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Electric Violin Labs

The Electric Violin Effects Pedal Guide

By Dr. Jess

20+ years performing • 150+ pedals tested • 10 electric violins evaluated • no sponsors

(I am an Amazon associate. If you purchase via included links, I may receive a small commission.)

Introduction: Why Guitar Pedal Advice Fails Violinists

If you’re like me, you’ve seen someone play or write about a guitar pedal, or you’ve heard your favorite song and wanted to create the signature sound yourself, only to get the pedal (from the store or the mail), plug it in, and be horrified.

You're not alone

Here’s the problem: 90% of effects pedal content is created by guitarists, for guitarists. And while we share the same pedals, and even some of the same strings, we don’t share the same way of articulating, nor the same signal.

Pickup type: Most electric guitars use magnetic pickups; most electric violins use piezo pickups
Frequency range: Base-model Electric Violin spans 196 Hz (G3) to 3,520 Hz (A7), with extended ranges going far lower; guitar typically covers 82 Hz (E2) to 1,175 Hz (D6)
Impedance:Piezo pickups have high impedance output that behaves differently with effects circuits
Playing dynamics: Violin bowing creates different attack and sustain characteristics than guitar picking

Good news: Once you understand the science behind why certain pedals work for violin, you can make informed decisions instead of expensive mistakes. I’ve spent 20+ years playing electric violin professionally in bands and on recordings, tested over 150 effects pedals, and evaluated 11 different electric violin models (I own most of them). This guide takes everything I’ve learned and gives you my practical recommendations (from painful lessons!) you can use immediately.

Disclosure: I bought and tested all the gear in this guide myself. No sponsors, no BS. Just clear info to help you make the best choices.

Part 1: The Foundation - Why Preamp/EQ Matters More for Violin

Before we talk about reverb, delay, or any creative effects, we need to talk about the most important piece of your signal chain: your preamp and EQ. It’s the one piece of gear I wish I had purchased first, and it has made the biggest difference in my playing. I won’t play without it.

Very high impedance → tone loss and finicky pedal behavior
Uneven frequency response → piercing E or muddy lows

A quality preamp converts impedance and lets you shape tone before it hits your pedalboard.

The Piezo Problem

Piezo pickups—found in most electric violins—have two characteristics that affect everything downstream:

1. High impedance output that can cause tone loss and interference

2. Uneven frequency response that emphasizes certain overtones (often making the E-string piercing or the lower strings muddy)

A quality preamp solves both problems by:
- Converting high-impedance signal to low-impedance (impedance matching)
- Providing EQ controls to shape your frequency response before it hits effects pedals

Think of it this way: If your raw violin tone isn’t balanced and clear, no amount of reverb or delay will fix it. You’ll just be adding beautiful effects to an unbalanced sound, and make it more difficult to diagnose and fix what isn’t working for you (ask me how I know 😬).

My #1 Pick: Fishman Platinum Pro EQ

Extended mid-range control: Critical for the lower three strings of a 4-string violin, even more important for 5, 6, and 7-string instruments
Built-in compression: Helps even out piercing or scratchy tones from piezo pickups, especially on the E-string
Professional-grade impedance matching: Ensures your signal plays well with everything downstream
Parametric EQ bands: Allows surgical frequency shaping that simple tone controls can’t match

Cost note: I KNOW. The Fishman Platinum is expensive, even used (typically $250-350). But it’s solving multiple problems at once: preamp, compression, and sophisticated EQ. I probably wasted more than $1000 on pedals over the years that I thought didn’t work with my instrument, when in reality it was compounding impedance mismatch, bad/no EQ, and volume spikes. I cannot overstate how important I think a DI or preamp is, and this one does it all (with special features for violin).

Get the Fishman Platinum Pro EQ

Budget Alternative: L.R. Baggs Para Acoustic DI

If the Fishman is outside your budget: The L.R. Baggs Para Acoustic DI (typically $180-220) is highly regarded in the violin community. While I haven’t personally tested it, I consistently hear positive feedback from players.

What it offers:

Quality preamp/DI functionality
5-band EQ (less extensive than Fishman, but still useful)
Notch filter for feedback control (helpful for acoustic-electric violins)
Solid impedance matching

Trade-off: You’ll get less mid-range control and no built-in compression, but it’s still a significant upgrade over plugging directly into effects pedals.

Shop L.R. Baggs Para DI

Advanced Addition: 10-Band Graphic EQ

For recording or advanced tone shaping, I personally run an MXR 10-Band EQ after my Fishman Platinum. This might seem redundant, but here’s why it works:

Fishman shapes your fundamental tone** (fixing piezo issues, setting your base sound)
Graphic EQ makes surgical adjustments for specific performance contexts or recording situations
More strings = more EQ needs: If you play 5, 6, or 7-string violin, the additional frequency bands become increasingly valuable for balancing your extended range.

Shop MXR 10-Band EQ

Part 2: The Science of Pedal Selection

Before I give you specific pedal recommendations, let's talk about how to think about pedals for violin. I wish I had known this twenty years ago, and it will serve you far into your musical future.

The Three Critical Factors

1. Impedance Matching

High-impedance piezo output can cause:

Tone loss through long cable runs
Interference and noise
Incompatibility with certain pedals designed for low-impedance guitar pickups

Solution: Start with a quality preamp/DI that converts your signal to low impedance.

2. Frequency Response

Guitar pedals are often voiced for guitar frequencies (heavy on mids, less extended highs). Violin's higher frequency range means:

Some pedals sound shrill or harsh on violin
EQ becomes more critical for shaping tone
Digital pedals often handle the extended range better than older analog circuits

What to listen for: Does the pedal preserve your violin's clarity in the upper register? Does it muddy your lower strings?

3. Pickup Type Considerations

Beyond piezo vs. magnetic, consider:

Passive vs. active pickups (affects output level and impedance)
Bridge vs. body-mounted pickups (affects tonal character)
Pickup quality (cheap piezos are harsher, requiring more corrective EQ)

The key insight: There's no single "right" pedal for all electric violins. The science helps you understand why a pedal works (or doesn't) with your specific instrument.

Analog vs. Digital: What You Need to Know

Analog pedals:

Often have "character" and "warmth"
Can be finicky with piezo signals
Typically less versatile (one sound per pedal)

Digital pedals:

More consistent with piezo pickups
Greater versatility (multiple effects, presets)
Better frequency range handling

My approach: I use both. Digital for versatility and reliabity, analog for unique or especially warm sounds and tones.

Part 3: Essential Effects — What Actually Works

Now that you understand the foundation, let me share the effects that were in my first live rig. They were all in my Boss ME-50, and that's how I was able to experiment so much and learn about sound—what different effects did to shape it, how they interacted with each other. The science came later, but these effects taught me how to listen and what was possible.

Effect #1: Compression

Why you need it:

Violin bowing creates natural volume inconsistencies (and performance anxiety doesn't help!). Add the natural characteristics of piezo pickups, and you get:

Harsh, piercing notes (especially E-string)
Volume jumps between strings
Scratchy transients from bow attacks

Compression evens out these inconsistencies without squashing your dynamics.

My recommendation: Boss Compression Sustainer (CS-3)

Why this pedal:

Tried and true design that works well with piezo signals
Transparent compression that preserves violin overtones
Affordable and reliable

Settings for violin:

Level: 10 o'clock to noon (subtle compression)
Tone: Adjust to taste (I keep mine relatively neutral)
Attack: Slow to medium (preserves bow attack character)
Sustain: Low to moderate (even out volume without over-compressing)

Alternative approach: The Fishman Platinum EQ's built-in compression is excellent. If you have that preamp, you might not need a separate compressor for basic applications.

Shop Boss CS-3

Note: Fishman’s built-in compression may be enough for many setups.

Budget option: The Boss ME-50 Multi-Effects ($150-200 used) includes Boss compression plus 15+ other effects. If you're starting out and want to experiment affordably, this is an incredible value.

Find ME-50

Effect #2: Reverb

Why you need it:

Electric violin can sound dry and lifeless without reverb. I find when I am performing or recording, reverb gives me:

Spatial dimension and depth
Feeling of natural resonance (what acoustic instruments get from their bodies)
The foundation to set musical context and build atmosphere

My favorite experiences:

Line 6 Verbzilla (Green reverb setting):

Lush, ambient reverb that works beautifully for experimental playing
Great for creating soundscapes

EarthQuaker Devices Astral Destiny:

Modulated reverb with stretch function
Perfect for ambient and textural playing
Currently on my performance board

Budget-friendly option:

TC Electronic Hall of Fame 2: Versatile, affordable, sounds great on violin
Boss RV-6: Classic Boss quality, multiple reverb types

Starting point settings (any reverb pedal):

Mix: 20-30% (subtle enhancement, not drowning your signal)
Decay: Medium (2-3 seconds)
Type: Hall or Plate (most versatile for violin)

Boss RV-6

Effect #3: Delay

Why you need it:

Delay adds rhythmic interest and space to your playing. It's especially effective for:

Creating texture in ambient music
Rhythmic echoes in contemporary styles
Filling space in solo performance

My recommendation: Boss DD-series (DD-7, DD-8, or DD-200)

Why Boss delays:

Reliable digital delays that handle piezo signals well
Clean repeats that don't muddy your tone
Tap tempo functionality (essential for live performance)

Starting point settings:

Time: ~400ms (moderate delay, not too fast or slow)
Feedback: 2-3 repeats
Mix: 25% (noticeable but not overwhelming)
Mode: Standard/digital delay

Experiment with: Dotted eighth note delays for interesting rhythmic patterns, shorter slapback delays for rockabilly vibes, longer ambient delays for soundscapes (my personal favorite!).

Boss RV-6

Effect #4: Chorus

Why you might want it:

Chorus creates a subtle doubling effect that can:

Thicken your sound
Add shimmer to sustained notes
Create the illusion of multiple violins

My recommendation: Boss CH-1 Super Chorus

Why this pedal:

Classic, reliable chorus that works with any signal
Simple controls that are easy to dial in
Affordable

Note: I'm currently testing the MXR Analog Chorus and will update my recommendations as I evaluate it.

Settings for violin (in classical/rock/jazz type styles):

Rate: Slow to medium (fast chorus can sound wobbly with sustained bowing on violin)
Depth: Moderate (too much sounds kind of off in these styles)
EQ/Tone: Adjust to preserve violin's upper frequencies

Effect #5: Overdrive/Distortion/Fuzz

Why you might want it:

Gain effects let you:

Add aggression and edge to rock/metal playing
Create sustain and singing leads
Access entirely new sonic territories

My experience:

I cut my teeth on gain effects using the Boss Metal Zone (MT-2), which I loved for aggressive distortion (as a rhythm violinist in a 3-person post-punk band fronted by a bassist!). Since then, I've explored 15+ different overdrive options in my Boss ME-50, HeadRush Prime, and individual pedals.

Current setup:

My performance board includes multiple gain stages:

EarthQuaker Plumes (overdrive)
EarthQuaker Zoar (heavier distortion)

Important considerations for violin:

Less is often more: Violin's high frequencies can become harsh with too much gain
Use EQ aggressively: Cut high-end, shape mids to avoid shrillness
Start with overdrive: Don't jump straight to heavy distortion or fuzz

Budget starting point:

The Boss ME-50 gives you access to multiple Boss overdrives/distortions to experiment and find what you like before investing in individual pedals.

Part 4: Your First Pedalboard - The Starter Signal Chain

You don't need 15 pedals to get started. Here's the pedals I wish I had started with and mastered first - I would have saved time, money, and sanity.

The Absolute Minimum (2 pedals)

Fishman Pro Platinum EQ → Your Amp/Interface

This alone will transform your electric violin sound by:

Fixing impedance issues
Balancing your frequency response with powerful EQ
Adding compression to even out dynamics

Investment: ~$300

Result: Professional-quality tone foundation

The Starter Board (4-5 pedals)

Signal chain order:

Fishman Pro Platinum EQ (foundation)
Boss Compression Sustainer CS-3 (if not using Fishman's compression)
Boss Super Overdrive SD-1 (optional, for gain sounds)
Boss DD-7/DD-8 Delay (space and rhythm)
TC Electronic Hall of Fame 2 or Boss RV-6 Reverb (dimension and depth)

Why this order:

EQ/Preamp first (fixes signal issues)
Compression second (evens out dynamics)
Gain effects third (if used, before modulation)
Delay and Reverb last (time-based effects at the end)

Investment: ~$600-800 total

Result: Versatile, professional electric violin rig

The Budget-Conscious Alternative

Fishman Pro Platinum EQ → Boss ME-50 Multi-Effects → Amp/Interface

The ME-50 gives you:

Compression, overdrive, chorus, delay, reverb
Multiple Boss effects to experiment with
All-in-one unit for ~$150-200 used

Front it with the Fishman EQ for proper impedance matching and tone shaping, and you have a complete, affordable rig.

Investment: ~$450-500 total

Result: Maximum experimentation for minimum investment

Fishman Platinum Boss SD-1 Boss DD-7 TC HOF 2

Part 5: Where You Can Go — Advanced Concepts

My Current Performance Board (“The Weird Board”)

Once you have the foundational pedals and understanding, your creative possibilities expand dramatically. I've found more creative freedom and joy in using existing pedals and making smart choices in getting new pedals because I understand the basics so much better now.

Here's what I use for ambient/experimental performance (in signal order):

Fishman Pro Platinum EQ (foundation)
MXR 10-Band EQ (surgical tone shaping)
EarthQuaker The Warden (advanced compression)
EarthQuaker Plumes (overdrive)
EarthQuaker Zoar (distortion)
EarthQuaker Commander (boost/buffer)
EarthQuaker Grand Orbiter (phaser)
EarthQuaker The Depths (vibe/chorus)
EarthQuaker Spatial Delivery (envelope filter)
EarthQuaker Astral Destiny (modulated reverb)
Electro-Harmonix Freeze (sound-on-sound)
Pure Buffer (signal integrity)
EarthQuaker Arpanoid (arpeggiator)
EarthQuaker Rainbow Machine (pitch shifter)
Data Corruptor (glitch/harmonizer)

Multi-Effects Processors

HeadRush Prime:

I use this for:

Amp and cabinet modeling
Experimenting with effects combinations without buying more pedals
Creating more "standard" electric violin tones
Quick preset changes in performance

Boss SY-300 Guitar Synthesizer:

This specialized unit lets me:

Generate and customize synthesized tones
Layer synth sounds with my natural violin tone
Create sounds impossible with traditional effects

Multi-FX: HeadRush Prime

Amp/cab modeling, rapid effect experiments, quick preset changes.

HeadRush Prime

Boss SY-300 Guitar Synth

Layer synth voices with violin tone — sounds you simply can’t get otherwise.

Boss SY-300

The Key Principle

You don’t need everything I have! Nail the essentials, learn your sound, add only what serves your music.

Part 6: Key Takeaways - The Science of Smart Choices

1. Start with the foundation: Invest in a quality preamp/EQ first (Fishman Platinum or L.R. Baggs Para Acoustic)

2. Understand the science: Impedance, frequency response, and pickup types determine what works best for YOU and YOUR SOUND

3. Signal chain order matters:

Preamp/EQ → Compression → Gain → Modulation → Delay → Reverb

4. Test before you buy: If possible, try pedals with your specific violin before purchasing

5. Budget-smart experimentation: The Boss ME-50 offers incredible value for exploring sounds. I still own and use the same one I bought 17 years ago

6. More strings = more EQ: Extended-range instruments benefit from additional EQ bands, and you will hear a difference

7. Digital isn't inferior: Modern digital effects can handle piezo signals at least as well as vintage analog, and offer tons of flexibility

8. Less gain = more clarity: Violin's high frequencies require careful gain staging, especially with aggressive amounts of overdrive, distortion, or reverb

9. Your ears are the final judge: These are guidelines, not rules. If you are creating the sound that you intend to create and the art you want to make, that's what matters.

Quick Reference: Shopping List by Budget

Budget Build (~$450–500)

Boss ME-50 Multi-Effects (used)
Fishman Pro Platinum EQ

Starter Build (~$600–800)

Fishman Pro Platinum EQ
Boss CS-3 Compression
Boss DD-7 Delay
TC Electronic Hall of Fame 2 Reverb

Intermediate Build (~$1,200–1,500)

Fishman Pro Platinum EQ
MXR 10-Band EQ
EQD The Warden (compression)
EQD Plumes (overdrive)
Boss DD-8 (delay)
EQD Astral Destiny (reverb)

Next Steps: Master Electric Violin Effects

Join my free workshop for live A/B comparisons, dialing specific sounds, common fixes, full signal chain walkthrough, and Q&A.