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Final Solution

The Final Solution (die Endlösung, ) or the Final Solution to the Jewish Question (Endlösung der Judenfrage, ) was a Nazi plan for the genocide of individuals they defined as Jews during World War II. The "Final Solution to the Jewish question" was the official code name for the murder of all Jews within reach, which was not restricted to the European continent. This policy of deliberate and systematic genocide starting across German-occupied Europe was formulated in procedural and geopolitical terms by Nazi leadership in January 1942 at the Wannsee Conference held near Berlin, and culminated in the Holocaust, which saw the murder of 90% of Polish Jews, and two-thirds of the Jewish population of Europe.

The nature and timing of the decisions that led to the Final Solution is an intensely researched and debated aspect of the Holocaust. The program evolved during the first 25 months of war leading to the attempt at "murdering every last Jew in the German grasp". Christopher Browning, a historian specializing in the Holocaust, wrote that most historians agree that the Final Solution cannot be attributed to a single decision made at one particular point in time. "It is generally accepted the decision-making process was prolonged and incremental." In 1940, following the Fall of France, Adolf Eichmann devised the Madagascar Plan to move Europe's Jewish population to the French colony, but the plan was abandoned for logistical reasons, mainly a naval blockade. There were also preliminary plans to deport Jews to Palestine and Siberia. Raul Hilberg wrote that, in 1941, in the first phase of the mass-murder of Jews, the mobile killing units began to pursue their victims across occupied eastern territories; in the second phase, stretching across all of German-occupied Europe, the Jewish victims were sent on death trains to centralized extermination camps built for the purpose of systematic murder of Jews.

Background
The term "Final Solution" was a euphemism used by the Nazis to refer to their plan for the annihilation of the Jewish people. Some historians argue that the usual tendency of the German leadership was to be extremely guarded when discussing the Final Solution. For example, Mark Roseman wrote that euphemisms were "their normal mode of communicating about murder". However, Jeffrey Herf has argued that the role of euphemisms in Nazi propaganda has been exaggerated, and in fact Nazi leaders often made direct threats against Jews. For example, during his speech of 30 January 1939, Hitler threatened "the annihilation of the Jewish race in Europe".

From gaining power in January 1933 until the outbreak of war in September 1939, the Nazi persecution of the Jews in Germany was focused on intimidation, expropriating their money and property, and encouraging them to emigrate. According to the Nazi Party policy statement, Jews and the Romani people were the only "alien people in Europe". In 1936, the Bureau of Romani Affairs in Munich was taken over by Interpol and renamed the Center for Combating the Gypsy Menace. Introduced at the end of 1937, the "final solution of the Gypsy Question" entailed round-ups, expulsions, and incarceration of Romani in concentration camps built at, until this point, Dachau, Buchenwald, Flossenbürg, Mauthausen, Natzweiler, Ravensbruck, Taucha and Westerbork. After the Anschluss with Austria in 1938, Central Offices for Jewish Emigration were established in Vienna and Berlin to increase Jewish emigration, without covert plans for their forthcoming annihilation.

The outbreak of war and the invasion of Poland brought a population of 3.5 million Polish Jews under the control of the Nazi and Soviet security forces, and marked the start of the Holocaust in Poland. In the German-occupied zone of Poland, Jews were forced into hundreds of makeshift ghettos, pending other arrangements.

In April 1941, the German agriculture and interior ministries designated the SS as an authorized applier of Zyklon B, which meant they were able to use it without any further training or governmental oversight. The launch of Operation Barbarossa in June 1941 coincided with the German top echelon's newfound intent to pursue Hitler's new anti-Semitic plan to eradicate, rather than expel, Jews. Hitler's earlier ideas about forcible removal of Jews from the German-controlled territories to achieve Lebensraum were abandoned after the failure of the air campaign against Britain, initiating a naval blockade of Germany. Reichsführer-SS Heinrich Himmler became the chief architect of a new plan, which came to be called The Final Solution to the Jewish question. On 31 July 1941, Reichsmarschall Hermann Göring wrote to Reinhard Heydrich (Himmler's deputy and chief of the RSHA), authorising him to make the "necessary preparations" for a "total solution of the Jewish question" and coordinate with all affected organizations. Göring also instructed Heydrich to submit concrete proposals for the implementation of the new projected goal.

Broadly speaking, the extermination of Jews was carried out in two major operations. With the onset of Operation Barbarossa, mobile killing units of the SS, the Einsatzgruppen, and Order Police battalions were dispatched to the occupied Soviet Union for the express purpose of murdering all Jews. During the early stages of the invasion, Himmler himself visited Białystok at the beginning of July 1941, and requested that, "as a matter of principle, any Jew" behind the German-Soviet frontier was to be "regarded as a partisan". His new orders gave the SS and police leaders full authority for the mass-murder behind the front lines. By August 1941, all Jewish men, women, and children were shot. In the second phase of annihilation, the Jewish inhabitants of central, western, and south-eastern Europe were transported by Holocaust trains to camps with newly built gassing facilities. Raul Hilberg wrote: "In essence, the killers of the occupied USSR moved to the victims, whereas outside this arena, the victims were brought to the killers. The two operations constitute an evolution not only chronologically, but also in complexity." Massacres of about one million Jews occurred before plans for the Final Solution were fully implemented in 1942, but it was only with the decision to annihilate the entire Jewish population that extermination camps such as Auschwitz II Birkenau and Treblinka were fitted with permanent gas chambers to murder large numbers of Jews in a relatively short period of time.

The plans to exterminate all the Jews of Europe were formalized at the Wannsee Conference, held at an SS guesthouse near Berlin, on 20 January 1942. The conference was chaired by Heydrich and attended by 15 senior officials of the Nazi Party and the German government. Most of those attending were representatives of the Interior Ministry, the Foreign Ministry, and the Justice Ministry, including Ministers for the Eastern Territories. At the conference, Heydrich indicated that approximately 11,000,000 Jews in Europe would fall under the provisions of the "Final Solution". This figure included not only Jews residing in Axis-controlled Europe, but also the Jewish populations of the United Kingdom and of neutral nations (Switzerland, Ireland, Sweden, Spain, Portugal, and European Turkey). Eichmann's biographer David Cesarani wrote that Heydrich's main purpose in convening the conference was to assert his authority over the various agencies dealing with Jewish issues. "The simplest, most decisive way that Heydrich could ensure the smooth flow of deportations" to death camps, according to Cesarani, "was by asserting his total control over the fate of the Jews in the Reich and the east" under the single authority of the RSHA. A copy of the minutes of this meeting was found by the Allies in March 1947; it was too late to serve as evidence during the first Nuremberg Trial, but was used by prosecutor General Telford Taylor in the subsequent Nuremberg Trials.

After the end of World War II, surviving archival documents provided a clear record of the Final Solution policies and actions of Nazi Germany. They included the Wannsee Conference Protocol, which documented the co-operation of various German state agencies in the SS-led Holocaust, as well as some 3,000 tons of original German records captured by Allied armies, including the Einsatzgruppen reports, which documented the progress of the mobile killing units assigned, among other tasks, to murder Jewish civilians during the attack on the Soviet Union in 1941. The evidential proof which documented the mechanism of the Holocaust was submitted at Nuremberg.

Phase one: death squads of Operation Barbarossa
The Nazi invasion of the Soviet Union codenamed Operation Barbarossa, which commenced on 22 June 1941, set in motion a "war of annihilation" which quickly opened the door to the systematic mass murder of European Jews. For Hitler, Bolshevism was merely "the most recent and most nefarious manifestation of the eternal Jewish threat". On 3 March 1941, Wehrmacht Joint Operations Staff Chief Alfred Jodl repeated Hitler's declaration that the "Jewish-Bolshevik intelligentsia would have to be eliminated" and that the forthcoming war would be a confrontation between two completely opposing cultures. In May 1941, Gestapo leader Heinrich Müller wrote a preamble to the new law limiting the jurisdiction of military courts in prosecuting troops for criminal actions because: "This time, the troops will encounter an especially dangerous element from the civilian population, and therefore, have the right and obligation to secure themselves."

Himmler and Heydrich assembled a force of about 3,000 men from Security Police, Gestapo, Kripo, SD, and the Waffen-SS, as the so-called "special commandos of the security forces" known as the Einsatzgruppen, to eliminate both communists and Jews in occupied territories. These forces were supported by 21 battalions of Orpo Reserve Police under Kurt Daluege, adding up to 11,000 men. The explicit orders given to the Order Police varied between locations, but for Police Battalion 309 participating in the first mass murder of 5,500 Polish Jews in the Soviet-controlled Białystok (a Polish provincial capital), Major Weiss explained to his officers that Barbarossa is a war of annihilation against Bolshevism, and that his battalions would proceed ruthlessly against all Jews, regardless of age or sex.

After crossing the Soviet demarcation line in 1941, what had been regarded as exceptional in the Greater Germanic Reich became a normal way of operating in the east. The crucial taboo against the murder of women and children was breached not only in Białystok but also in Gargždai in late June. By July, significant numbers of women and children were being murdered behind all front-lines not only by the Germans but also by the local Ukrainian and Lithuanian auxiliary forces. On 29 July 1941, at a meeting of SS officers in Vileyka (Polish Wilejka, now Belarus), the Einsatzgruppen had been given a dressing-down for their low execution figures. Heydrich himself issued an order to include the Jewish women and children in all subsequent shooting operations. Accordingly, by the end of July the entire Jewish population of Vileyka, men, women and children, were murdered. Around 12 August, no less than two-thirds of the Jews shot in Surazh were women and children of all ages. In late August 1941 the Einsatzgruppen murdered 23,600 Jews in the Kamianets-Podilskyi massacre. A month later, the largest mass shooting of Soviet Jews took place on 29–30 September in the ravine of Babi Yar, near Kyiv, where more than 33,000 Jewish people of all ages were systematically machine-gunned. In mid-October 1941, HSSPF South, under the command of Friedrich Jeckeln, had reported the indiscriminate murder of more than 100,000 people.

By the end of December 1941, before the Wannsee Conference, over 439,800 Jewish people had been murdered, and the Final Solution policy in the east became common knowledge within the SS. Entire regions were reported "free of Jews" by the Einsatzgruppen. Addressing his district governors in the General Government on 16 December 1941, Governor-General Hans Frank said: "But what will happen to the Jews? Do you believe they will be lodged in settlements in Ostland? In Berlin, we were told: why all this trouble; we cannot use them in the Ostland or the Reichskommissariat either; liquidate them yourselves!" Two days later, Himmler recorded the outcome of his discussion with Hitler. The result was: "als Partisanen auszurotten" ("exterminate them as partisans"). Israeli historian Yehuda Bauer wrote that the remark is probably as close as historians will ever get to a definitive order from Hitler for the genocide carried out during the Holocaust. Within two years, the total number of shooting victims in the east had risen to between 618,000 and 800,000 Jews.

Bezirk Bialystok and Reichskommissariat Ostland
Several scholars have suggested that the Final Solution began in the newly formed district of Bezirk Bialystok. The German army took over Białystok within days. On Friday, 27 June 1941, the Reserve Police Battalion 309 arrived in the city and set the Great Synagogue on fire with hundreds of Jewish men locked inside. The burning of the synagogue was followed by a frenzy of murders both inside the homes around the Jewish neighbourhood of Chanajki, and in the city park, lasting until night time. The next day, some 30 wagons of dead bodies were taken to mass graves. As noted by Browning, the murders were led by a commander "who correctly intuited and anticipated the wishes of his Führer" without direct orders. For reasons unknown, the number of victims in the official report by Major Weis was cut in half. The next mass-shooting of Polish Jews within the newly formed Reichskommissariat Ostland took place in two days of 5–7 August in occupied Pińsk, where over 12,000 Jews were murdered by the Waffen SS, not the Einsatzgruppen. An additional 17,000 Jews perished there in a ghetto uprising crushed a year later with the aid of Belarusian Auxiliary Police.

An Israeli historian Dina Porat claimed that the Final Solution, i.e.: "the systematic overall physical extermination of Jewish communities one after the other—began in Lithuania" during the massive German chase after the Red Army across the Reichskommissariat Ostland. The subject of the Holocaust in Lithuania has been analysed by Konrad Kweit from USHMM who wrote: "Lithuanian Jews were among the first victims of the Holocaust [beyond the eastern borders of occupied Poland]. The Germans carried out the mass executions [...] signaling the beginning of the 'Final Solution'." About 80,000 Jews were murdered in Lithuania by October (including in formerly Polish Wilno) and about 175,000 by the end of 1941 according to official reports.

Reichskommissariat Ukraine
Within one week from the start of Operation Barbarossa, Heydrich issued an order to his Einsatzgruppen for the on-the-spot execution of all Bolsheviks, interpreted by the SS to mean all Jews. One of the first indiscriminate massacres of men, women, and children in Reichskommissariat Ukraine took the lives of over 4,000 Polish Jews in occupied Łuck on 2–4 July 1941, murdered by Einsatzkommando 4a assisted by the Ukrainian People's Militia. Formed officially on 20 August 1941, the Reichskommissariat Ukraine—stretching from prewar east-central Poland to Crimea—had become operational theatre of the Einsatzgruppe C. Within the Soviet Union proper, between 9 July 1941 and 19 September 1941 the city of Zhytomyr was made Judenfrei in three murder operations conducted by German and Ukrainian police in which 10,000 Jews perished. In the Kamianets-Podilskyi massacre of 26–28 August 1941 some 23,600 Jews were shot in front of open pits (including 14,000–18,000 people expelled from Hungary). After an incident in Bila Tserkva in which 90 small children left behind had to be shot separately, Blobel requested that Jewish mothers hold them in their arms during mass shootings. Long before the conference at Wannsee, 28,000 Jews were shot by SS and Ukrainian military in Vinnytsia on 22 September 1941, followed by the 29 September massacre of 33,771 Jews at Babi Yar. In Dnipropetrovsk, on 13 October 1941 some 10,000–15,000 Jews were shot. In Chernihiv, 10,000 Jews were murdered and only 260 Jews were spared. In mid-October, during the Krivoy-Rog massacre of 4,000–5,000 Soviet Jews the entire Ukrainian auxiliary police force actively participated. In the first days of January 1942 in Kharkiv, 12,000 Jews were murdered, but smaller massacres continued in this period on daily basis in countless other locations. In August 1942 in the presence of only a few German SS men over 5,000 Jews were massacred in Polish Zofjówka by the Ukrainian Auxiliary Police leading to the town's complete sweep from existence.

Distrikt Galizien
Historians find it difficult to determine precisely when the first concerted effort at annihilation of all Jews began in the last weeks of June 1941 during Operation Barbarossa. Dr. Samuel Drix (Witness to Annihilation), Jochaim Schoenfeld (Holocaust Memoirs), and several survivors of the Janowska concentration camp, who were interviewed in the film Janovska Camp at Lvov, among other witnesses, have argued that the Final Solution began in Lwów (Lemberg) in Distrikt Galizien of the General Government during the German advance across Soviet-occupied Poland. Statements and memoirs of survivors emphasize that, when Ukrainian nationalists and ad hoc Ukrainian People's Militia (soon reorganized as the Ukrainian Auxiliary Police) began to murder women and children, rather than only male Jews, the "Final Solution" had begun. Witnesses have said that such murders happened both prior to and during the pogroms reportedly triggered by the NKVD prisoner massacre. The question of whether there was some coordination between the Lithuanian and Ukrainian militias remains open (i.e. collaborating for a joint assault in Kovno, Wilno, and Lwów).

The murders continued uninterrupted. On 12 October 1941, in Stanisławów, some 10,000–12,000 Jewish men, women, and children were shot at the Jewish cemetery by the German uniformed SS-men and Ukrainian Auxiliary Police during the so-called "Bloody Sunday of Stanislau" (de). The shooters began firing at 12 noon and continued without stopping by taking turns. There were picnic tables set up on the side with bottles of vodka and sandwiches for those who needed to rest from the deafening noise of gunfire. It was the single largest massacre of Polish Jews in Generalgouvernement prior to mass gassings of Aktion Reinhard, which commenced at Bełżec in March 1942. Notably, the extermination operations in Chełmno had begun on 8 December 1941, one-and-a-half months before Wannsee, but Chełmno—located in Reichsgau Wartheland—was not a part of Reinhard, and neither was Auschwitz-Birkenau functioning as an extermination center until November 1944 in Polish lands annexed by Hitler and added to Germany proper.

The conference at Wannsee gave impetus to the so-called second sweep of the Holocaust by the bullet in the east. Between April and July 1942 in Volhynia, 30,000 Jews were murdered in death pits with the help of dozens of newly formed Ukrainian Schutzmannschaft. Owing to good relations with the Ukrainian Hilfsverwaltung, these auxiliary battalions were deployed by the SS also in Russia Center, Russia South, and in Byelorussia; each with about 500 soldiers divided into three companies. They participated in the extermination of 150,000 Volhynian Jews alone, or 98 percent of the Jewish inhabitants of the entire region. In July 1942 the Completion of the Final Solution in the General Government territory which included Distrikt Galizien, was ordered personally by Himmler. He set the initial deadline for 31 December 1942.

Phase two: deportations to extermination camps
When the Wehrmacht invaded the Soviet Union in June 1941, the area of the General Government was enlarged by the inclusion of regions that had been annexed by the Soviet Union since the 1939 invasion. The murders of Jews from the Łódź Ghetto in the Warthegau district began in early December 1941 with the use of gas vans (approved by Heydrich) at the Kulmhof extermination camp. Victims were misled under the deceptive guise of "Resettlement in the East", organised by SS Commissioners, which was also tried and tested at Chełmno. By the time the European-wide Final Solution was formulated two months later, Heydrich's RSHA had already confirmed the effectiveness of industrial murder by exhaust fumes, and the strength of deception.

Construction work on the first killing centre at Bełżec in occupied Poland began in October 1941, three months before the Wannsee Conference. The new facility was operational by March the following year. By mid-1942, two more death camps had been built on Polish lands: Sobibór operational by May 1942, and Treblinka operational in July. From July 1942, the mass murder of Polish and foreign Jews took place at Treblinka as part of Operation Reinhard, the deadliest phase of the Final Solution. More Jews were murdered at Treblinka than at any other Nazi extermination camp apart from Auschwitz. By the time the mass killings of Operation Reinhard ended in 1943, roughly two million Jews in German-occupied Poland had been murdered. The total number of people murdered in 1942 in Lublin/Majdanek, Bełżec, Sobibór, and Treblinka was 1,274,166 by Germany's own estimation, not counting Auschwitz II Birkenau nor Kulmhof. Their bodies were buried in mass graves initially. Both Treblinka and Bełżec were equipped with powerful crawler excavators from Polish construction sites in the vicinity, capable of most digging tasks without disrupting surfaces. Although other methods of extermination, such as the cyanic poison Zyklon B, were already being used at other Nazi killing centres such as Auschwitz, the Aktion Reinhard camps used lethal exhaust gases from captured tank engines.

The Holocaust by bullets (as opposed to the Holocaust by gas) went on in the territory of occupied Poland in conjunction with the ghetto uprisings, irrespective of death camps' quota. In two weeks of July 1942, the Słonim Ghetto revolt, crushed with the help of Latvian, Lithuanian, and Ukrainian Schutzmannschaft, cost the lives of 8,000–13,000 Jews. The second largest mass shooting (to that particular date) took place in late October 1942 when the insurgency was suppressed in the Pińsk Ghetto; over 26,000 men, women and children were shot with the aid of Belarusian Auxiliary Police before the ghetto's closure. During the suppression of the Warsaw Ghetto Uprising (the largest single revolt by Jews during World War II), 13,000 Jews were killed in action before May 1943. Numerous other uprisings were quelled without impacting the pre-planned Nazi deportations actions.

About two-thirds of the overall number of victims of the Final Solution were murdered before February 1943, which included the main phase of the extermination programme in the West launched by Eichmann on 11 June 1942 from Berlin. The Holocaust trains run by the Deutsche Reichsbahn and several other national railway systems delivered condemned Jewish captives from as far as Belgium, Bulgaria, France, Greece, Hungary, Italy, Moravia, Netherlands, Romania, Slovakia, and even Scandinavia. The cremation of exhumed corpses to destroy any evidence left behind began in early spring and continued throughout summer. The nearly completed clandestine programme of murdering all deportees was explicitly addressed by Heinrich Himmler in his Posen speeches made to the leadership of the Nazi Party on 4 October and during a conference in Posen (Poznan) of 6 October 1943 in occupied Poland. Himmler explained why the Nazi leadership found it necessary to murder Jewish women and children along with the Jewish men. The assembled functionaries were told that the Nazi state policy was "the extermination of the Jewish people" as such.

"We were faced with the question: what about the women and children?–I have decided on a solution to this problem. I did not consider myself justified to exterminate the men only—in other words, to kill them or have them killed while allowing the avengers, in the form of their children, to grow up in the midst of our sons and grandsons. The difficult decision had to be made to have this people disappear from the earth."

On 19 October 1943, five days after the prisoner revolt in Sobibór, Operation Reinhard was terminated by Odilo Globocnik on behalf of Himmler. The camps responsible for the murder of nearly 2,700,000 Jews were soon closed. Bełżec, Sobibór, and Treblinka were dismantled and ploughed over before spring. The operation was followed by the single largest German massacre of Jews in the entire war carried out on 3 November 1943; with approximately 43,000 prisoners shot one-by-one simultaneously in three nearby locations by the Reserve Police Battalion 101 hand-in-hand with the Trawniki men from Ukraine. Auschwitz alone had enough capacity to fulfill the Nazis' remaining extermination needs.

Auschwitz II Birkenau
Unlike Belzec, Sobibor, Treblinka, and Lublin-Majdanek, which were built in the occupied General Government territory inhabited by the largest concentrations of Jews, the killing centre at Auschwitz subcamp of Birkenau operated in Polish areas annexed by Nazi Germany directly. The new gas chambers at Bunker I were finished around March 1942 when the Final Solution was officially launched at Belzec. Until mid June, 20,000 Silesian Jews were murdered there using Zyklon B. In July 1942, Bunker II became operational. In August, another 10,000–13,000 Polish Jews from Silesia were murdered, along with 16,000 French Jews declared 'stateless', and 7,700 Jews from Slovakia.

The infamous 'Gate of Death' at Auschwitz II for the incoming freight trains was built of brick and cement mortar in 1943, and the three-track rail spur was added. Until mid-August, 45,000 Thessaloniki Jews were murdered in a mere six months, including over 30,000 Jews from Sosnowiec (Sosnowitz) and Bendzin Ghettos. The spring of 1944 marked the beginning of the last phase of the Final Solution at Birkenau. The new big ramps and sidings were constructed, and two freight elevators were installed inside Crematoria II and III for moving the bodies faster. The size of the Sonderkommando was nearly quadrupled in preparation for the Special Operation Hungary (Sonderaktion Ungarn). In May 1944, Auschwitz-Birkenau became the site of one of the two largest mass murder operations in modern history, after the Großaktion Warschau deportations of the Warsaw Ghetto inmates to Treblinka in 1942. It is estimated that until July 1944 approximately 320,000 Hungarian Jews were gassed at Birkenau in less than eight weeks. The entire operation was photographed by the SS. In total, between April and November 1944, Auschwitz II received over 585,000 Jews from over a dozen regions as far as Greece, Italy, and France, including 426,000 Jews from Hungary, 67,000 from Łódź, 25,000 from Theresienstadt, and the last 23,000 Jews from the General Government. Auschwitz was liberated by the Red Army on 27 January 1945, when the gassing had already stopped.

Historiographic debate about the decision
Historians disagree as to when and how the Nazi leadership decided that the European Jews should be exterminated. The controversy is commonly described as the functionalism versus intentionalism debate which began in the 1960s, and subsided thirty years later. In the 1990s, the attention of mainstream historians moved away from the question of top executive orders triggering the Holocaust and focused on factors that were overlooked earlier, such as personal initiative and ingenuity of countless functionaries in charge of the killing fields. No written evidence of Hitler ordering the Final Solution has ever been found to serve as a "smoking gun", and therefore, this one particular question remains unanswered.

Hitler made numerous predictions regarding the Holocaust of the Jews of Europe prior to the beginning of World War II. During a speech given on 30 January 1939, on the sixth anniversary of his accession to power, Hitler said:

"Today I will once more be a prophet: If the international Jewish financiers in and outside Europe should succeed in plunging the nations once more into a world war, then the result will not be the Bolshevization of the earth, and thus the victory of Jewry, but the annihilation of the Jewish race in Europe!"

Raul Hilberg, in his book The Destruction of the European Jews, was the first historian to systematically document and analyse the Nazi project to murder every Jew in Europe. The book was initially published in 1961, and issued in an enlarged version in 1985.

Hilberg's analysis of the steps that led to the destruction of European Jews revealed that it was "an administrative process carried out by bureaucrats in a network of offices spanning a continent". Hilberg divides this bureaucracy into four components or hierarchies: the Nazi Party, the civil service, industry, and the Wehrmacht armed forces—but their cooperation is viewed as "so complete that we may truly speak of their fusion into a machinery of destruction". For Hilberg, the key stages in the destruction process were: definition and registration of the Jews; expropriation of property; concentration into ghettoes and camps; and, finally, annihilation. Hilberg gives an estimate of 5.1 million as the total number of Jews murdered. He breaks this figure down into three categories: Ghettoization and general privation: over 800,000; open-air shootings: over 1,300,000; extermination camps: up to 3,000,000.

With respect to the "functionalism versus intentionalism" debate about a master plan for the Final Solution, or the lack thereof, Hilberg posits what has been described as "a kind of structural determinism". Hilberg argues that "a destruction process has an inherent pattern" and the "sequence of steps in a destruction process is thus determined". If a bureaucracy is motivated "to inflict maximum damage upon a group of people", it is "inevitable that a bureaucracy—no matter how decentralized its apparatus or how unplanned its activities—should push its victims through these stages", culminating in their annihilation.

In his monograph, The Origins of the Final Solution: The Evolution of Nazi Jewish Policy, September 1939 – March 1942, Christopher Browning argues that Nazi policy toward the Jews was radicalized twice: in September 1939, when the invasion of Poland implied policies of mass expulsion and massive loss of Jewish lives; and in spring 1941, when preparation for Operation Barbarossa involved the planning of mass execution, mass expulsion, and starvation—to dwarf what had happened in Jewish Poland.

Browning believes that the "Final Solution as it is now understood—the systematic attempt to murder every last Jew within the German grasp" took shape during a five-week period, from 18 September to 25 October 1941. During this time, the sites of the first extermination camps were selected, different methods of murder were tested, Jewish emigration was forbidden, and 11 transports departed for Łódź as a temporary holding station. Of this period, Browning writes, "The vision of the Final Solution had crystallised in the minds of the Nazi leadership, and was being turned into reality." This was the peak of Nazi victories against the Soviet Army on the Eastern Front, and, according to Browning, the stunning series of German victories led to both an expectation that the war would soon be won, and the planning of the final destruction of the "Jewish-Bolshevik enemy".

Browning describes the creation of the extermination camps, which were responsible for the largest number of murders in the Final Solution, as bringing together three separate developments within Nazi Germany: the concentration camps which had been established in Germany since 1933; an expansion of the gassing technology of the Nazi euthanasia programme to provide a murder technique of greater efficiency and psychological detachment; and the creation of "factories of death" to be fed endless streams of victims by mass uprooting and deportation that utilized the experience and personnel from earlier population resettlement programmes—especially the HSSPF and Adolf Eichmann's RSHA for "Jewish affairs and evacuations".

Peter Longerich argues that the search for a finite date on which the Nazis embarked upon the extermination of the Jews is futile, in his book Holocaust: The Nazi Persecution and Murder of the Jews (2011). Longerich writes: "We should abandon the notion that it is historically meaningful to try to filter the wealth of available historical material and pick out a single decision" that led to the Holocaust.

Timothy Snyder writes that Longerich "grants the significance of Greiser's murder of Jews by gas at Chełmno in December 1941", but also detects a significant moment of escalation in spring 1942, which includes "the construction of the large death factory at Treblinka for the destruction of the Warsaw Jews, and the addition of a gas chamber to the concentration camp at Auschwitz for the murder of the Jews of Silesia". Longerich suggests that it "was only in the summer of 1942, that mass killing was finally understood as the realization of the Final Solution, rather than as an extensively violent preliminary to some later program of slave labor and deportation to the lands of a conquered USSR". For Longerich, to see mass-murder as the Final Solution was an acknowledgement by the Nazi leadership that there would not be a German military victory over the USSR in the near future.

David Cesarani emphasises the improvised, haphazard nature of Nazi policies in response to changing war time conditions in his overview, Final Solution: The Fate of the European Jews 1933–49 (2016). "Cesarani provides telling examples", wrote Mark Roseman, "of a lack of coherence and planning for the future in Jewish policy, even when we would most expect it. The classic instance is the invasion of Poland in 1939, when not even the most elementary consideration had been given to what should happen to Poland's Jews either in the shorter or longer term. Given that Poland was home to the largest Jewish population in the world, and that, in a couple of years, it would house the extermination camps, this is remarkable."

Whereas Browning places the Nazi plan to exterminate the Jews in the context of the Wehrmacht victories on the Eastern front, Cesarani argues that the German subsequent realisation that there would be no swift victory over the Soviet Union "scuppered the last territorial 'solution' still on the table: expulsion to Siberia". Germany's declaration of war on the United States on 11 December 1941, "meant that holding European Jews hostage to deter the US from entering the conflict was now pointless". Cesarani concludes, the Holocaust "was rooted in anti-Semitism, but it was shaped by war". The fact that the Nazis were, ultimately, so successful in murdering between five and six million Jews was not due to the efficiency of Nazi Germany or the clarity of their policies. "Rather, the catastrophic rate of killing was due to German persistence ... and the duration of the murderous campaigns. This last factor was largely a consequence of allied military failure."

The entry of the U.S. into the War is also crucial to the time-frame proposed by Christian Gerlach, who argued in his 1997 thesis that the Final Solution decision was announced on 12 December 1941, when Hitler addressed a meeting of the Nazi Party (the Reichsleiter) and of regional party leaders (the Gauleiter). The day after Hitler's speech, on 13 December 1941, Joseph Goebbels wrote in his diary:

"With respect of the Jewish Question, the Führer has decided to make a clean sweep. He prophesied to the Jews that if they again brought about a world war, they would see their annihilation in it. That wasn't just a catch-word. The world war is here and the annihilation of the Jews must be the necessary consequence."

Cesarani notes that by 1943, as the military position of the German forces deteriorated, the Nazi leadership became more openly explicit about the Final Solution. In March, Goebbels confided to his diary: "On the Jewish question especially, we are in it so deeply that there is no getting out any longer. And that is a good thing. Experience teaches that a movement and a people who have burned their bridges fight with much greater determination and fewer constraints than those that have a chance of retreat."

When Himmler addressed senior SS personnel and leading members of the regime in the Posen speeches on 4 October 1943, he used "the fate of the Jews as a sort of blood bond to tie the civil and military leadership to the Nazi cause".

"Today, I am going to refer quite frankly to a very grave chapter. We can mention it now among ourselves quite openly and yet we shall never talk about it in public. I'm referring to the evacuation of the Jews, the extermination of the Jewish people. Most of you will know what it's like to see 100 corpses side by side or 500 corpses or 1,000 of them. To have coped with this and—except for cases of human weakness—to have remained decent, that has made us tough. This is an unwritten—never to be written—and yet glorious page in our history."

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Final Solution


text:
Eusebius (disambiguation)

Eusebius (263-339 AD) was a Christian exegete, historian and polemicist.

Eusebius may also refer to:

 * Eusebius of Laodicea (died 268), bishop of Laodicea
 * Pope Eusebius (died 310), Pope in 309 or 310
 * Eusebius of Nicomedia (died 341), bishop of Berytus, Nicomedia and Constantinople, leader of Arianism
 * Eusebius (consul 347) (died c. 350), Roman consul in 347
 * Saint Eusebius of Rome (died 357), priest and martyr
 * Eusebius (consul 359), Roman consul in 359
 * Eusebius of Emesa (300–360), bishop of Emesa
 * Eusebius (praepositus sacri cubiculi), under Constantius II (died 361 AD)
 * Eusebius of Gaza (died c. 362), early Christian martyr
 * Saint Eusebius of Vercelli (283–371), bishop of Vercelli, opponent of Arianism
 * Saint Eusebius of Samosata (died 4th-century), bishop of Samosata
 * Saint Eusebius the Hermit (4th century), solitary monk of Syria
 * Eusebius of Myndus (4th century), Neoplatonist philosopher
 * Eusebius (sophist) (4th century), Roman sophist
 * Saint Eusebius of Cremona (died c. 423), monk, pre-congregational saint, and disciple of Jerome
 * Saint Eusebius (bishop of Milan) (died 462), archbishop of Milan
 * Eusebius (consul 489), Roman consul in 489 and 493
 * Eusebius of Dorylaeum (5th century), bishop of Dorylaeum, opponent of Nestorianism and Monophysitism

 * Eusebius, bishop of Paris until his death in 555
 * Eusebius of Alexandria (6th century), Christian author
 * Eusebius of Thessalonika (6th or 7th century), bishop of Thessalonika during the time of Pope Gregory the Great
 * Hwaetberht (died c. 740s), Abbot of Monkwearmouth-Jarrow Priory, who wrote under the pen-name of Eusebius

 * Eusebius of Angers (died 1081), bishop of Angers
 * Eusebius of Esztergom, c. 1200-1270) Hungarian priest, hermit, founder of the Order of Saint Paul the First Hermit
 * Karl Eusebius of Liechtenstein (1611–1684), the second prince of Liechtenstein
 * Eusebius, pen name of Edmund Rack (1735–1787)
 * Eusebius, one of the personae of Robert Schumann (1810–1856)
 * Eusebius Barnard (1802–1865), American minister and abolitionist

Eusebius is also the name of:
 * Jerome (347–420), Christian scholar and church father, whose full name was Eusebius Sophronius Hieronymus

title: Eusebius (disambiguation)


text:
Eurystheus

In Greek mythology, Eurystheus (Εὐρυσθεύς, ) was king of Tiryns, one of three Mycenaean strongholds in the Argolid, although other authors including Homer and Euripides cast him as ruler of Argos.

Family
Eurystheus was the son of King Sthenelus and Nicippe (also called Antibia or Archippe ), and he was a grandson of the hero Perseus. His sisters were Alcyone and Medusa (Astymedusa).

Eurystheus married Antimache, daughter of Amphidamas of Arcadia. Their children were Admete, Alexander, Iphimedon, Eurybius, Mentor, Perimedes and Eurypylus.

Labours of Heracles
In the contest of wills between Hera and Zeus over whose candidate would be hero, fated to defeat the remaining creatures representing an old order and bring about the reign of the Twelve Olympians, Eurystheus was Hera's candidate and Heracles—though his name implies that at one archaic stage of myth-making he had carried "Hera's fame"—was the candidate of Zeus. The arena for the actions that would bring about this deep change are the Twelve Labors imposed on Heracles by Eurystheus. The immediate necessity for the Labours of Heracles is as penance for Heracles' murder of his own family, in a fit of madness, which had been sent by Hera; however, further human rather than mythic motivation is supplied by mythographers who note that their respective families had been rivals for the throne of Mycenae. Details of the individual episodes may be found in the article on the Labours of Heracles, but Hera was connected with all of the opponents Heracles had to overcome.

Heracles' human stepfather Amphitryon was also a grandson of Perseus, and since Amphitryon's father (Alcaeus) was older than Eurystheus' father (Sthenelus), he might have received the kingdom, but Sthenelus had banished Amphitryon for accidentally killing (a familiar mytheme) the eldest son in the family (Electryon). When, shortly before his son Heracles was born, Zeus proclaimed the next-born descendant of Perseus should get the kingdom, Hera thwarted his ambitions by delaying Alcmene's labour and having her candidate Eurystheus born prematurely at seven months. Heracles' first task was to slay the Nemean Lion and bring back its skin, which Heracles decided to wear. Eurystheus was so scared by Heracles' fearsome guise that he hid in a subterranean bronze winejar, and from that moment forth all labors were communicated to Heracles through a herald, Copreus.

For his second labour, to slay the Lernaean Hydra, Heracles took with him his nephew, Iolaus, as a charioteer. When Eurystheus found out that Heracles' nephew had helped him he declared that the labour had not been completed alone and as a result did not count towards the ten labours set for him.

Eurystheus' third task did not involve killing a beast, but capturing one alive—the Ceryneian Hind, a golden-horned hind or doe sacred to Artemis. Heracles knew that he had to return the hind, as he had promised, to Artemis, so he agreed to hand it over on the condition that Eurystheus himself come out and take it from him. Eurystheus did come out, but the moment Heracles let the hind go, she sprinted back to her mistress, and Heracles departed, saying that Eurystheus had not been quick enough.

When Heracles returned with the Erymanthian Boar, Eurystheus was again frightened and hid in his jar, begging Heracles to get rid of the beast; Heracles obliged.

The fifth labour proposed by Eurystheus was to clear out the numerous stables of Augeias. Striking a deal with Augeias, Heracles proposed a payment of a tenth of Augeias' cattle if the labour was completed successfully. Not believing the task feasible, Augeias agreed, asking his son Phyleus to witness. Heracles rerouted two nearby rivers (Alpheis and Peneios) through the stable, clearing out the dung rapidly. When Augeias learned of Heracles' bargain for the task, he refused payment. Heracles brought the case to court, and Phyleus testified against his father. Enraged, Augeias banished both Phyleus and Heracles from the land before the court had cast their vote. However, Eurystheus refused to credit the labour to Heracles, as he had performed it for payment. So Heracles went and drove Augeias out of the kingdom and installed Phyleus as king. Heracles then took his tenth of the cattle and left them to graze in a field by his home.

For his sixth labour, Heracles had to drive the Stymphalian Birds off the marshes they plagued. He did so, shooting down several birds with his Hydra-poisoned arrows and bringing them back to Eurystheus as proof.

For his seventh labour, Heracles captured the Cretan Bull. He used a lasso and rode it back to his cousin. Eurystheus offered to sacrifice the bull to Hera his patron, who hated Heracles. She refused the sacrifice because it reflected glory on Heracles. The bull was released and wandered to Marathon, becoming known as the Marathonian Bull.

When Heracles brought back the man-eating Mares of Diomedes successfully, Eurystheus dedicated the horses to Hera and allowed them to roam freely in the Argolid. Bucephalus, Alexander the Great's horse, was said to be descended from these mares.

To acquire the belt of Hippolyte, queen of the Amazons, was Heracles' ninth task. This task was at the request of Eurystheus' daughter, Admete. For the tenth labour, he stole the cattle of the giant Geryon, which Eurystheus then sacrificed to Hera.

To extend what may have once been ten Labours to the canonical dozen, it was said that Eurystheus didn't count the Hydra, as he was assisted, nor the Augean stables, as Heracles received payment for his work. For the eleventh labour, Heracles had to obtain the Apples of the Hesperides; he convinced their father, the Titan Atlas, to help him, but did his share of work by temporarily holding up the sky in the Titan's stead. For his final labour, he was to capture Cerberus, the three-headed hound that guarded the entrance to Hades. When he managed to bring the struggling animal back, the terrified Eurystheus hid in his jar one more time, begging Heracles to leave for good and take the dog with him.

Death
After Heracles died, Eurystheus remained bitter over the indignity the hero had caused him. He attempted to destroy Heracles' many children (the Heracleidae, led by Hyllus), who fled to Athens. He attacked the city but was soundly defeated, and Eurystheus and his sons were killed. Though it is widely told that Hyllus killed Eurystheus, the stories about the killer of Eurystheus and the fate of his corpse vary, but the Athenians believed the burial site of Eurystheus remained on their soil and served to protect the country against the descendants of Heracles, who traditionally included the Spartans and Argives.

After Eurystheus' death, the brothers Atreus and Thyestes, whom he had left in charge during his absence, took over the city, the former exiling the latter and assuming the kingship, while Tiryns returned to the kingship of Argos.

Eurystheus in Euripides
Eurystheus was a character in Heracleidae, a play by Euripides. Macaria, one of the daughters of Heracles, and her brothers and sisters hid from Eurystheus in Athens, which was ruled by King Demophon. As Eurystheus prepared to attack, an oracle told Demophon that he would win if and only if a noble woman was sacrificed to Persephone. Macaria volunteered for the sacrifice and a spring was named the Macarian spring in her honor. Eurystheus speaks prophetically of his burial within Attica, claiming that he will be an anti-hero of sorts, though one who will eventually protect the Athenians.

In popular culture

 * Eurystheus appears in the 1958 film Hercules and is portrayed by Italian actor Arturo Dominici. In contrast to the character's mythology, the Eurystheus depicted in the film is only a supporting character seen as a criminal recruited to kill King Aeson of Iolcus. During the film's climax, he is confronted and strangled to death by Hercules' chain lasso.
 * Eurystheus appears in the 1960 film Goliath and the Dragon, portrayed by Broderick Crawford. In this second known film appearance, he is depicted as a warlord set on conquering Thebes and becoming its new king. He sets Hercules on a dangerous mission (reminiscent of the Twelfth Labor of Hercules), believing the hero will perish and leave Thebes defenseless without its champion. Eurystheus is later killed in a dungeon scene with Hercules after being pushed by a slave girl into an open pit of snakes.
 * Eurystheus appears in the 2014 film Hercules, portrayed by Joseph Fiennes. Here, Eurystheus (depicted as King of Athens in 361 BC, when the city was actually a democracy) is responsible for the death of Hercules' family, rather than Hercules under Hera's spell, having drugged Hercules and sent three black wolves to attack him. The wolves killed Hercules' family, though Hercules believed that it was he who killed his own family. Hercules avenges his family by stabbing Eurystheus to death with his own dagger.

title: Eurystheus


text:
Effects unit

An effects unit, effects processor, or effects pedal is an electronic device that alters the sound of a musical instrument or other audio source through audio signal processing.

Common effects include distortion/overdrive, often used with electric guitar in electric blues and rock music; dynamic effects such as volume pedals and compressors, which affect loudness; filters such as wah-wah pedals and graphic equalizers, which modify frequency ranges; modulation effects, such as chorus, flangers and phasers; pitch effects such as pitch shifters; and time effects, such as reverb and delay, which create echoing sounds and emulate the sound of different spaces.

Most modern effects use solid-state electronics or digital signal processors. Some effects, particularly older ones such as Leslie speakers and spring reverbs, use mechanical components or vacuum tubes. Effects are often used as stompboxes, typically placed on the floor and controlled with footswitches. They may also be built into guitar amplifiers, instruments (such as the Hammond B-3 organ), tabletop units designed for DJs and record producers, and rackmounts, and are widely used as audio plug-ins in such common formats as VST, AAX, and AU.

Musicians, audio engineers and record producers use effects units during live performances or in the studio, typically with electric guitar, bass guitar, electronic keyboard or electric piano. While effects are most frequently used with electric or electronic instruments, they can be used with any audio source, such as acoustic instruments, drums, and vocals.

Terminology
An effects unit is also called an effect box, effects device, effects processor or simply an effect. The abbreviation F/X or FX is sometimes used. A pedal-style unit may be called a stomp box, stompbox, effects pedal or pedal. Unprocessed audio coming into an effects unit is referred to as dry, while the processed audio output is referred to as wet.

A musician bringing many pedals to a live show or recording session often mounts the pedals on a guitar pedalboard, to reduce set-up and tear-down time and, for pedalboards with lids, protect the pedals during transportation. When a musician has multiple effects in a rack mounted road case, this case may be called an effects rack or rig. When rackmounted effects are mounted in a roadcase, this also speeds up a musician's set-up and tear-down time, because all of the effects can be connected together inside the rack case.

Form factors
Effects units are available in a variety of form factors. Stompboxes are used in both live performance and studio recording. Rackmount devices saw a heavy usage during the later 20th century, due to their superior processing power and desirable tones as compared to pedal-style units. However, by the 21st century, with the advent of digital plugins and more powerful stompboxes for live usage, the use of rack-mounted effect units has declined. An effects unit can consist of analog or digital electronics or a combination of the two. During a live performance, the effect is plugged into the electrical signal path of the instrument. In the studio, an instrument or another sound source — possibly an auxiliary output of a mixer or a DAW — is patched into the effect. Whatever the form factor, effects units are part of a studio or musician's outboard gear.

Stompboxes

Stompboxes are small plastic or metal chassis that usually lie on the floor or in a pedalboard to be operated by the user's feet. Pedals are often rectangle-shaped, but there are a range of other shapes (e.g., the circular Fuzz Face). Typical simple stompboxes have a single footswitch, one to three potentiometers for controlling the effect, and a single LED that indicates if the effect is on. A typical distortion or overdrive pedal's three potentiometers, for example, control the level or intensity of the distortion effect, the tone of the effected signal and the output level of the effected signal. Depending on the type of pedal, the potentiometers may control different parameters of the effect. For a chorus effect, for example, the knobs may control the depth and speed of the effect. Complex stompboxes may have multiple footswitches, many knobs, additional switches or buttons that are operated with the fingers, and an alphanumeric LED display that indicates the status of the effect with short acronyms (e.g., DIST for "distortion").

An effects chain is formed by connecting two or more stompboxes forming a signal chain. Effect chains are typically created between the guitar and the amp or between the preamplifier and the power amp. When a pedal is off or inactive, the electric audio signal coming into the pedal diverts onto a bypass, an unaltered dry signal that continues on to other effects down the chain. In this way, a musician can combine effects within a chain in a variety of ways without having to reconnect boxes during a performance. A controller or effects management system lets the musician create multiple effect chains, so they can select one or several chains by tapping a single switch. The switches are usually organized in a row or a simple grid.

It is common to put compression, wah and overdrive pedals at the start of the chain; modulation (chorus, flanger, phase shifter) in the middle; and time-based units (delay/echo, reverb at the end. When using many effects, unwanted noise and hum can be introduced into the sound. Some performers use a noise gate pedal at the end of a chain to reduce unwanted noise and hum introduced by overdrive units or vintage gear.

Rackmounts
Rackmount effects units are typically built in a thin metal chassis with rack ears designed to be screw-mounted into the rack rails of a 19-inch rack that is standard to the music technology industry. Rackmount effects have a standardized 19-inch width, and height of 1 or more rack unit(s). Devices that are less than 19 inches wide can sometimes be made rackmount-compatible via special rackmount adapters.

A rackmount effects unit may contain electronic circuitry identical to a stompbox's, although its circuits are typically more complex. Unlike stompboxes, rackmounts usually have several different types of effects. Rackmount effects units are controlled by knobs, switches or buttons on their front panel, and often remote-controllable by a MIDI digital control interface or pedal-style foot controller.

Rackmount effects units are most commonly used in recording studios and front of house live sound mixing situations. Musicians may use them in place of stompboxes, as use of a rack can offer space for conveniently mounting additional rackmount equipment or accessories. Rackmounted effects units are typically mounted in a rack, which may be housed within a road case, a durable case with removable access panels that protect the equipment within during transportation. Because of this, rackmount effect units are not always designed with durable protective features such as corner protectors which are used on stompboxes and amps that are designed to be transported as standalone units.

Multi-effects and tabletop units
A multi-effects (MFX) device is a single electronics effects pedal or rackmount device that contains many different electronic effects. multi-effects devices allow users to preset combinations of different effects, allowing musicians quick on-stage access to different effects combinations. Multi-effects units typically have a range of distortion, chorus, flanger, phaser, delay, looper and reverb effects. Pedal-style multi-effects range from fairly inexpensive stompboxes that contain two pedals and a few knobs to control the effects to large, expensive floor units with many pedals and knobs. Rack-mounted multi-effects units may be mounted in the same rack as preamplifiers and power amplifiers.

A tabletop unit is a type of multi-effects device that sits on a desk and is controlled manually. One such example is the Pod guitar amplifier modeler. Digital effects designed for DJs are often sold in tabletop models, so that the units can be placed alongside a DJ mixer, turntables and scratching gear.

Built-in units
Effects are often incorporated into instrument amplifiers and even some types of instruments. Electric guitar amplifiers often have built-in reverb, chorus and distortion, while acoustic guitar and keyboard amplifiers tend to only have built-in reverb. Some acoustic instrument amplifiers have reverb, chorus, compression and equalization (bass and treble) effects. Vintage guitar amps typically have tremolo and vibrato effects, and sometimes reverb. The Fender Bandmaster Reverb amp, for example, had built-in reverb and vibrato. Built-in effects may offer the user less control than standalone pedals or rackmounted units. For example, on some lower- to mid-priced bass amplifiers, the only control on the audio compression effect is a button or switch to turn it on or off, or a single knob. In contrast, a pedal or rackmounted unit would typically provide ratio, threshold and attack controls or other options to allow the user additional control over the compression.

Some guitar amplifiers have built-in multi-effects units or digital amplifier modeling effects. Bass amplifiers are less likely to have built-in effects, although some may have a compressor/limiter or fuzz bass effect.

Instruments with built-in effects include Hammond organs, electronic organs, electronic pianos and digital synthesizers. Built-in effects for keyboards typically include reverb, chorus and, for Hammond organ, vibrato. Many clonewheel organs include an overdrive effect. Occasionally, acoustic-electric and electric guitars will have built-in effects, such as a preamp or equalizer.

Studio effects and early stand-alone units
The earliest sound effects were strictly used in studio productions. Microphones placed in echo chambers with specially designed acoustic properties simulated the sound of live performances in different environments. In the mid to late 1940s, recording engineers and experimental musicians such as Les Paul began manipulating reel-to-reel recording tape to create echo effects and unusual, futuristic sounds. In 1941, DeArmond released the Model 601 Tremolo Control, the first commercially available stand-alone effects unit. This device produced a tremolo by passing an instrument's electrical signal through a water-based electrolytic fluid. Most stand-alone effects of the 1950s and early 1960s such as the Gibson GA-VI vibrato unit and the Fender reverb box, were expensive and impractical, requiring bulky transformers and high voltages. The original stand-alone units were not especially in-demand as many effects came built into amplifiers. The first popular stand-alone was the 1958 Watkins Copicat, a relatively portable tape echo effect made famous by the British band, The Shadows.

Amplifiers

Effects built into tube-powered guitar amplifiers were the first effects that musicians used regularly outside the studio. From the late 1940s onward, the Gibson began including vibrato circuits in combo amplifiers that incorporated one or more speakers with the amp. The 1950 Ray Butts EchoSonic amp was the first to feature a tape echo, which quickly became popular with guitarists such as Chet Atkins, Carl Perkins, Scotty Moore, Luther Perkins, and Roy Orbison. Both Premier and Gibson built amplifiers with spring reverb. Fender began manufacturing the tremolo amps Tremolux in 1955 and Vibrolux in 1956.

Distortion was not an effect originally intended by amplifier manufacturers, but could often easily be achieved by overdriving the power supply in early tube amplifiers. In the 1950s, guitarists began deliberately increasing gain beyond its intended levels to achieve warm distorted sounds. Among the first musicians to experiment with distortion were Willie Johnson of Howlin' Wolf, Goree Carter, Joe Hill Louis, Ike Turner, Guitar Slim, and Chuck Berry.

In 1954, Pat Hare produced heavily distorted power chords for several recordings (including James Cotton's "Cotton Crop Blues"), creating "a grittier, nastier, more ferocious electric guitar sound," accomplished by turning the volume knob on his amplifier "all the way to the right until the speaker was screaming." Link Wray's 1958 recording "Rumble" inspired young musicians such as Pete Townshend of The Who, Jimmy Page of Led Zeppelin, Jeff Beck, Dave Davies of The Kinks, and Neil Young to explore distortion by various means. In 1966, the British company Marshall Amplification began producing the Marshall 1963, a guitar amplifier capable of producing the distorted crunch that rock musicians were starting to seek.

Stompboxes

The electronic transistor finally made it possible to fit effects circuitry into highly portable stompbox units. Transistors replaced vacuum tubes, allowing for much more compact formats and greater stability. The first transistorized guitar effect was the 1962 Maestro Fuzz Tone pedal, which became a sensation after its use in the 1965 Rolling Stones hit "(I Can't Get No) Satisfaction".

Warwick Electronics manufactured the first wah-wah pedal, The Clyde McCoy, in 1967 and that same year Roger Mayer developed the first octave effect, which Jimi Hendrix named "Octavio". Upon first hearing the Octavia, Hendrix reportedly rushed back to the studio and immediately used it to record the guitar solos on "Purple Haze" and "Fire". In 1968, Univox began marketing Shin-ei's Uni-Vibe pedal, an effect designed by noted audio engineer Fumio Mieda that mimicked the odd phase shift and chorus effects of the Leslie rotating speakers used in Hammond organs. The pedals soon became favorite effects of guitarists Jimi Hendrix and Robin Trower. In 1976, Roland subsidiary Boss Corporation released the CE-1 Chorus Ensemble, the first chorus pedal, created by taking a chorus circuit from an amplifier and putting it into a stompbox. By the mid-1970s a variety of solid-state effects pedals including flangers, chorus pedals, ring modulators and phase shifters were available.

In the 1980s, digital rackmount units began replacing stompboxes as the effects format of choice. Often musicians would record dry, unaltered tracks in the studio and effects would be added in post-production. The success of Nirvana's 1991 album Nevermind helped to re-ignite interest in stompboxes. Some grunge guitarists would chain several fuzz pedals together and plug them into a tube amplifier. Throughout the 1990s, musicians committed to a lo-fi aesthetic such as J Mascis of Dinosaur Jr., Stephen Malkmus of Pavement and Robert Pollard of Guided by Voices continued to use analog effects pedals.

Effects and effects units—stompboxes in particular—have been celebrated by pop and rock musicians in album titles, songs and band names. The Big Muff, a fuzzbox manufactured by Electro-Harmonix, is commemorated by the Depeche Mode song "Big Muff" and the Mudhoney EP Superfuzz Bigmuff. Nine Inch Nails, Pink Floyd, George Harrison, They Might Be Giants and Joy Division are among the many musicians who have referenced effects units in their music.

Distortion

Distortion, overdrive, and fuzz effects units add a warm, gritty, or fuzzy character to an audio signal by re-shaping or clipping it, which distorts the shape of its waveform by flattening its peaks, creating warm sounds by adding harmonics or gritty sounds by adding inharmonic overtones. Distortion effects are sometimes called gain effects, as distorted guitar sounds were first achieved by increasing the gain of tube amplifiers.

While distortion effects units produce perfectly flattened peaks or hard clipping, overdrive effects units produce soft tube-like distortion by compressing the waveform without completely flattening it. Much like guitar tube amplifiers, overdrive effects units are capable of producing clean sounds at lower volumes and distorted warm sounds at higher volumes.

Notable examples of distortion and overdrive pedals include the Boss DS-1 Distortion, Ibanez Tube Screamer, Marshall ShredMaster, MXR Distortion +, and Pro Co RAT.

A fuzz pedal, or fuzzbox, is a type of overdrive effects unit that clips a signal until it is nearly a squarewave, resulting in a heavily distorted or fuzzy sound. Fuzzboxes may contain frequency multiplier circuitry to achieve a harsh timbre by adding complex harmonics. The Rolling Stones' song "(I Can't Get No) Satisfaction", with a fuzz effect featured prominently on the main electric guitar riff played by Keith Richards, greatly popularized the use of fuzz effects. Fuzz bass (also called bass overdrive) is a style of playing the electric bass that produces a buzzy, overdriven sound via a tube or transistor amp or by using a fuzz or overdrive pedal.

Notable examples of fuzz effect units include the: Arbiter Fuzz Face, Electro-Harmonix Big Muff, Shin-ei Companion FY-2, Univox Super-Fuzz, Vox Tone Bender, Z.Vex Fuzz Factory.

While distortion effect units are most associated with electric and bass guitar, they are also commonly used on keyboard instruments (i.e. synthesizers, combo and tonewheel organs, electric piano), as well as drums and vocals.

Dynamics

Also called volume and amplitude effects, dynamics effects modify the volume of an instrument. Dynamics effects were among the first effects introduced to guitarists.

Boost/volume pedal: When activated, a boost or clean boost pedal amplifies the volume of an instrument by increasing the amplitude of its audio signal. These units are generally used for boosting volume during solos and preventing signal loss in long effects chains. A guitarist switching from rhythm guitar to lead guitar for a guitar solo may use a boost to increase the volume of their solo.

Volume effects: Electro-Harmonix LPB-1, Fender Volume Pedal, MXR Micro Amp, Ernie Ball Volume Pedal. Treadle-based volume pedals are used by electric instrument players (guitar, bass, keyboards) to adjust the volume of their instrument with one foot while their hands are being used to play their instrument. Treadle-style volume pedals are often also used to create swelling effects by removing the attack of a note or chord, as popularised by pedal steel guitar players. This enables electric guitar and pedal steel players to imitate the soft swelling sound that an orchestra string section can produce, in which a note or chord starts very softly and then grows in volume. Treadle-based volume pedals do not usually have batteries or require external power.

Compressor: Compressors make loud sounds quieter and quiet sounds louder by decreasing or compressing the dynamic range of an audio signal. A compressor is often used to stabilize volume and alter the sound of a note's attack. With extreme settings of its controls, a compressor can function as a limiter.

Compressor effects: Keeley Compressor, MXR Dyna Comp, Boss CS-3 Compression Sustainer.

Noise gate: Noise gates attenuate hum, hiss, and static in the signal by greatly diminishing the volume when the signal falls below a set threshold. Noise gates are expanders—meaning that, unlike compressors, they increase the dynamic range of an audio signal to make quiet sounds even quieter. If used with extreme settings and combined with reverb, they can create unusual sounds, such as the gated drum effect used in 1980s pop songs, a style popularized by the Phil Collins song In the Air Tonight.

Noise gate effects: Boss NS-2 Noise Suppressor.

Filter
Filter effects alter the frequency content of an audio signal that passes through them by either boosting or weakening specific frequencies or frequency regions.

Equalizer: An equalizer is a set of linear filters that strengthen (boost) or weaken (cut) specific frequency regions. While basic home stereos often have equalizers for two bands, to adjust bass and treble, professional graphic equalizers offer much more targeted control over the audio frequency spectrum. Audio engineers use highly sophisticated equalizers to eliminate unwanted sounds, make an instrument or voice more prominent, and enhance particular aspects of an instrument's tone.

Equalizer effects: Boss GE-7 Equalizer, MXR 10-band EQ Pedal.

Talk box: A talk box directs the sound from an electric guitar or synthesizer into the mouth of a performer using a tube, allowing the sound to be shaped into vowels and consonants with movements of the mouth. The modified sound is then picked up by a microphone. In this way, the guitarist is able create the effect that the guitar is talking. Some famous uses of the talkbox include Bon Jovi's "Livin' on a Prayer", Stevie Wonder's "Black Man", Mötley Crüe's "Kickstart My Heart", Joe Walsh's "Rocky Mountain Way", Alice in Chains's "Man in the box" and Peter Frampton's "Show Me the Way".

Talk boxes: Dunlop HT1 Heil Talk Box, Rocktron Banshee.

Wah-wah: A wah-wah pedal creates vowel-like sounds by altering the frequency spectrum produced by an instrument—i.e., how loud it is at each separate frequency—in what is known as a spectral glide or sweep. The device is operated by a foot treadle that manipulates a potentiometer or other electronic control. Wah-wah pedals are often used by funk and rock guitarists.

Wah effects: Dunlop Cry Baby, Morley Power Wah, Vox.

Auto-wah or, more generally, envelope filter effects: A filter effect that is controlled by the volume of the input signal. The most common filter type used for this effect pedal is the low-pass filter, although many designs include a toggle for band-pass or high-pass filters as well. Additionally, some designs can switch between a down filter mode and an up filter. This effect is commonly used in funk, reggae and jam band music.

Envelope filter effects: Musitronics Mu-Tron III, Electro-Harmonix Q-Tron Plus, DOD Envelope Filter 440.

Modulation
Modulation, in general electronics, means the altering of on signal based on another. In audio devices, modulation is a control feature that varies the strength or other attribute of an effect over time to alter tonal properties. Some modulation effects modulate an instrument's audio signal with a signal generated by the effect called a carrier wave. Other modulation effects split an instrument's audio signal in two, altering one portion of the signal and mixing it with the unaltered portion.

Chorus: Chorus pedals mimic the effect choirs and string orchestras produce naturally, by having slight variations in timbre and pitch, by mixing sounds with slight differences in timbre and pitch. A chorus effect splits the instrument-to-amplifier audio signal, and adds a slight delay and frequency variations or vibrato to part of the signal while leaving the rest unaltered. A well-known usage of chorus is the lead guitar in "Come As You Are" by Nirvana.

Chorus effects: Boss CE-1 Chorus Ensemble, Electro-Harmonix Small Clone, TC Electronic Stereo Chorus.

Flanger: A flanger creates a "whooshing" "jet plane" or "spaceship" sound, simulating a studio effect that was first produced by recording a track on two synchronized tapes and periodically slowing one tape by pressing the edge of its reel (the "flange"). When the two tapes' audio signals are later mixed, a comb filter effect can be heard. Flanger units add a variably delayed version of the audio signal to the original or signal, creating a comb filter or Doppler effect. Some famous uses of flanger effects include "Walking on the Moon" by The Police, the intro to "Ain't Talkin' 'Bout Love" by Van Halen, and "Barracuda" by Heart.

Flanger effects: Electro-Harmonix Electric Mistress, MXR Flanger, Boss BF-3 Flanger. Phaser: A phaser or "phase shifter" creates a slight rippling effect—amplifying some aspects of the tone while diminishing others—by splitting an audio signal in two and altering the phase of one portion. Three well-known examples of phaser are the two handed tapping part on the Van Halen instrumental "Eruption" and the keyboard parts on Billy Joel's "Just the Way You Are" and Paul Simon's "Slip Slidin' Away".

Phase shift effects: Uni-Vibe, Electro-Harmonix Small Stone, MXR Phase 90.

Ring modulator: A ring modulator produces a resonant, metallic sound by mixing an instrument's audio signal with a carrier wave generated by the device's internal oscillator. The original sound wave is suppressed and replaced by a "ring" of inharmonic higher and lower pitches or "sidebands". A notable use of ring modulation is the guitar in the Black Sabbath song "Paranoid".

Ring modulator effects: Moogerfooger MF-102 Ring Modulator.

Tremolo: A tremolo effect produces a slight, rapid variation in the volume of a note or chord. The "tremolo effect" should not be confused with the misleadingly-named tremolo bar, a device on a guitar bridge that creates a vibrato or pitch-bending effect. In transistorized effects, a tremolo is produced by modulating an instrument's audio signal with a sub-audible carrier wave in such a way that generates amplitude variations in the sound wave. Tremolo effects are built-in effects in some vintage guitar amplifiers. The guitar intro in the Rolling Stones' "Gimme Shelter" features a tremolo effect.

Tremolo effects: Demeter TRM-1 Tremulator, Fender Tremolux.

Slicer: Combines a modulation sequence with a noise gate or envelope filter to create a percussive and rhythmic effect like a helicopter.

Vibrato: Vibrato effects produce slight, rapid variations in pitch, mimicking the fractional semitone variations produced naturally by opera singers and violinists when they are prolonging a single note. Vibrato effects often allow the performer to control the rate of the variation as well as the difference in pitch (e.g. "depth"). A vibrato with an extreme "depth" setting (e.g., half a semitone or more) will produce a dramatic, ululating sound. In transistorized effects, vibrato is produced by mixing an instrument's audio signal with a carrier wave in such a way that generates frequency variations in the sound wave. Guitarists often use the terms vibrato and "tremolo" misleadingly. A so-called "vibrato unit" in a guitar amplifier actually produces tremolo, while a "tremolo arm" or "whammy bar" on a guitar produces vibrato.

Vibrato effects: Boss VB-2 Vibrato.

Pitch/frequency
Pitch/frequency effects modify pitch by altering the frequency of a sound wave or sound signal or adding new harmonies.

Pitch shifter and harmonizer" A pitch shifter (also called an "octaver" for effects that shift pitch by an octave) raises or lowers (e.g. "transposes") each note a performer plays by a pre-set interval. For example, a pitch shifter set to increase the pitch by a fourth will raise each note four diatonic intervals above the notes actually played. Simple, less expensive pitch shifters raise or lower the pitch by one or two octaves, while more sophisticated and expensive devices offer a range of interval alterations. A pitch shifter can be used by an electric guitarist to play notes that would normally only be available on an electric bass. As well, a bass player with a four string electric bass can use an octave pedal to obtain low notes that would normally only be obtainable with a five-string bass with a low "B" string.

A harmonizer is a type of sophisticated pitch shifter that combines the altered pitch with the original pitch to create a two note harmony based on the original pitch, or even with some pedals, three note harmony. Some hamonizers are able to create chorus-like effects by adding very tiny shifts in pitch.

Pitch shift effects: DigiTech Whammy, Electro-Harmonix POG.

Time-based
Time-based effects delay the sound signal, add reverb or echos, or, if a long delay is possible, enable musicians to record "loops".

Delay/echo: Delay/echo units produce an echo effect by adding a duplicate instrument-to-amplifier electrical signal to the original signal at a slight time-delay. The effect can either be a single echo called a "slap" or "slapback", or multiple echos. A well-known use of delay is the lead guitar in the U2 song "Where the Streets Have No Name", and also the opening riff of "Welcome to the Jungle" by Guns N' Roses.

Delay effects: Boss DD-3 Digital Delay, MXR Carbon Copy, Electro-Harmonix Deluxe Memory Man, Line 6 DL4, Roland RE-201.

Looper pedal: A looper pedal or "phrase looper" allows a performer to record and later replay a phrase, riff or passage from a song. Loops can be created on the spot during a performance (live looping) or they can be pre-recorded. By using a looper pedal, a singer-guitarist in a one person band can play the backing chords (or riffs) to a song, loop them with the pedal, and then sing and do a guitar solo over the chords. Some units allow a performer to layer multiple loops, enabling the performer to create the effect of a full band. The first loop effects were created with reel-to-reel tape using a tape loop. High-end boutique tape loop effects are still used by some studio producers who want a vintage sound. Digital loop effects recreate this effect using an electronic memory.

Reverb: Reverb units simulate the spacious sounds produced naturally in a huge stone cathedral (or other acoustic space such as a hall or room). This is done by creating a large number of echoes that gradually fade away in volume or "decay". One early technique for creating a reverb effect was to send an amplified signal of the music via a speaker to another room with reflective surfaces, such as a tile bathroom, and then record the natural reverberations that were produced. A plate reverb system uses an electromechanical transducer to create vibrations in a plate of metal. Spring reverb systems, which are often used in guitar amplifiers, use a transducer to create vibrations in a spring. Digital reverb effects use various signal processing algorithms to create the reverb effect, often by using multiple feedback delay circuits. Rockabilly and surf guitar are two genres that make heavy use of reverb.

Reverb effects: Electro-Harmonix Holy Grail, Fender Reverb Unit.

Feedback/sustain
Audio feedback: Audio feedback is an effect produced when amplified sound is picked up by a microphone or guitar pickup and played back through a guitar amplifier, initiating a "feedback loop", which usually consists of high-pitched sound. Feedback that occurs from a vocal mic into a PA system is almost always avoided. However, in some styles of rock music, electric guitar players intentionally create feedback by playing their instrument directly in front of a heavily amplified, distorted guitar amplifier's speaker enclosure. The creative use of feedback effects was pioneered by guitarists such as Jimi Hendrix in the 1960s. This technique creates sustained, high-pitched overtones and unusual sounds not possible through regular playing techniques. Guitar feedback effects can be difficult to perform, because it is difficult to determine the sound volume and guitar position relative to a guitar amp's loudspeaker necessary for achieving the desired feedback sound. Guitar feedback effects are used in a number of rock genres, including psychedelic rock, heavy metal music and punk rock.

EBow is a brand name of Heet Sound Products, of Los Angeles, California, for a small, handheld, battery-powered resonator. The Ebow was invented by Greg Heet, as a way to make a note on an electric guitar string resonate continuously, creating an effect that sounds similar to a bowed violin note or a sustained pipe organ note. The resonator uses a pickup – inductive string driver – feedback circuit, including a sensor coil, driver coil, and amplifier, to induce forced string resonance. The Ebow brand resonator is monophonic, and drives only one string at a time.

Other handheld and mounted guitar and bass resonators have been on the market since the early 1990s, produced in Germany under the SRG brand, which ceased production in 2016, and were available in both monophonic (one string at a time) and polyphonic (multiple strings at a time) models, which included multiple onboard trigger switch effects, such as HPF (high pass filter) for enhancing harmonics and producing feedback effects, and LPF (low pass filter), producing a bass boost with a cello sound on heavy gauge strings. Later EBow models, such as the plus Ebow, contain a mode slide switch on the back, which allows the player to either produce just sustain or overtone feedback in addition to sustain. Pedals such as the Boss DF-2 and FB-2 use an internally generated signal matched to the pitch of the guitar that can be sustained indefinitely by depressing the pedal. Many compressor pedals are often also marketed as "sustainer pedals". As a note is sustained, it loses energy and volume due to diminishing vibration in the string. The compressor pedal boosts its electrical signal to the specified dynamic range, slightly prolonging the duration of the note. This, combined with heavy distortion and the close proximity of the guitar and the speaker cabinet, can lead to infinite sustain at higher volumes.

Other effects
Envelope follower: An envelope follower activates an effect once a designated volume is reached. One effect that uses an envelope follower is the auto-wah, which produces a "wah" effect depending on how loud or soft the notes are being played. Guitar amplifier modeling: Amplifier modeling is a digital effect that replicates the sound of various amplifiers, most often vintage tube amplifiers and famous brands of speaker cabinets (e.g., the Ampeg SVT 8x10" bass cabinet). Sophisticated modeling effects can simulate different types of speaker cabinets (e.g., the sound of an 8x10" cabinet) and miking techniques. A rotary speaker simulator mimics the doppler and chorus effect sound of a vintage Leslie speaker system by replicating its volume and pitch modulations, overdrive capacity and phase shifts.

Pitch correction/vocal effects: Pitch correction effects use signal-processing algorithms to re-tune faulty intonation in a vocalist's performance or create unusual vocoder-type vocal effects. One of the best known examples of this is Autotune, a software program and effect unit which can be used to both correct pitch (it moves a pitch to the nearest semitone), and add vocal effects. Some stompbox-style vocal pedals contain multiple effects, such as reverb and pitch correction.

Simulators: Simulators enable electric guitars to mimic the sound of other instruments such as acoustic guitar, electric bass and sitar. Pick up simulators used on guitars with single-coil pick ups replicate the sound of guitars with humbucker pick ups, or vice versa. A de-fretter is a bass guitar effect that simulates the sound of a fretless bass. The effect uses an envelope-controlled filter and voltage-controlled amplifier to "soften" a note's attack both in volume and timbre.

Bitcrusher filters: Bitcrushers rely on conversion of the audio signal into a digital format (ADC) and the reduction of sound fidelity by utilising bit (and sometimes sample) rates low enough to cause significant colouration and filtering within the audible frequency range.

Rotating speakers are specially constructed amplifier or loudspeakers used to create special audio effects using the Doppler effect by rotating the speakers or a sound-directing duct. The rotating speaker creates a chorus-type effect. Named after its inventor, Donald Leslie, it is particularly associated with the Hammond organ but is used with a variety of instruments as well as vocals. The Hammond/Leslie combination has become an element in many genres of music. The Leslie Speaker and the Hammond Organ brands are currently owned by Suzuki Musical Instrument Corporation.

The Korg Kaoss Pad is a small touchpad MIDI controller, sampler, and effects processor for audio and musical instruments, made by Korg. The Kaoss Pad's touchpad can be used to control its internal effects engine, which can be applied to a line-in signal or to samples recorded from the line-in. Effects types include pitch shifting, distortion, filtering, wah-wah, tremolo, flanging, delay, reverberation, auto-panning, gating, phasing, and ring modulation. The Kaoss Pad can also be used as a MIDI controller.

Bass effects

Bass effects are electronic effects units that are designed for use with the low pitches created by an electric bass or for an upright bass used with a bass amp or PA system. Two examples of bass effects are fuzz bass and bass chorus. Some bass amplifiers have built-in effects, such as overdrive or chorus. Upright bassists in jazz, folk, blues and similar genres may use a bass preamplifier, a small electronic device that matches the impedance between the piezoelectric pickup and the amp or PA system. Bass preamps also allow for the gain of the signal to be boosted or cut. Some models also offer equalization controls, a compressor, and a DI box connection.

Boutique pedals
Boutique pedals are designed by smaller, independent companies and are typically produced in limited quantities. Some may even be hand-made, with hand-soldered connections. These pedals are mainly distributed online or through mail-order, or sold in a few music stores. They are often more expensive than mass-produced pedals and offer higher-quality components, innovative designs, in-house-made knobs, and hand-painted artwork or etching. Some boutique companies focus on re-creating classic or vintage effects.

Some boutique pedal manufacturers include: BJFE, Pete Cornish, Emlyn Crowther, Death By Audio, Robert Keeley, Roger Linn, Roger Mayer, Strymon, T-Rex Engineering, ToadWorks, and Z.Vex Effects.

Modification
There is also a niche market for modifying or "modding" effects. Typically, vendors provide either custom modification services or sell new effects pedals they have already modified. The Ibanez Tube Screamer, Boss DS-1, Pro Co RAT and DigiTech Whammy are some of the most often-modified effects. Common modifications include value changes in capacitors or resistors, adding true-bypass so that the effect's circuitry is no longer in the signal path, substituting higher-quality components, replacing the unit's original operational amplifiers (op-amps), or adding functions to the device, such as allowing additional control of some factor or adding another output jack.

Other pedals and rackmount units
Not all stompboxes and rackmounted electronic devices designed for musicians are effects. Strobe tuner and regular electronic tuner pedals indicate whether a guitar string is too sharp or flat. Stompbox-format tuner pedals route the electric signal for the instrument through the unit via a 1/4" patch cable. These pedal-style tuners usually have an output so that the signal can be plugged into a guitar amp to produce sound. Rackmount power conditioner devices deliver a voltage of the proper level and characteristics to enable equipment to function properly (e.g., by providing transient impulse protection). A rackmounted wireless receiver unit is used to enable a guitarist or bassist to move around on stage without being connected to a cable. A footswitch pedal such as the "A/B" pedal routes a guitar signal to an amplifier or enables a performer to switch between two guitars, or between two amplifiers.

Guitar amplifiers and electronic keyboards may have switch pedals for turning built-in reverb and distortion effects on and off; the pedals contain only a switch, with the circuitry for the effect being housed in the amplifier chassis. Some musicians who use rackmounted effects or laptops employ a MIDI controller pedalboard or armband remote controls to trigger sound samples, switch between different effects or control effect settings. A pedal keyboard uses pedals, but it is not an effect unit; it is a foot-operated keyboard in which the pedals are typically used to play basslines.

title: Effects unit