good. I remember when Chorus pedals first came out, and I was pretty enthusiastic about them.

As I see it, it comes down to a matter of degrees, overusing effects, even reverb, can detract, but used tastefully, effects can be very, well, effective.

The artist formerly known as: Synchro

When Surf Guitar is outlawed only outlaws will play Surf Guitar.

Last edited: Oct 22, 2023 00:14:54

Some might consider this too rigid and retro, but in my surf band, I have approached gear with a philosophy of, "Would X have been available during the era, and if so, how can I make it as convenient as possible for myself?"

This has led to a signal chain of Reverb > Tremolo (harmonic or optical > Delay and a Deluxe/Super/Twin Reverb at 4.5 to 5. I would say a 6g15 reverb is the most important and the brand/model on everything else is up to personal preference.

It sounds good and meets my requirements for a sound I enjoy and an uncomplicated rig.

I used to add pedals to compensate for a lack of complexity in my playing, but once I realized how many techniques I could add that were more interesting to a listener than degrees of modulation or distortion, it really freed me from G.A.S.

Last edited: Jan 20, 2025 09:44:55

All I really need to take on the waves.

You can never have too much reverb.

Last edited: Apr 06, 2025 13:36:39

Here's a link to a story about Dave Wronski's recording set up for Into the Blue Sparkle.

https://surfguitar101.com/news/story/103/

Reverbenator wrote:

I’m racking my brain here, and if I’m not mistaken, I think that Dave Wronski (Slacktone) occasionally uses a bit of stereo chorus. I believe that he is using it on the intro of The Bells Of St. Kahuna. He may have also used a little on some of the other tracks on the “Into The Blue Sparkle” CD.

Then again, I could be wrong.

corkyjames wrote:

tuner>fuzz>drive>pitch>echo>reverb>tremolo>blossom

You’ve got some great choices there. That Compact Deluxe is a great pedal, and the Blossom Point is the icing on the cake. How do you use that Pitch Fork?

The artist formerly known as: Synchro

When Surf Guitar is outlawed only outlaws will play Surf Guitar.

corkyjames wrote:

pitch is set to 1 octave down. use it for bari parts, "the lonely surfer"...

Makes sense. Thanks.

The artist formerly known as: Synchro

When Surf Guitar is outlawed only outlaws will play Surf Guitar.