Volume swell

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For other uses, see crescendo.

A volume swell is a musical crescendo commonly associated with the electric guitar.

Roughly speaking, the sound of a guitar note is characterized by an initial 'attack' where the pick or nail produces higher pitched overtones over the top of the fundamental note, followed by a diminution of these overtones. Consequently, the end of the note is softer than the attack. Volume swells alter the tone of the note, reducing the treble tones of the attack and allowing the softer tone that follows to sustain.

The technique is often executed by the little finger of the guitarist which is wrapped around the volume pot of the guitar. When the note is struck the volume is increased from zero by a rolling motion of the little finger. Alternatively, the effect is achieved with a volume pedal. It is sometimes called "violining", because the sound is similar to a bowed violin. Allan Holdsworth pioneered the technique of the pedal swelling along with a delay unit to create a thicker sound that is more associated with the cello.

Roy Buchanan was famous for his emotive volume swells, often in combination with note bending and vibrato. Jan Akkerman used the technique with Focus, as did Phil Keaggy with Glass Harp, and Dickey Betts with The Allman Brothers Band's first few albums.

Another early use of swells is found in the Beatles recording of "Eight Days a Week".

For their 1983 album Diver Down, Van Halen's guitarist Eddie Van Halen wrote a solo piece using the technique known as Cathedral. After the recording Van Halen would often incorporate the piece into his live guitar solo when playing on stage.

Night Ranger guitarist Brad Gillis uses the effect for the main melody of "Rumours in the Air" from their 1983 second album Midnight Madness.