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With new computer technologies and AI-driven advancements seemingly everywhere you look, I felt it would be fitting to zero in on digital effects in the pedal world—specifically, which ones most of us have embraced, which ones we continue to avoid, and which ones remain haunted by the ghosts of older tech.Let’s start with digital effects that are pretty well embraced, and definitionally necessary. The first two that come to mind are audio loopers and clean octave pedals. Looper pedals have been around since the turn of the century, most notably the Boss RC-20. Then a big market splash came from TC Electronic with the Ditto and its subsequent models. These units provided powerful tools for musicians—the ability to lay down an idea and instantly play it back was huge. It still is! These creative boxes run on digital wizardry—and they have to. The biggest stipulation? Don’t degrade or alter the incoming signal. We gear nerds work hard to craft and maintain the tones we love and rely on. Recording and playing back audio samples demands storage and all manner of digital signal processing (DSP), and most of us understand that—so as long as the audio comes out the way it went in, we’re on board.Let’s hop over to another widely embraced digital effect: the clean octave. Musicians have been enjoying analog octave-up effects since the late ’60s with the Octavia, analog octave-down since the ’70s courtesy of Mu-Tron and MXR, and then Boss in the ’80s. All of these devices inspired great music, but they shared something else in common: analog limitations. Most notably, an inability to track multiple notes or chords of any real complexity—which is what we mean when we talk about “tracking.” On top of that, they were dependent on fuzz, prone to glitchiness, and often had a mind of their own. None of that is a knock—analog octave circuits remain loved, widely used, and held in high esteem. For a lot of players, the limitations are the appeal.Clean digital octaves, on the other hand, overcome those shortcomings and can produce clean octaves up and down simultaneously, with minimal tracking or latency issues. No fuzz. Minimal glitchiness. Code is king here, and not something everyone can do—or even wants to do. But the few companies that do it, make octave pedals packed with great sounds and capabilities driven by high-powered DSP. Those that enjoy it really enjoy it. How often have you seen a pedalboard with some type of DigiTech Whammy or Electro-Harmonix POG on it?So what would be something that’s not embraced in the digital realm? The easy answer is gain—from treble boosts all the way to fuzz boxes. There are several aspects to consider when diagnosing why this is. The first may be that we simply don’t require DSP to make any of the classics that are well-known and well-loved. These were originally made with all analog components, and they still are. A lot of companies, both big and small, offer models of these classic circuits. This leads me to my next point. Players often have an affinity for these, and they become a core part of “their sound.” To further that point, there can be a feeling of uniqueness when it comes to building a pedalboard. Let’s say you were to see 10 different pedalboards, and all of them featured something like a Helix for producing reverb, delay, and amp-modeling sounds. Yes, they’re probably set in different configurations, but they’re all the same mass-produced box. And that’s fine! The uniqueness of a board often comes earlier in the chain, by way of, say, a small-batch, NOS-parts-based germanium fuzz pedal made by some artisan in their basement. That’s something that resonates with that particular player and gives that feeling of having something special to contribute to “their sound”Even if DSP could reproduce the sounds of a vintage germanium fuzz, it still wouldn't have the swag of a handmade, through-hole version. We guitar players are a group of artists with a connection to cool, tactile components, and a romance with the tech of yesteryear. Artists are also drawn to other creatives and the stories they tell. Coding has its own story and achievements worth celebrating, but it’s less tactile and accessible to most. It can be far easier to understand and appreciate the circuit artist who’s measuring hundreds of transistors, tweaking voltages to an uber-specific value, choosing the right capacitor for the job, and screen printing in a dark basement.For all these reasons, I think there’s a case to be made for why analog gain pedals aren’t going away—even in a world of digital awesomeness.
These are the industry staples—pedals that transcend trends and feel almost like part of the public domain. They originate from large manufacturers whose advanced production capabilities and buying power enable them to scale efficiently and keep costs low, resulting in affordable, player-friendly options ideal for those just starting their pedal journey. Classic examples include the Fuzz Face, Electro-Harmonix Big Muff Pi, Ibanez Tube Screamer, Pro Co RAT, and Boss DS-1.
Brands that become well known for one or several dirt pedals will inevitably and subsequently release new versions with updated and/or added features. These releases help carry the lineage forward and keep it in the public eye. A classic example is the Big Muff Pi, with more contemporary counterparts like the JHS Morning Glory, Fulltone OCD, and Way Huge Green Rhino.
Customers looking for a specific dirt circuit or tonal style tend to seek out their preferred brand’s take on it. For instance, if you’re after a Tube Screamer and happen to be an EarthQuaker Devices fan, you might reach for a Plumes.
This category centers on the appeal of both subtle and significant tweaks to well-known circuits. Take the Tube Screamer, for example: Voodoo Lab’s Sparkle Drive adds a simple but beloved clean blend, while EarthQuaker’s Palisades takes the classic three-knob overdrive to extremes with seven knobs, two toggles, and three footswitches.
The gear market is perpetually chasing the next new thing. Online buzz can fuel hype around both familiar formats and groundbreaking designs alike. On the classic side, there’s the 1981 DRV; on the innovative end, the Chase Bliss Automatone Preamp MKII.
“The gear market is perpetually chasing the next new thing. Online buzz can fuel hype around both familiar formats and groundbreaking designs alike.”
Artist versions
Musical artists could be categorized as the original “influencers.” For decades, they’ve partnered with guitar and amp makers, and in recent years, those collaborations have expanded into the pedal world. Fans of these artists often gravitate toward the gear that bears their name. Notable examples include the Wampler Paisley Drive with Brad Paisley, the EarthQuaker Gary with Lee Kiernan of IDLES, the Union Tube & Transistor Bumblebuzz with Jack White, and Horizon Devices, founded by Misha Mansoor of Periphery.
Collaborations
Just as artists collaborate with brands, we’ve also seen pedal companies team up with one another. These partnerships create double the exposure and broaden awareness for both brands. Notable examples include the JHS/Boss Angry Driver, Chase Bliss/Analog Man Brothers AM, Spruce Effects/Pelican Noiseworks Pelitaur GE, and MXR/Fuzzrocious Bass Distortion.
2-in-1 combos
Most brands offer multiple dirt pedals in their lineup, and many include 2-in-1 or dual-drive options. These are a great way to save space, power, and money—all while expanding tonal flexibility.
Limited editions (or colors)
Limited-edition models—and even limited finishes of standard models—have become commonplace in today’s gear world. Larger manufacturers have taken note of this boutique trend and joined in. Examples include Ibanez’s hand-wired 808 with its metal enclosure, MXR’s gold-finished Phase 90, and even JHS’s Germanium Boost.
Legacy reissues
When a brand has been around for a decade or more, it often builds a loyal fanbase that knows its entire catalog, past and present. To honor that history, some manufacturers release small-batch reissues of legacy models. Recent examples include EarthQuaker’s Dirt Transmitter and White Light, the original-format JHS Morning Glory, and the iconic EHX Ram’s Head.
Same model, different size
Whether driven by manufacturer design or consumer demand, some brands offer a “family” of a particular model. This approach provides options to suit a wide range of needs. Two companies that do this especially well are Analog Man, with the Duke, Prince, and King of Tone, and Wampler, with the Mini, Standard, and Deluxe Plexi Drive.
Multiple on boards
Simply put, dirt is an effect category that often appears multiple times on a single pedalboard. It’s not uncommon to see a setup featuring a boost, an overdrive, a distortion, and a fuzz all together.
Cost friendly and artisan
From a purely financial standpoint, boost and fuzz pedals typically have fewer components, allowing them to be sold at very appealing prices. An $80 boost that does its one job effectively solves a problem while remaining low-risk for the buyer.
At the other end of the spectrum are companies operating on a “beyond artisan” model. These makers produce small batches using rare, vintage, or unique components, often built on stripboard, tagboard, or even point-to-point wiring—a meticulous and impressive approach that draws enthusiasts. Notable examples include Reeves Electro, Elephant Pedals, and R2R Electric.
This is the condensed version of the argument, but I still find it compelling in supporting the idea that the dirt pedal market is unlikely to become oversaturated. Do you find it convincing?
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