If you choose to use a direct input rather than an amplifier, your tone is likely to be cleaner, and consequently easier to mix. The quality of the interface, mixer, or preamp that you send your output into will also impact the overall tone that is captured. One advantage of this method is that if you decide that you would rather use an amplifier after recording directly into an interface, you can simply re-amp the signal. Another bonus feature I discovered is that it also has a polarity switch to ensure its compatibility with any inputs that are specifically for expression or volume pedals. My findings led me to the conclusion that the EP-3 is ideal for being used with pedals, or devices like synthesizers, which are notoriously difficult to tame due to their complex outputs. Expression pedals, on the other hand, are used to alter certain controls on other effects pedals without needing to bend down and use their hands. This is convenient if the musician often changes the various parameters on their pedals during a performance, as they can use multiple expression pedals to control their whole signal chain. However, some pedals are equally as vital to your overall tone, but often get overlooked because their role is more understated. Volume pedals fall into this category. When used effectively, one could argue that a volume pedal is just as important to your sound on the whole, like any other pedal.

One of the nicest things about the Ernie Ball VP Jr. is that as far as volume pedals go, it’s nice and compact, hence the Jr. in the name. It’s about 3.5 inches wide, and 10 inches long, thus making it ideal for more compact pedalboard setups, or if you’re simply running out of room. It’s also lighter than other volume pedals we tested. Like its big brother the Ernie Ball MVP, construction of the VP Jr. is nice and solid, the chassis definitely looks like it could take a beating and survive unscathed. Aesthetically it looks nice as well. The pedal surface has a sandpaper-like grit to it, which ensures your foot won’t slip when operating the pedal. Compared to the VP Jr Standard, which is one of my personal favorite volume pedals, the notable difference is that this special edition has a more refined and distinguished appearance. One of the main things to be aware of when looking for a volume pedal is that there are two distinctive types: passive and active. These categories refer to the electronic circuitry of the volume pedal, which subsequently has a significant impact on their performance and whether they are suitable for your requirements. My Review: Although Fender is best known for their extensive range of high-end instruments and amplifiers, I think one of the best-kept secrets in the industry is that they also produce a selection of respectable pedals. The EXP-1 is their flagship volume and expression pedal, so I was particularly eager to test it out. The Ernie Ball MVP volume pedal is a powerful tool to put in your guitar's signal chain. Whether you put the MVP in front of your amplifier or in its effects loop, it gives you smooth volume control with no high-frequency loss at any volume. Even better, the minimum volume control lets you set the heel position from 0%-50% volume, and you can actually set the toe position to boost up to 20dB to hit your amplifier or pedals harder. Factor in the separate tuner output, and you may find that the Ernie Ball MVP is your new go-to volume pedal.

Volume Pedals

Who is this best suited for: If you’re looking for a min-sized volume pedal that is capable of withstanding consistently heavy usage, look no further than the Ernie Ball VP Jr. It’s an ideal choice for guitarists who are constantly on the road or rehearsing in the practice room. When paired with reverbs and delays, volume pedals prove their worth. Both of these effects cause there to be decay, or tail, to the original sound. Depending on the settings of the reverb and delay pedal, the amount of time that the decay lasts varies. Using a volume pedal to control the dynamics of these effects allows you to create fade-ins and fade-outs, which are great for ambient, textural styles of playing. Bottom Line: As we mentioned, “cheap but good” is a very apt way to describe the Signstek. This user review sums it up nicely: The BOSS FV-500H Mono Volume Pedal is one of the biggest pedals from this list of recommendations, so you might not want to consider it if you’re looking for something small. However, feels pretty sturdy and it comes with useful features such as a tuner out, expression pedal function, and a knob that allows you to control the pedal’s minimum volume, in case you don’t want your heel-down position to completely kill your sound.

The MVP Pedal lets you customise the range of the volume swell, most pedals go from 0 to 100% but the MVP allows you to adjust the bottom range to be 0 to 50% and at the top you can add 20db of Gain so instead of 0 to 100 you could now go 50 to 120% Here's what Ernie Ball say about the MVP Volume Pedal There’s no harm in mixing up true bypass pedals with buffered pedals, so don’t worry if the particular volume pedal that you choose doesn’t line up with your other effects in that respect. Indeed, using a combination of these two pedal types is a safer bet than simply relying on one variety. If you do choose to mix the two, it’s best to start your signal path with a buffered pedal, as this will strengthen your instrument’s tone before it reaches the other pedals. Positioning a Volume Pedal in Your Signal Chain My Review: Upon analysis, I found the affordable, easy to use, and versatile EX-P by M-Audio to be a great volume and expression pedal. I was instantly drawn to the standout quality of the pedal, which is its compatibility with MIDI. I already knew that M-Audio is renowned for its brilliant line of MIDI controllers, and was pleased to find that they have used this expertise to design a compatible pedal. Who is this best suited for: I’d recommend the EXP-001 to any musicians who are looking for a compact pedal to control either their dynamics or the expression of other effects. It is conveniently compact, so even if your pedalboard is a little on the crowded side, you can still easily find room for this MeloAudio volume controller. The fact is that lots of guitarists never realize how essential a volume pedal is to their setup until they try it (it can be a guitar rig game changer, much like a compressor pedal can be).Another thing that impressed me about this pedal is its capability of achieving a dynamic range of 100 dB, with the volume ranging from completely muted to an additional +1- dB of gain. In terms of the mechanics of this Lehle device, it has low-friction grip bearings and there is an adjustable screw that I used to tailor the mobility to suit my liking. Guitar volume pedals have always been a bit of an outlier in the effects world. They’re not fancy or flashy. My Review: When I think of Boss pedals, the first quality that springs to mind is durability. Their comprehensive range of stompbox effects is, in my experience, amongst the most solidly built on the market. I’d go as far as to say that attribute is one of the most important qualities when discussing volume pedals. The 25K Stereo Volume Pedal features a super smooth foot sweep for precise volume control and is perfectly voiced for active audio signals. The 25k pedal is extremely versatile and can be used in stereo or mono applications. Utilizing TRS stereo cables, use the B input and B output. Tough, long lasting Kevlar cable transmits pedal travel to the 250k potentiometer and is attached by a stainless steel spring. Who is this best suited for: If you want to combine a volume pedal with an expression of controlling external effects, the Line 5 EX1 is a worthy choice. Thanks to its durable construction, it is also well suited to touring musicians.