Arion Pedals!!! (Oh, and Part 1 to Creating Ambient Sounds)

Alright, so enough of all this ‘new ambient album’ and ‘actually creating music with the gear you have’ junk. Time to get back to what’s really important. And that is delay.

It rules guitarists with an iron fist. It is their mistress, and it is their haunted soul. At night, if the settings weren’t quite right at the gig, it rouses them violently from sleep with torment in their souls. (That part’s true.) Kingdoms (of tone) rise and fall and bend to its will. It is the siren. It is the dryad. It is the beautiful cruelty. It is delay.

And you can get them for cheap, which is even better! Enter the mistress Arion. Back in the ’80’s, they made these gloriously lush analog circuits that sounded better than almost anything else out there, and then housed them in the cheapest plastic boxes they could find. And here’s the thing…they are pretty much the secret to ambient swells. Now, this post may bore some of you, and if so, I humbly offer you the video at the bottom of this post. But here’s the serious thing: this blog has kind of become a circus of self-promotion the last few days (or at least it feels like it to me…I’m stoked to finally be able to release an album of my music, but at the same time…it kind of feels gross to mention it; and good…it’s very odd), and so I really wanted to work hard on a post that mattered, and might be of some help to a few people. And as requests continually come in as to what pedal settings you need to do ambient swells and ambient music, I figured that’d be a good place to start. So this will be part 1 of creating ambient music, and we’re going to start with the basics. Ambient swells, two delays, and a phaser.

The Basics

A digital delay capable of at least 1 second of delay time, and a volume knob.

The Secrets

A washy phaser before the delay, and a fast-set, dark analog delay after the delay.

The Extra Love

A Multi-tap fast setting spacious delay after the first digital delay, a volume pedal, and, if not deemed overused yet, a reverb pedal with a shimmer setting. And a Hartman Germanium Fuzz. 🙂

And How to Do Ambient Swells:

That’s pretty much all you need, at the basic level. Obviously, there are eventual embellishments. But that’s for later videos. In this video, you can hear how the Arion pedals, more specifically the SAD-1, just inject magic onto the ends of the swells. Part 2 will be coming soon, and it will deal with the chord voicings to create ambient music. For now, we’re dealing with the basic building blocks you will need for those chords. And in case you missed them, here are the pedal’s ambient settings. These, as well as the stuff I did in the video, are by no means the only way to do ambient music, or even swells. Everyone’s ears, tastes, hands, and gear are different. These might be good to use as a launching board for your own creativity. 🙂

Boss DD20 Ambient Swell Setting:

Arion SAD-1 Ambient Wash Setting:

Arion SPH-1 Ambient Setting:

Damage Control Timeline Ambient Background Multitap Setting:

Behringer RV600 Ambient Shimmer Setting (for use within a parallel looper):

(And on this one, if you don’t use it in a parallel looper, just turn the mix down to taste.)

Hopefully this will be somewhat of a help in creating ambient music. And more importantly, in buying, using, playing…and loving…delay.


P.S. Alright for those of you, who either hate ambient swells and delay (meaning you pretty much hate life 😉 ), or you’re way past all of this, or you actually read the whole post and got to this place……we live in a physical world, and in that physical world, somehow, this video exists:

Best part is 2:35. So matter-of-fact.

P.S.S. (Yes, I know.) I promised I would give the real reason for working so hard to release an album. And it is this:

This is Edge. (It’s frightening to think how many things in my life he is the reason for.) When he was 26, he released this:

I turn 27 next week. I needed something. Anything. So I worked my keyster (what is going on) off to release this:

…at the same age Edge released Joshua Tree. So this is my Joshua Tree. Please listen to my Joshua Tree to make me feel better:

Karl’s Joshua Tree

Thus far, Edge’s Joshua Tree has outsold mine by 99.9713%. But I didn’t use a compressor pedal on the album, so I think that makes us about even. In my mind. Which is all that matters. But still…listen to the album, and together we can make take that number down to 99.9712%. I believe it can happen.

And this has probably been the saddest thing I have ever written. Except that I mentioned The Joshua Tree, which just made me turn it on, and the world is somehow magically all better within 3 seconds of that first swelled D chord. 😀

This also makes my world magically better:

The Joshua Tree for guitarists.

86 thoughts on “Arion Pedals!!! (Oh, and Part 1 to Creating Ambient Sounds)

  1. What a great post Karl. I always like seeing what other guitarist do for their volume swells.

    I do mine a little differently: Carbon Copy set with a long delay time low in the mix, into a Strymon Brigadier mod at 25%, somewhat dirty repeats and a long delay time; into a Strymon Bluesky set to plate/norm mode with huge decay.

  2. You know, I’d been thinking I might ask if you’d do something like this, and here you’ve gone and done it! An excellent start to eight days of intense playing! (My wife’s going out of town, so it won’t bother her, and I’ll need to be distracted while she’s away, so….)

  3. Karl, these kind of posts and videos are so educational and inspiring. Good work man.

    And of course i had to through on “streets” after watching and reading.

  4. Ok Karl, a question about preamps. Can you run these directly into the system through a DI for church services? Or would you recommend a 1/2 watt amp and just don’t run a speaker?

  5. “run like you never run before” … i thought that was the best part!!! haha

    seriously, thanks for the time to show this. i must admit, i’ve never gotten into this (ok maybe here and there) … now I am in a better position to reply when the worship leader says, “hey, let’s get rid of the keyboard player” … i won’t hesitate to agree! hehe

  6. Great post as always Karl. Love the secret ingredient of the phaser – tried it out today and it sounds great, although I don’t have a cool 80’s plastic phaser like you do 🙂

    It’s a good thing that guitarists edition of Joshua Tree isn’t real, otherwise I’d be ordering it right now, and really I shouldn’t own three copies of the same album! Love the Edge bike pic. Was watching “a day in the life of The Edge” again earlier this week – he’s such a funny guy!

  7. now I know how to replicate the sound of dying seagulls!

    Great post! Liked the explicit explanation of your pedals and their settings.

  8. i have a confession to make. i bought a SAD-1 after reading about it on your site.

    sadly i dont have a DD-20. but i do have a DD-7 but that’s 13 less awesome numbers behind. and without BPM readout? come on we all know that the 7 isnt as good as a 20. 😉

  9. Sam–beautiful! Love the plate decay. 🙂 And love that everyone has their own way of making lovely sonicness. 😀

    Andrew–thanks, bro. 🙂 And which album cover? The one where Edge is glowing? As far as I know, that’s just always existed that way. 😉

    Scott–well good timing then! So is that 8 days with your other love, the guitar rig? 🙂

    Guy–oh, of course! hehe 🙂 And glad I could post something that is of some content and help. 🙂

    Ben G–hmm…I’d probably recommend an actual amp with a direct out, just on principle; although a lot of them send the direct out before it gets to the power tubes anyway. A great option would be something like the Webber Mass, where you can run any amp you like into it, and it sends a direct signal from it as well as becoming a dummy load for the amplifier so you fry your output tranny from not running a speaker. 🙂

    Keith–lol Okay, that was the best comment ever.

    Gtr1ab–thanks, brother!

    Rhoy–lol Ah, poor keyboard players. hehe And isn’t that the best video ever?! ‘We feel a slap is more effective.’

    Baggas–seriously, he seems like a great guy, doesn’t he. 🙂 And so glad I’m not the only one with two copies of Joshua Tree. Original and remastered?

    And what phaser are you using? Gotta love the plastic. hehe

    Sal–sure, brother! Guessing you already knew this, though. 😉

    Don–lol I find that the ‘dying seagull’ sound is missing from many a guitarist’s arsenal…figured I’d help out. hehe

    Elisha–sweet! How’re you liking the Arion? And I have a DD7, too. Great pedal, and on analog mode, does swells pretty close to the DD20. 🙂

    Patrick–haha They’re those Toms ones. You know, where they buy a pair for an impoverished kid with every pair you buy. Really comfortable, too. hehe

  10. i love them man! james duke has a pair in grey im so getting some once i get paid! thanks for telling me where bro!

  11. Do you have to own a pair of Toms to make ambient music? The footwear seems inconsistent across the YouTube videos I’ve watched.

    In all serious this is some good information. I have a couple ways I do swells. If I’m doing it live and I want a real synth sound I put my wah pedal on at a point in the sweep where it sounds mostly like the tone of my guitar and I throw on my FAB chorus, which sounds terrible for anything other than making weird sounds, on a low mix slow setting. Then for delays I got into my Nova on the 16th/dotted eighth mode with the mix at 90% into my dd-7 on analog mode and reasonable repeats and into my Carbon Copy with modulation on and about 50% mix with high repeats. If I don’t want the synth sounds I turn the wah and chorus off.

    That is the one time I have every pedal on my board on at the same time…

  12. i just messed with my DD-7 and SAD-1 just now for swells and its really good. but now i just want another digital delay to keep on the dotted eighth setting.

    the only time i played live with the SAD-1 i actually uesd it as an always on delay that has a low mix setting and it worked pretty well. 🙂

  13. I found your blog because of the SAD-1. I had just blindly bid on one on ebay and searched around for user reviews. The SAD-1 will never leave my board. I love it.

    Actually it was not the first time a came across your blog. I think I had previously done a search for “worship guitar tube screamer chuck norris and the edge” and google led me here for some odd reason.

    I like the phaser on the swells. I just picked up a Marshall RG-1 that does phase, flange, chorus and univibe. Although I have not modded it to pure-analog true all-tube optical bypass yet, it still sounds very good. It also has the regeneration knob which makes any modulation device more useful for me. And it has step-phase which I have found no musical use for, but I still force fed it to our youth retreat for three songs on Saturday. They just love it when I get new pedals. They don’t say it, but I just know they do.

    • Now you got me gassing for this pedal. I wouldn’t mind a relatively cheap multi-fx modulation stompbox to mess around with. And downsides to it? Does it cut through the mix or just muddy up the sound?

      • Calab, As for Downsides – The Marshall RG-1 (mine at least) has a significant volume boost when engaged. The boost was noticeable to me and the drummer in all 6 modes of the modes. IIRC I think my Boss CE-3 used to do that too. I was able to work around the boost and even use it to my advantage, but its not something I would consider an asset.

        As for the effects, I thought they cut through the mix very well and maintained clarity.

        Chorus- I find the vintage chorus is the better of the two chorus settings. I will eventually have my DOD 460 chorus back up and running, but the RG-1 is doing a fine job in the meantime. In fact, chorus with an expression pedal is down right addictive. If you have gone through any detox, rehabilitation, or twelve step program to get off the crack that is chorus, this could put you in serious danger of relapse.

        The phaser is all the phase I’ll ever need. Not really, but lets pretend. Using the Depth and Regen it was easy to get a good phase sound that didn’t choke out my guitar playing.

        The step-phase is good weirdness. It’s something I’d never buy a pedal for, but I’ll always have one from now on. What if Hillsong starts step-phasing? While other guitarists will be in panic induced convulsions at GC, I’ll be belting out all the latest psycho-acid-worship riffs with the best of them.

        I don’t Flange much anymore because I don’t care for the sound. I can only hope that means I’m on my way to tone-snobbery. I didn’t care for the RG-1 flange setting, which might mean it’s a really good one, or it might not.

        I had, and I’m still having, big fun with the univibe mode and an expression pedal. I can easily say the univibe was worth the $40. I can only think how awesome it was sound going through another chorus pedal and maybe into a stereo chorus and a JC-120. (I can quit anytime a want to)

        I justified buying the pedal as a stop-gap investment because I needed the phaser and chorus for the show last week. But, I think, even as my board matures, I’ll keep a place for this pedal. It will need to stay in a bypass loop with a gain control or a internal gain mod. Or maybe I’ll have encased in glass when I have my 100% boutique I-Heart-Karl board, to remind me of where I came from.

        • I was a little worried that there might a volume drop. Does it have an internal trim pot?

          I need to stew on this for a while, thanks for the play-by-play. I’m trying to figure out which modulation effects I’ll use enough to justify the space on my board. I don’t know if I want “extreme in your face” or more “subtle, usable but less noticeable.” I had the cool cat tremolo which was cool but I returned it because I needed money, and now, for a modulation pedal to get on my board, it needs to do a couple tricks. And I also have a sort of chorusy effect from my nova delay, but *gasp* I don’t always want to have the delay engaged to use an effect. I should just try this pedal if I can find it in a store somewhere. I’m hoping to go to Guitar Center here in the next couple weeks–we’ll see. Thanks again!

        • Whoops you said volume boost! Well now! That just might be acceptable! I hate it when effects drop in volume, even if it’s just perceived volume loss.

          • I should open mine up. It may be that, if there is a trim pot, someone over compensated for a volume from. If I get a chance to open it up I’ll let you know what I find.

            On the price – From what I’ve read on TGP and elsewhere, GC drastically cut the prices on these right after they were discontinued. Its possible that whoever I bought mine from (used) might have bought it new for less. I like to think that they spent 3x what I did, but I’m a master of self deception.

          • Josh at JHS could probably take care of the volume boost issue for you if it is a problem. He’s doing that to my vibe pedal right now.

        • Lol@your Hillsong comments. Man, if I can pick it up for $40, I will, in a heartbeat. It sold for $120-130 new before they discontinued it.

  14. lol@jeff’s comment–just like when I first got my delay pedal–“Who cares if it’s off the beat and repeating 16 times into the next four chords? It’s delay!” You’re description of the RG-1 makes me wanna look at an all-in-one modulation pedal again sometime soon.

    Anyway, why I’m actually commenting. Just wanted to say that I enjoy listening to your album on the all-the-way-through-recording–it sounds very musical and very much like a concept album. Now you just need to write a script and hire a film crew. 😀

    And how does this relate to the post at hand? Well, I wanted to be subscribed to it, and this is the easiest way I know how. Post and lurk.

    *clicks “Notify me of followup comments via email”*


  15. So, this is off topic for this post but I thought of one of your previous posts when it happened to me. I was switching out some cables the other day (finally got George L’s to replace my GC cables. I didn’t skimp at GC but still… it’s GC) and couldn’t get the last cable to work for the life of me. I thought I kept messing something up when I was pushing the cable into the end because you know, that’s really hard…

    So, I had unplugged the cable from my overdrive that goes to the front of the amp (I use my FX loop. Don’t worry there are 3 delay pedals after that overdrive). It took me 20 minutes of plugging into various other points on the board, about 3 inches of George L’s cable (the length is now as tight as it could be. It’ll probably fail at some point because I’m a moron) and the sound guy saying, “Dude your cable’s unplugged…” for me to figure it out…

    Guitar players…

  16. Shimmer Question
    The shimmer settings on say the RV600 or zerbvilla, are they made by pitch shifting the sound of the reverb an octave up, or pitch shifting the guitar signal into the reverb? If you are doing this with separate pedals, is there a preferred order? I’m trying to do just the shimmer effect with a Roland GP-100 Harmonizer>Long Plate into a separate amp with no dry signal coming through. It sounds decent, but I don’t know if its Edge-like shimmer. Am I breaking any rules doing it this way? I mean other that using a rack mounted modeler into a solid state amp?

  17. Hey there Jeff. You cant really pitch shift a reverb drench signal. Its best to have your pitch shift first in your chain, or even after your compressor, due to tracking that pitch shifting need. If your pups hum it will try to pitch shift that etc. Also a trick is separate.parrelell chains, one dry signal the other one with you PS in it and your delay, another trick on your delay or reverb, dial out all original signal and then raise the effect signal to taste, this is huge. Look what i have done with the GT-10, and have made improvements since these videos.

  18. @Jeff: apparently, it depends on your gear. I would normally have suggested pitch shift into reverb, but Karl’s shimmer demo goes reverb into pitch shift, and that seems to work just fine. They key, I think, is having a good polyphonic pitch-shift pedal or algorithm. If you’re trying to make this work with a monophonic shifter, you’d better have it first in the chain, and you can forget about trying to feed it a distorted or modulated signal – you’ll just make its little head hurt. 🙂

    And remember: you’re a guitar player! They’re more like guidelines than actual rules. 🙂

  19. Guy – that’s good stuff. I think the parallel chain is pretty important too. I left out that I was splitting my signal from a stereo pedal so my regular sound is really coming from its own amp (Tube amp I say seeking Karl points). I wouldn’t call it dry by any stretch of the imagination. I have it dialed out in the patch so it is not going through the pitch shift and the added plate reverb from the GP-100.

    Scott – I was thinking that Karl’s Pre RV600 setup had the reverb into the POG but I wasn’t positive. The GP-100 will only allow the reverb to be at the end of its effects chain. The harmonizer algorithm seems to track pretty well. Its the slowest of the polyphonic settings but it doesn’t warble once it grabs the notes.

    From the ‘Everything Edge’ threads that came up when I googled shimmer guitar, it sounds like a volume pedal dedicated to the shimmer would be pretty useful too.

    Those guidelines are funny things. It feels so odd to use rack effects these days and just 15 short little years ago, it felt (and, in fact, was) so cool.

  20. Ha that’s pretty hilarious. Creative seller for sure! I won’t comment yet because I don’t want to spoil it for Karl–or I should say spill it. Haha I’ll be coming back to that one.

  21. Sorry, folks! My wife completely surprised me for my birthday and took me to Vegas for a couple days. And yes, that means more Bono’ing on Fremont Street. 😉 And then my church is doing a worship night, so I’m crazy busy with that. Hence, the blog is vacant of my presence…although it doesn’t really seem to miss it. haha There’s a lot of people here with way more knowledge than me!

    David–haha Isn’t it the best ever?! I cannot believe that exists. haha

    Patrick–cool, man! It’ll make a child really happy. 🙂

    Josh–I love it! Great info. I especially love the wah thing. 🙂 And yes, I think you do need Toms for ambient music. 😉 Kind of a rule.

    Elisha–nice. Ya, the SAD-1’s are great at that! 🙂

    Jeff–haha So awesome. And Marshall, oddly enough, has some decent stompboxes. Oh, and that search’ll do it every time. 😉

    Caleb–thanks a ton, bro! 🙂 And ya, I’ve always liked the idea of ‘albums’ rather than ‘collections.’

    Josh–I got rid of all my George L’s because they were so unreliable. I hear ya on the frustration.

    Jeff, Guy, Scott & Caleb–all good ways to do shimmer there! Personally, I like running a full mix reverb into a pitch shifter, as it gives it that slow gear effect. It’s unconventional, but I also like running the shimmer effect at the very end of my chain, so that it’s character changes with my drives. That makes it sound more like ‘Moby faux-strings’ and a little less like Edge. Just a little bit of a different take on an old concept. 🙂

    Don–thanks a ton! 🙂

    Justin and Caleb–lol Awesomest ever.

  22. Hi Karl I’m a 20 yr old college kid and I play for my church and happened to stumble upon your site do to being a fan of Andy Othling. (btw you both are outstanding crafstman at your music). I also live out in the boonies where there’s not a Guitar Center or even a mom & pop music shop, thus most of my research for music is done via blogs, youtube, and trial & error. So I’m looking to add another delay to my board for when i’m working on ambient music or ambient loops and I was wondering if you know if there’s much difference between the Arion SAD-1 and SAD-3 (ive heard the delay time is different but is this a huge issue?), because the latter is cheaper & if theyre the same I would rather go for the cheaper of the 2.

    Thanks again,
    Dylan W.

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