Distortion (music)

917: 689:, but in music it is used to refer to nonlinear distortion (excluding filters) and particularly to the introduction of new frequencies by memoryless nonlinearities. In music the different forms of linear distortion have specific names describing them. The simplest of these is a distortion process known as "volume adjustment", which involves distorting the amplitude of a sound wave in a proportional (or 'linear') way in order to increase or decrease the volume of the sound without affecting the tone quality. In the context of music, the most common source of (nonlinear) distortion is 1156: 908: 760: 670: 535: 1207: 1074:

impedance. The transformer and valve combination then generate large 3rd order harmonics. So long as the core does not go into saturation, the valves will clip naturally as they drop the available voltage across them. In single ended systems the output harmonics will be largely even ordered due to the valve's relatively non linear characteristics at large signal swings. This is only true however if the magnetic core does NOT saturate.

450:" after a reviewer raved about the sound Burlison's damaged amplifier produced during a live performance. According to other sources Burlison's amp had a partially broken loudspeaker cone. Pop-oriented producers were horrified by that eerie "two-tone" sound, quite clean on trebles but strongly distorted on basses, but Burnette insisted on releasing the sessions, arguing that "that guitar sounds like a nice horn section". 264: 45: 3218: 987: 973:" (root, fifth, and octave). Indeed, with the most extreme fuzz pedals, players may choose to play mostly single notes, because the fuzz can make even single notes sound very thick and heavy. Heavy distortion also tends to limit the player's control of dynamics (loudness and softness)—similar to the limitations imposed on a 953:(a distortion). Typically, "overdrive" pedals are designed to produce sounds associated with classic rock or blues, with "distortion" pedals producing the "high gain, scooped mids" sounds associated with heavy metal; fuzz boxes are designed to emulate the distinctive sound of the earliest overdrive pedals such as the 1197:

Increasing the bass and treble while reducing or eliminating the centre midrange (750 Hz) results in what is popularly known as a "scooped" sound (since the midrange frequencies are "scooped" out). Conversely, decreasing the bass while increasing the midrange and treble creates a punchy, harsher

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and power-supply-based power attenuation, such as a VVR, or Variable Voltage Regulator to drop the voltage on the valves' plates, to increase distortion whilst lowering volume. Guitarists such as Eddie Van Halen have been known to use variacs before VVR technology was invented. Lower-power valve amps

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Multiple stages of valve gain/clipping can be "cascaded" to produce a thicker and more complex distortion sound. In layperson's terms, a musician will plug a fuzz pedal into a tube amp that is being "cranked" to a clipping "overdriven" condition; as such, the musician will get the distortion from the

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Power valves (tubes) can be overdriven in the same way that pre-amplifier valves can, but because these valves are designed to output more power, the distortion and character they add to the guitar's tone is unique. During the 1960s to early 1970s, distortion was primarily created by overdriving the

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In some modern valve effects, the "dirty" or "gritty" tone is actually achieved not by high voltage, but by running the circuit at voltages that are too low for the circuit components, resulting in greater non-linearity and distortion. These designs are referred to as "starved plate" configurations,

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Black country bluesmen made raw, heavily amplified boogie records of their own, especially in Memphis, where guitarists like Joe Hill Louis, Willie Johnson (with the early Howlin' Wolf band) and Pat Hare (with Little Junior Parker) played driving rhythms and scorching, distorted solos that might be

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can be made to produce hard clipping. When symmetrical, this adds additional high-amplitude odd harmonics, creating a "dirty" or "gritty" tone. When asymmetrical, it produces both even and odd harmonics. Electronically, this is usually achieved by either amplifying the signal to a point where it is

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Distortion and overdrive circuits each 'clip' the signal before it reaches the main amplifier (clean boost circuits do not necessarily create 'clipping') as well as boost signals to levels that cause distortion to occur at the main amplifier's front end stage (by exceeding the ordinary input signal

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to recreate the sound of plugging into analogue pedals and overdriven valve amplifiers. The most sophisticated devices allow the user to customize the simulated results of using different preamp, power-tube, speaker distortion, speaker cabinet, and microphone placement combinations. For example, a

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player (Hammond organ does not produce louder or softer sounds depending on how hard or soft the performer plays the keys; however, the performer can still control the volume with drawbars and the expression pedal). Heavy metal music has evolved around these restrictions, using complex rhythms and

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core becomes electromagnetically saturated a loss of inductance takes place, since the back E.M.F. is reliant on a change in flux in the core. As the core reaches saturation, the flux levels off and cannot increase any further. With no change in flux there is no back E.M.F. and hence no reflected

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signal can capture the power-tube distortion sound without the direct coloration of a guitar speaker and microphone. This DI signal can be blended with a miked guitar speaker, with the DI providing a more present, immediate, bright sound, and the miked guitar speaker providing a colored, remote,

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are designed differently from high fidelity stereo speakers or public address system speakers. While hi-fi and public address speakers are designed to reproduce the sound with as little distortion as possible, guitar speakers are usually designed so that they will shape or color the tone of the

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controls. Often multiple cascading gain/clipping stages are employed to generate distortion. Because the first component in a valve amplifier is a valve gain stage, the output level of the preceding elements of the signal chain has a strong influence on the distortion created by that stage. The

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began intentionally manipulating his amplifiers' vacuum tubes to create a "noisy" and "dirty" sound for his solos after a similarly accidental discovery. Wray also poked holes in his speaker cones with pencils to further distort his tone, used electronic echo chambers (then usually employed by

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as used in rock music; with these instruments and genres, keyboardists often purposely overdrive a tube amplifier to get a natural overdrive sound. Another example of instrument amplification where as little distortion as possible is sought is with acoustic instrument amplifiers, designed for

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Most overdrive/distortion pedals can be used in two ways: a pedal can be used as a "boost" with an already overdriven amplifier to drive it further into saturation and "color" the tone, or it can be used with a completely clean amplifier to generate the whole overdrive/distortion effect. With

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His first venture, the Phillips label, issued only one known release, and it was one of the loudest, most overdriven, and distorted guitar stomps ever recorded, "Boogie in the Park" by Memphis one-man-band Joe Hill Louis, who cranked his guitar while sitting and banging at a rudimentary drum

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Because driving the power valves this hard also means maximum volume, which can be difficult to manage in a small recording or rehearsal space, many solutions have emerged that in some way divert some of this power valve output from the speakers, and allow the player to generate power valve

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Valve amplification is more or less linear—meaning the parameters (amplitude, frequency, phase) of the amplified signal are proportional to the input signal—so long as the voltage of the input signal does not exceed the valve's "linear region of operation". The linear region falls between

1126:. Additionally, because the level of compression is affected by input volume, the player can control it via their playing intensity: playing harder results in more compression or "sag". In contrast, modern amplifiers often use high-quality, well-regulated power supplies. 2740:

An archived version of a website on overdriven guitar amplifier and effects, covering: tone settings, distortion voicing, simulation and modeling, processors, speakers, power-supply modifications, switching and signal routing gear, software and recording, and DIY

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When the power delivered to a guitar speaker approaches its maximum rated power, the speaker's performance degrades, causing the speaker to "break up", adding further distortion and colouration to the signal. Some speakers are designed to have much clean

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power valves. Because they have become accustomed to this sound , many guitar players favour this type of distortion, and thus set their amps to maximum levels in order to drive the power section hard. Many valve-based amplifiers in common use have a

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work on similar principles to preamplifier distortion. Because most effects pedals are designed to operate from battery voltages, using vacuum tubes to generate distortion and overdrive is impractical; instead, most pedals use solid-state transistors,

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to favor the bass or treble components of the guitar pickup signal prior to the first distortion stage. Some guitarists place an equalizer pedal after the distortion effect, to emphasize or de-emphasize different frequencies in the distorted signal.

435:" (1954) as well as his own "I'm Gonna Murder My Baby" (1954), 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." 1031:

to attenuate the output to desired volume levels. Some effects pedals internally produce power-valve distortion, including an optional dummy load for use as a power-valve distortion pedal. Such effects units can use a preamp valve such as the

200:. Fuzz is a particular form of extreme distortion originally created by guitarists using faulty equipment (such as a misaligned valve (tube); see below), which has been emulated since the 1960s by a number of "fuzzbox" effects pedals. 1222:

While musicians intentionally create or add distortion to electric instrument signals or vocals to create a musical effect, there are some musical styles and musical applications where as little distortion as possible is sought. When

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Guitar distortion can be produced by many components of the guitar's signal path, including effects pedals, the pre-amplifier, power amplifier, and speakers. Many players use a combination of these to obtain their "signature" tone.

504:". Later that year Martin recorded an instrumental tune under his own name, using the same faulty preamp. The song, on the Decca label, was called "The Fuzz." Martin is generally credited as the discoverer of the "fuzz effect." The 1044:

Crunch Master compact tabletop unit). However, because these are usually placed before the pre-amplifier in the signal chain, they contribute to the overall tone in a different way. Power amplifier distortion may damage speakers.

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Fuzz boxes and other heavy distortions can produce unwanted dissonances when playing chords. To get around this, guitar players (and keyboard players) using these effects may restrict their playing to single notes and simple

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which share a harmonic relationship with the original tone. "Hard clipping" flattens peaks abruptly, resulting in higher power in higher harmonics. As clipping increases, a tone input progressively begins to resemble a

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attempt to emulate the sound of overdriven vacuum valves using additional solid-state circuitry. Some amplifiers (notably the Marshall JCM 900) utilize hybrid designs that employ both valve and solid-state components.

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output level of the guitar's pickups, the setting of the guitar's volume knob, how hard the strings are plucked, and the use of volume-boosting effects pedals can drive this stage harder and create more distortion.

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Guitar amp modeling devices and software can reproduce various guitar-specific distortion qualities that are associated with a range of popular "stomp box" pedals and amplifiers. Amp modeling devices typically use

716:. The same nonlinear device will produce both types of distortion, depending on the input signal. Intermodulation occurs whenever the input frequencies are not already harmonically related. For instance, playing a 1117:

valve. Class AB amplifiers draw the most power at both the maximum and minimum point of the signal, putting more stress on the power supply than class A, which only draws maximum power at the peak of the signal.

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While most of the documentation on early fuzz boxes has been discarded or lost, the earliest such devices appear to have been introduced in 1962. The best known from that year was the Maestro Fuzztone FZ-1...

1985:

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or "valve" distortion is achieved by "overdriving" the valves in an amplifier. In layman's terms, overdriving is pushing the tubes beyond their normal rated maximum. Valve amplifiers—particularly those using

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and even genres where the electric guitars are almost always distorted, such as heavy metal, punk and hard rock, sound engineers usually take a number of steps to ensure that the vocals sounding through the

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As this effect is more pronounced with higher input signals, the harder "attack" of a note will be compressed more heavily than the lower-voltage "decay", making the latter seem louder and thereby improving

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used a vacuum tube amplifier that had a speaker cone slightly damaged in transport. Electric guitarists began intentionally "doctoring" amplifiers and speakers in order to emulate this form of distortion.

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section of a guitar amplifier serves to amplify a weak instrument signal to a level that can drive the power amplifier. It often also contains circuitry to shape the tone of the instrument, including

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between the preamp section and the power amp. When the preamp volume is set high to generate high distortion levels, the master volume lowered, keeping the output volume at manageable levels.

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In the early 1950s, guitar distortion sounds started to evolve based on sounds created earlier in the decade by accidental damage to amps, such as in the popular early recording of the 1951

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would dip, reducing power output and causing signal attenuation and compression. This dipping effect is known as "sag", and is sought-after by some electric guitarists. Sag only occurs in

1286:, bass players typically seek an undistorted bass sound. To obtain a clear, undistorted bass sound, professional bass players in these genres use high-powered amplifiers with a lot of " 978:

timing for expression and excitement. Lighter distortions and overdrives can be used with triadic chords and seventh chords; as well, lighter overdrive allows more control of dynamics.

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guitarist using a small amp modeling pedal could simulate the sound of plugging their electric guitar into a heavy vintage valve amplifier and a stack of 8 X 10" speaker cabinets.

797:, amplifying its volume. The grid regulates the extent to which plate voltage is increased. A small negative voltage applied to the grid causes a large decrease in plate voltage. 673:

Waveform plot showing the different types of clipping. Valve overdrive is a form of soft limiting, while transistor clipping or extremely overdriven valves resemble hard clipping.

778:—tend to produce asymmetric soft clipping that creates both even and odd harmonics. The increase in even harmonics is considered to create "warm"-sounding overdrive effects. 247:, and more rarely as a special effect with vocals. While distortion is often created intentionally as a musical effect, musicians and sound engineers sometimes take steps to 1181:

distortion, power valve distortion, output and power transformer distortion, and guitar speaker distortion. Much of the distortion character or voicing is controlled by the

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care—and with appropriately chosen pedals—it is possible to "stack" multiple overdrive/distortion pedals together, allowing one pedal to act as a 'boost' for another.

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fuzz which is then distorted further by the amp. During the 1990s, some Seattle grunge guitarists chained together as many as four fuzz pedals to create a thick "

1368: 348:, replacing often their originals with the powerful Valco "Chicagoan" pick-ups, originally created for lap-steel, to obtain a louder and fatter tone. In early 1251:

Sound engineers prevent unwanted, unintended distortion and clipping using a number of methods. They may reduce the gain on microphone preamplifiers on the

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for help recreating the Grady Martin "fuzz" sound. Rhodes offered The Ventures a fuzzbox he had made, which they used to record "2000 Pound Bee" in 1962.

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began modifying the electronic circuitry of his amplifiers so as to achieve a "brighter, louder" sound and fuller distortion capabilities. Also in 1966,

576:". The song's success greatly boosted sales of the device, and all available stock sold out by the end of 1965. Other early fuzzboxes include the 1416: 176:

the signal (pushing it past its maximum, which shears off the peaks and troughs of the signal waves), adding sustain and harmonic and inharmonic

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A Line 6 modeling amplifier shown from above. Note the various amplifier and speaker emulations selectable via the rotary knob on the left.

361: 1113:. This is because, technically, sag results from more current being drawn from the power supply, causing a greater voltage drop over the 2554: 1244:

are undistorted (the exception is the rare cases where distortion is purposely added to vocals in a song as a special effect, mainly in

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overtones, meaning they are whole number multiples of one of the signal's original frequencies, or "inharmonic", resulting from general

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before and after each distortion stage. This dependency of distortion voicing on frequency response can be heard in the effect that a

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and a small amplifier to obtain his signature "low-down and dirty" bluesy sound which allowed for more "fluid and funky" chords. Many

3198: 356:'s "Rock Awhile" (1949) featured an over-driven electric guitar style similar to that of Chuck Berry several years later, as well as 1290:" and they may also use audio compressors to prevent sudden volume peaks from causing distortion. In many cases, musicians playing 808:

The cutoff region: the voltages at which the charge of the grid is too negative for electrons to flow to the plate. If a valve is

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Power-valve distortion can also be produced in a dedicated rackmount valve power amp. A modular rackmount setup often involves a

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darker sound. The DI signal can be obtained from a DI jack on the guitar amp, or from the Line Out jack of a power attenuator.

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that are designed to reproduce the audio signal with as little distortion as possible. The exceptions with keyboards are the

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in a power-valve circuit configuration (as in the Stephenson's Stage Hog), or use a conventional power valve, such as the

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within the linear region and the input signal's voltage exceeds this region, overdrive and non-linear clipping will occur.

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McGovern, Charles (2004). "Chapter 1: The Music: The Electric Guitar in the American Century". In Millard, André (ed.).

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Guitar distortion is obtained and shaped at various points in the signal processing chain, including multiple stages of

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of negatively charged electrons flows to it from the heated cathode through the grid. This increases the voltage of the

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sound that is often described as "warm" and "dirty", depending on the type and intensity of distortion used. The terms

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The saturation region: the voltages at which plate current stops responding to positive increases in grid voltage and

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began experimenting with a distorted or "dirty" tone. Later, around 1945, Western swing guitarist and member of the

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Early valve amplifiers used unregulated power supplies. This was due to the high cost associated with high-quality

573: 1231:, they typically seek to reproduce the recordings with little or no distortion. In many musical styles, including 634:, a song made entirely in electric distortion. It was released a year later in modified form on their debut album 2119: 1830: 1561: 1696: 3242: 2784: 2674: 1642: 1605: 635: 3173: 2826: 2249: 2024: 1007:. Power amplifier distortion is normally entirely symmetric, generating predominantly odd-order harmonics. 400: 1189:

has on the subsequent distortion stage, or by using tone controls built into the guitar, the preamp or an

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A fuzz box alters an audio signal until it is nearly a square wave and adds complex overtones by way of a

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the amplifier) Note : product names may not accurately reflect type of circuit involved - see above.

391:′s band began deliberately increasing gain beyond its intended levels to produce "warm" distorted sounds. 133:. The growling tone of a distorted electric guitar is a key part of many genres, including blues and many 3193: 2384: 1241: 1017: 713: 384: 129:, a number of other ways to produce distortion have been developed since the 1960s, such as distortion 1267:

effects and limiters to prevent sudden volume peaks from vocal mics from causing unwanted distortion.

3252: 2947: 2932: 2923: 2777: 2737: 2639: 1342: 1211: 1165: 1012: 833: 181: 125:. While overdriven tube amps are still used to obtain overdrive, especially in genres like blues and 2699: 3222: 888: 31: 2303: 2898: 600: 524: 523:

device that would intentionally create the fuzzy effect. The two engineers sold their circuit to

447: 82: 3257: 3247: 3034: 631: 619: 528: 479: 300:) was increased beyond their design limit or if they sustained minor damage. From 1935 onward, 228: 89:, producing a "fuzzy", "growling", or "gritty" tone. Distortion is most commonly used with the 85:

used to alter the sound of amplified electric musical instruments, usually by increasing their

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During the 1980s and 1990s, most valve amps featured a "master volume" control, an adjustable

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limitation of the power supply rail, or by clipping the signal with diodes. Many solid-state

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singers), the recent powerful and "fat" Gibson humbucker pickups, and controlled "feedback" (

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Cooperative, non-profit website offering free schematics and plans for building guitar amps.

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In 1964, a fuzzy and somewhat distorted sound gained widespread popularity after guitarist

439: 850: 727:"Soft clipping" gradually flattens the peaks of a signal which creates a number of higher 8: 2873: 1190: 1155: 1110: 1041: 305: 244: 162: 1998: 3024: 1299: 1182: 1004: 880: 612: 516: 297: 224: 86: 2734:(Jon Blackstone) Article on the physics of distortion, with interactive demonstrations 1627: 929: 208: 2831: 2821: 2619: 2592: 2533: 2503: 2476: 2449: 2417: 2390: 2363: 2336: 2309: 2282: 2255: 2228: 2201: 2174: 2147: 2075: 2045: 2018: 1974: 1919: 1842: 1811: 1784: 1780: 1676: 1638: 1601: 1573: 1542: 1509: 1479: 1449: 1422: 1337: 772: 658: 562: 154: 3135: 3044: 2963: 1860: 1332: 1264: 1245: 1000: 938: 790: 690: 589: 483: 173: 122: 118: 57: 2529:

The High Performance Marshall Handbook: A Guide to Great Marshall Amplifier Sounds

1675:. Performance and Production. Vol. II. Continuum International. p. 286. 1139:

guitar, either by enhancing some frequencies or attenuating unwanted frequencies.

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which has odd number harmonics. This is generally described as sounding "harsh".

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Power Tools for Synthesizer Programming: The Ultimate Reference for Sound Design

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in 1962, one of the first commercially-successful mass-produced guitar pedals.

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An auditory example of the distortion effect with the clean signal shown first.

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configuration in their power section, with matched pairs of tubes driving the

3236: 3140: 3054: 2993: 2973: 2918: 2851: 2725: 1634: 1311: 1303: 1283: 1252: 1236: 1186: 1070: 974: 872: 818: 654: 497: 459: 376: 336:, experimented in order to get a guitar sound that paralleled the rawness of 325: 301: 293: 236: 212: 158: 146: 110: 106: 53: 2756: 2750: 3178: 3145: 3120: 3115: 2998: 2878: 2841: 2836: 2816: 1178: 1135: 1103: 1083: 1024: 794: 705: 650: 585: 543: 520: 509: 493: 489: 463: 428: 353: 341: 329: 130: 2728:(R.G. Keen) Article on the physics of distortion and electronic techniques 395:

also experimented with distorted overtones, which can be heard in his hit

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This article is about distortion in music. For distortion in general, see

3168: 3152: 3095: 3085: 3049: 3029: 2868: 1888: 1391:"Boost, Overdrive, Distortion & Fuzz Pedals - What's the Difference?" 1295: 1291: 1271: 1147:, while others are designed to break up early to deliver grit and growl. 1062: 970: 946: 767: 733: 721: 717: 646: 623: 592: 554: 443: 424: 404: 392: 268: 220: 114: 102: 94: 1749: 1369:"Look at Me!: The Noisy, Blown-Out SoundCloud Revolution Redefining rap" 1011:

distortion without excessive volume. These include built-in or separate

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and diodes. Classic examples of overdrive/distortion pedals include the

759: 3100: 3059: 2978: 2863: 2278:

Running with the Devil: Power, Gender, and Madness in Heavy Metal Music

1347: 1028: 1020:, and low-efficiency guitar speakers are also used to tame the volume. 950: 846: 837: 697: 678: 627: 547: 538:

Big Muff fuzzboxes: a NYC re-issue (L) and a Russian Sovtek version (R)

408: 368: 349: 272: 134: 126: 38: 2359:

Sound FX: Unlocking the Creative Potential of Recording Studio Effects

534: 2913: 2888: 2532:. Guitar History Series. Vol. 6. Bold Strummer Ltd. p. 37. 2251:

The History of Marshall: The Illustrated Story of "The Sound of Rock"

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used a razor blade to slash his speaker cones for the band's single "

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to distort their bass sound, in other genres of music, such as pop,

1255:; use attenuation "pads" (a button on audio console channel strips, 1206: 669: 661:

sound through a combined use of high volumes and heavy distortion.

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sound. Rolling off all of the treble produces a dark, heavy sound.

1099: 954: 899: 709: 513: 462:). The resultant sound can be heard on his highly influential 1958 420: 412: 276: 177: 157:, while the use of distorted bass has been essential in a genre of 2953: 1256: 1123: 1106: 1049: 809: 786: 782: 577: 1065:

sits between the power valves and the speaker, serving to match

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through distortion results in intermodulation that produces new

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asked their friend, session musician and electronics enthusiast

263: 2308:(Third ed.). University of Washington Press. p. 114. 1833:, "Church of the Sonic Guitar", pp. 13-38 in Anthony DeCurtis, 1564:, "Church of the Sonic Guitar", pp. 13-38 in Anthony DeCurtis, 1320: 986: 934: 841: 775: 693:

in amplifier circuits and is most commonly known as overdrive.

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1960s: fuzz, distortion, and introduction of commercial devices

93:, but may also be used with other electric instruments such as 44: 3203: 1307: 1087: 1033: 991: 337: 192:

are often used interchangeably; where a distinction is made,

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originally obtained an overdriven sound by turning up their

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Sixties Rock: Garage, Psychedelic, and Other Satisfactions

1970:

Sixties Rock: Garage, Psychedelic, and Other Satisfactions

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Sixties Rock: Garage, Psychedelic, and Other Satisfactions

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to amplify vocals or when playing back prerecorded music.

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to prevent signal peaks from causing unwanted distortion.

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The Ibanez TS9 Tube Screamer is a popular overdrive pedal

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The Rolling Stone illustrated history of rock & roll

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Shortly thereafter, the American instrumental rock band

296:, and would often produce distortion when their volume ( 3105: 1224: 2744: 2640:"A Beginner's Guide to Stacking Drive Pedals | Reverb" 1697:"How Sam Phillips Invented the Sound of Rock and Roll" 2555:"Understanding the Common-Cathode, Triode Gain Stage" 2005:. PO Box 7301 Bismarck, ND 58507: Vintage Guitar, Inc 1027:

preamp, a rackmount valve power amp, and a rackmount

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Technical website with information on multiFX pedals

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Louisiana Rocks! The True Genesis of Rock & Roll

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Continuum Encyclopedia of Popular Music of the World

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power valves, often used in American-made amplifiers

1943:"How Grady Martin Discovered the First Fuzz Effect" 203:Distortion, overdrive, and fuzz can be produced by 2383:Davis, Gary; Davis, Gary D.; Jones, Ralph (1989). 2329:Davis, Gary; Davis, Gary D.; Jones, Ralph (1989). 2224:The Electric Guitar: A History of an American Icon 1990: 1626: 1508:. Johns Hopkins University Press. pp. 30–31. 1505:The Electric Guitar: A History of an American Icon 1274:players in metal and punk bands intentionally use 492:scored a hit with a fuzzy tone caused by a faulty 3234: 1583: 1098:. When the valve amplifier was operated at high 1056: 2700:"Choosing Guitar-amp Speakers | Sound On Sound" 2382: 2328: 2139: 1618: 1077: 2112: 1937: 1935: 1497: 1495: 894: 30:"Fuzzbox" redirects here. For other uses, see 2785: 2170:Guitar Effects Pedals: The Practical Handbook 2120:"Sold on Song: (I Can't Get No) Satisfaction" 1783:: Pelican Publishing Company. pp. 61–5. 1657:counted the distant ancestors of heavy metal. 1534: 981: 618:In 1966, Jim Marshall of the British company 196:is a more extreme version of the effect than 2615:Vacuum Tube Guitar and Bass Amplifier Theory 2588:Vacuum Tube Guitar and Bass Amplifier Theory 2521: 2519: 2044:. University of Illinois Press. p. 18. 1973:. University of Illinois Press. p. 18. 1918:. University of Illinois Press. p. 17. 1172: 292:The first guitar amplifiers were relatively 121:to high volumes, which caused the signal to 2753:Many schematics and DIY fuzz pedal projects 2254:. Hal Leonard Corporation. pp. 28–33. 1932: 1766: 1721: 1492: 1214:devices, such as this DBX 566, are used by 866: 427:on his electric guitar for records such as 2792: 2778: 2301: 1593:Present Tense: Rock & Roll and Culture 1315:musicians playing instruments such as the 1016:(such as a quarter-watt or less), speaker 219:(a potentially speaker-blowing approach), 172:The effects alter the instrument sound by 3199:Music technology (electronic and digital) 2525: 2516: 2437: 2435: 2433: 2281:. Wesleyan University Press. p. 10. 2140:Shapiro, Harry; Glebbeek, Caesar (1995). 2071:Walk-Don't Run: The Story of the Ventures 2067: 828: 572:used a Maestro FZ-1 Fuzz-Tone to record " 496:that distorted his guitar playing on the 316:, began experimenting with a rudimentary 2302:White, Glenn D.; Louie, Gary J. (2005). 2104:Bosso, Joe (2006). "No Stone Unturned". 1589: 1535:Campbell, Michael; Brody, James (2007). 1501: 1435: 1205: 1154: 985: 906: 898: 758: 668: 657:forged what would eventually become the 533: 438:In 1956, guitarist Paul Burlison of the 262: 248: 62: 43: 2611: 2584: 2499:The Routledge Guide to Music Technology 2097: 1668: 1555: 1467: 1465: 781:A basic triode valve (tube) contains a 14: 3235: 2495: 2468: 2441: 2430: 2409: 2274: 2193: 2166: 1996: 1824: 1803: 1772: 1624: 1366: 1201: 785:, a plate and a grid. When a positive 664: 279:distortion produced by an inexpensive 2773: 2247: 2220: 2103: 2037: 1966: 1911: 1858: 1722:Halberstadt, Alex (29 October 2001). 1441: 1151:Amp modeling for distortion emulation 1129: 519:Revis V. Hobbs to design and build a 27:Type of electronic audio manipulation 2799: 2552: 2355: 1596:(4. print. ed.). Durham, N.C.: 1541:. Cengage Learning. pp. 80–81. 1471: 1462: 1414: 825:and result in an "amp death" sound. 1408: 411:" features a guitar solo with warm 24: 2106:Guitar Legends: The Rolling Stones 1747: 1379:from the original on 13 July 2018. 754: 641:In the late 1960s and early 1970s 369:Ike Turner and the Kings of Rhythm 288:Early uses of amplified distortion 25: 3269: 3040:Recording studio as an instrument 2719: 2672: 2335:. Hal Leonard. pp. 201–102. 1997:Dregni, Michael (December 2013). 223:and (since the 2000s) by digital 3216: 2618:. Bold Strummer. pp. 9–11. 2386:The Sound Reinforcement Handbook 2332:The Sound Reinforcement Handbook 1886: 1227:are playing recorded music in a 615:" and other Beatles recordings. 2692: 2666: 2657: 2632: 2605: 2591:. Bold Strummer. pp. 5–7. 2578: 2546: 2489: 2462: 2403: 2376: 2349: 2322: 2295: 2268: 2241: 2214: 2187: 2160: 2133: 2088: 2061: 2031: 1960: 1905: 1880: 1852: 1797: 1741: 1715: 1689: 1662: 2475:. Springer. pp. 141–144. 1538:Rock and Roll: An Introduction 1528: 1475:Inside the Blues, 1942 to 1982 1383: 1360: 1323:in a folk or bluegrass style. 704:not originally present in the 681:refers to any modification of 636:The Piper at the Gates of Dawn 231:. These effects are used with 52:was the first ever distortion 13: 1: 1367:Turner, David (1 June 2017). 1354: 1057:Output transformer distortion 857: 574:(I Can't Get No) Satisfaction 453:In the late 1950s, Guitarist 3223:Record production portal 2416:. Focal Press. p. 464. 2389:. Hal Leonard. p. 112. 2200:. Hal Leonard. p. 173. 2173:. Hal Leonard. p. 150. 2143:Jimi Hendrix, Electric Gypsy 1724:"Sam Phillips, the Sun king" 1448:. Hal Leonard. p. 171. 1090:(plate) supply was simply a 1086:power supplies. The typical 947:Electro-Harmonix Big Muff Pi 446:in his amplifier to record " 401:The Things That I Used to Do 7: 3194:Music technology (electric) 2726:A Musical Distortion Primer 2356:Case, Alexander U. (2007). 1478:. Hal Leonard. p. 61. 1421:. Hal Leonard. p. 39. 1418:Getting Great Guitar Sounds 1326: 930:overdrive/distortion pedals 895:Overdrive/distortion pedals 789:is applied to the plate, a 708:. These frequencies can be 580:FuzzRITE and Arbiter Group 527:, who introduced it as the 423:produced heavily distorted 10: 3274: 2502:. CRC Press. p. 177. 2472:Electronics for Guitarists 2469:Dailey, Denton J. (2011). 2445:Electronics for Guitarists 2442:Dailey, Denton J. (2011). 2227:. JHU Press. p. 136. 2146:. Macmillan. p. 686. 1889:"The Train Kept A-Rollin'" 1807:Chuck Berry: The Biography 1590:DeCurtis, Anthony (1992). 1242:sound reinforcement system 982:Power amplifier distortion 911:The Boss BD-2 Blues Driver 714:intermodulation distortion 477: 258: 251:, particularly when using 36: 29: 3212: 3161: 3068: 3007: 2897: 2807: 2448:. Springer. p. 141. 2108:. Future plc. p. 12. 1343:List of distortion pedals 1173:Voicing with equalization 1166:digital signal processing 836:amplifiers incorporating 442:deliberately dislodged a 383:Electric blues guitarist 2526:Boehnlein, John (1998). 2362:. Elsevier. p. 96. 2023:: CS1 maint: location ( 867:Pre-amplifier distortion 512:, partnered with fellow 508:from Martin's sessions, 32:Fuzzbox (disambiguation) 2413:Recording Studio Design 2410:Newell, Philip (2007). 2275:Walser, Robert (1993). 2248:Doyle, Michael (1993). 2221:A. J., Millard (2004). 2068:Halterman, Del (2009). 2038:Hicks, Michael (2000). 1967:Hicks, Michael (2000). 1912:Hicks, Michael (2000). 1069:. When a transformer's 448:The Train Kept A-Rollin 83:audio signal processing 2612:Zottola, Tino (1996). 2585:Zottola, Tino (1996). 2094:Walser 1993, p. 9 1669:Shepard, John (2003). 1415:Ross, Michael (1998). 1263:); and use electronic 1219: 1160: 995: 912: 904: 829:Solid-state distortion 764: 700:process that produces 674: 632:Interstellar Overdrive 620:Marshall Amplification 539: 529:Maestro FZ-1 Fuzz-Tone 480:Maestro FZ-1 Fuzz-Tone 324:guitarists, including 284: 281:valve (tube) amplifier 71: 60: 56:pedal manufactured by 3243:Amplified instruments 3111:Ghostwriters in music 2496:Holmes, Thom (2006). 2194:Babiuk, Andy (2002). 2167:Hunter, Dave (2004). 1839:Duke University Press 1810:. Aurum. p. 38. 1804:Collis, John (2002). 1598:Duke University Press 1570:Duke University Press 1282:jazz and traditional 1209: 1158: 989: 949:(a fuzz box) and the 910: 902: 762: 672: 537: 415:created by his small 266: 109:. Guitarists playing 69: 47: 2704:www.soundonsound.com 2305:The Audio Dictionary 2074:. Lulu. p. 81. 1773:Aswell, Tom (2010). 1701:popularmechanics.com 1625:Miller, Jim (1980). 1472:Dave, Rubin (2007). 1094:, an inductor and a 945:(an overdrive), the 943:Ibanez Tube Screamer 749:frequency multiplier 603:Tone Bender used by 595:used by Hendrix and 548:Orville "Red" Rhodes 440:Johnny Burnette Trio 245:electronic keyboards 2663:transformer design. 1841:, 1992, pp. 24-27. 1750:"You Really Got Me" 1442:Aikin, Jim (2004). 1300:keyboard amplifiers 1202:Avoiding distortion 1111:class-AB amplifiers 665:Theory and circuits 375:", where guitarist 267:The guitar solo on 163:alternative hip hop 3025:Hip hop production 2762:2011-08-31 at the 2553:Blencowe, Merlin. 1999:"Maesto Fuzz-Tone" 1748:Denise, Sullivan. 1220: 1183:frequency response 1161: 1130:Speaker distortion 1078:Power supply "sag" 1018:isolation cabinets 1005:output transformer 996: 941:(overdrives), the 920:Demo of a Big Muff 913: 905: 851:distortion devices 765: 675: 613:Think for Yourself 540: 506:recording engineer 362:Boogie in the Park 285: 275:" features "warm" 225:amplifier modeling 72: 61: 3230: 3229: 2832:Critical distance 2081:978-0-557-04051-3 1781:Gretna, Louisiana 1548:978-0-534-64295-2 1515:978-0-8018-7862-6 1455:978-1-61774-508-9 1338:Guitar pedalboard 1212:audio compression 1013:power attenuators 821:" of distortion. 630:created the song 563:You Really Got Me 433:Cotton Crop Blues 407:'s 1955 classic " 318:humbucker pick-up 180:and leading to a 155:heavy metal music 119:guitar amplifiers 67: 18:Overdrive (music) 16:(Redirected from 3265: 3253:Electric guitars 3221: 3220: 3219: 3136:Session musician 2801:Music production 2794: 2787: 2780: 2771: 2770: 2714: 2713: 2711: 2710: 2696: 2690: 2689: 2687: 2686: 2677:. Archived from 2675:"What is "sag"?" 2673:Aiken, Randall. 2670: 2664: 2661: 2655: 2654: 2652: 2651: 2636: 2630: 2629: 2609: 2603: 2602: 2582: 2576: 2575: 2573: 2572: 2566: 2560:. Archived from 2559: 2550: 2544: 2543: 2523: 2514: 2513: 2493: 2487: 2486: 2466: 2460: 2459: 2439: 2428: 2427: 2407: 2401: 2400: 2380: 2374: 2373: 2353: 2347: 2346: 2326: 2320: 2319: 2299: 2293: 2292: 2272: 2266: 2265: 2245: 2239: 2238: 2218: 2212: 2211: 2191: 2185: 2184: 2164: 2158: 2157: 2137: 2131: 2130: 2128: 2127: 2116: 2110: 2109: 2101: 2095: 2092: 2086: 2085: 2065: 2059: 2058: 2035: 2029: 2028: 2022: 2014: 2012: 2010: 1994: 1988: 1987: 1964: 1958: 1957: 1955: 1954: 1945:. Archived from 1939: 1930: 1929: 1909: 1903: 1902: 1900: 1899: 1884: 1878: 1877: 1875: 1873: 1856: 1850: 1828: 1822: 1821: 1801: 1795: 1794: 1770: 1764: 1763: 1761: 1760: 1745: 1739: 1738: 1736: 1734: 1719: 1713: 1712: 1710: 1708: 1703:. 15 August 2016 1693: 1687: 1686: 1666: 1660: 1659: 1653: 1651: 1632: 1622: 1616: 1615: 1587: 1581: 1559: 1553: 1552: 1532: 1526: 1525: 1523: 1522: 1499: 1490: 1489: 1469: 1460: 1459: 1439: 1433: 1432: 1412: 1406: 1405: 1403: 1402: 1387: 1381: 1380: 1364: 1333:Distortion meter 1265:audio compressor 1246:industrial music 1001:push-pull output 925: 924: 923: 921: 740:amplitude, thus 590:Electro-Harmonix 484:Boss Corporation 340:singers such as 326:Chicago bluesmen 271:'s 1955 single " 249:avoid distortion 233:electric guitars 217:power amplifiers 137:genres, notably 68: 21: 3273: 3272: 3268: 3267: 3266: 3264: 3263: 3262: 3233: 3232: 3231: 3226: 3217: 3215: 3208: 3157: 3126:Record producer 3079: 3075: 3064: 3018: 3014: 3003: 2944:Double tracking 2900: 2893: 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2936: 2926: 2921: 2916: 2911: 2905: 2903: 2895: 2894: 2892: 2891: 2886: 2881: 2876: 2871: 2866: 2861: 2856: 2855: 2854: 2849: 2839: 2834: 2829: 2824: 2819: 2813: 2811: 2805: 2804: 2797: 2796: 2789: 2782: 2774: 2768: 2767: 2754: 2748: 2742: 2735: 2732:Distortion 101 2729: 2721: 2720:External links 2718: 2716: 2715: 2691: 2665: 2656: 2646:. 16 June 2016 2631: 2624: 2604: 2597: 2577: 2545: 2538: 2515: 2508: 2488: 2481: 2461: 2454: 2429: 2422: 2402: 2395: 2375: 2368: 2348: 2341: 2321: 2314: 2294: 2287: 2267: 2260: 2240: 2233: 2213: 2206: 2186: 2179: 2159: 2152: 2132: 2111: 2096: 2087: 2080: 2060: 2050: 2030: 2003:Vintage Guitar 1989: 1979: 1959: 1931: 1924: 1904: 1879: 1851: 1823: 1816: 1796: 1790:978-1589806771 1789: 1765: 1740: 1714: 1688: 1681: 1661: 1643: 1617: 1606: 1582: 1554: 1547: 1527: 1514: 1491: 1484: 1461: 1454: 1434: 1427: 1407: 1382: 1358: 1356: 1353: 1352: 1351: 1345: 1340: 1335: 1328: 1325: 1203: 1200: 1174: 1171: 1152: 1149: 1131: 1128: 1079: 1076: 1058: 1055: 983: 980: 939:Boss OD series 896: 893: 868: 865: 859: 856: 830: 827: 814: 813: 806: 756: 753: 696:Clipping is a 666: 663: 645:bands such as 605:Paul McCartney 597:Carlos Santana 570:Keith Richards 517:radio engineer 475: 472: 397:electric blues 385:Willie Johnson 358:Joe Hill Louis 322:electric blues 314:Junior Barnard 289: 286: 260: 257: 229:audio software 213:pre-amplifiers 205:effects pedals 167:SoundCloud rap 111:electric blues 99:electric piano 26: 9: 6: 4: 3: 2: 3270: 3259: 3258:Audio effects 3256: 3254: 3251: 3249: 3248:Effects units 3246: 3244: 3241: 3240: 3238: 3225: 3224: 3211: 3205: 3202: 3200: 3197: 3195: 3192: 3190: 3187: 3185: 3182: 3180: 3177: 3175: 3174:Interpolation 3172: 3170: 3167: 3166: 3164: 3160: 3154: 3151: 3147: 3144: 3143: 3142: 3141:Backup singer 3139: 3137: 3134: 3132: 3129: 3127: 3124: 3122: 3119: 3117: 3114: 3112: 3109: 3107: 3104: 3102: 3099: 3097: 3094: 3092: 3089: 3087: 3084: 3083: 3081: 3074: 3071: 3070: 3067: 3061: 3058: 3056: 3055:Wall of Sound 3053: 3051: 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1925:0-252-06915-3 1921: 1917: 1916: 1908: 1894: 1890: 1883: 1868: 1867: 1862: 1855: 1848: 1847:0-8223-1265-4 1844: 1840: 1836: 1835:Present Tense 1832: 1831:Robert Palmer 1827: 1819: 1817:9781854108739 1813: 1809: 1808: 1800: 1792: 1786: 1782: 1778: 1777: 1769: 1755: 1751: 1744: 1729: 1725: 1718: 1702: 1698: 1692: 1684: 1682:9780826463227 1678: 1674: 1673: 1665: 1658: 1646: 1640: 1636: 1635:Rolling Stone 1631: 1630: 1621: 1614: 1609: 1603: 1599: 1595: 1594: 1586: 1579: 1578:0-8223-1265-4 1575: 1571: 1567: 1566:Present Tense 1563: 1562:Robert Palmer 1558: 1550: 1544: 1540: 1539: 1531: 1517: 1511: 1507: 1506: 1498: 1496: 1487: 1485:9781423416661 1481: 1477: 1476: 1468: 1466: 1457: 1451: 1447: 1446: 1438: 1430: 1428:9780793591404 1424: 1420: 1419: 1411: 1396: 1392: 1386: 1378: 1374: 1373:Rolling Stone 1370: 1363: 1359: 1349: 1346: 1344: 1341: 1339: 1336: 1334: 1331: 1330: 1324: 1322: 1318: 1313: 1312:Fender Rhodes 1309: 1305: 1304:Hammond organ 1301: 1297: 1293: 1289: 1285: 1284:country music 1281: 1277: 1273: 1268: 1266: 1262: 1258: 1254: 1253:audio console 1249: 1247: 1243: 1238: 1237:country music 1234: 1230: 1226: 1217: 1213: 1208: 1199: 1195: 1192: 1188: 1184: 1180: 1170: 1167: 1157: 1148: 1146: 1140: 1137: 1127: 1125: 1119: 1116: 1112: 1108: 1105: 1101: 1097: 1093: 1089: 1085: 1075: 1072: 1071:ferromagnetic 1068: 1064: 1054: 1051: 1050:Direct Inject 1046: 1043: 1039: 1035: 1030: 1026: 1021: 1019: 1014: 1008: 1006: 1002: 993: 988: 979: 976: 975:Hammond organ 972: 966: 962: 960: 956: 952: 948: 944: 940: 936: 931: 926: 922: 909: 901: 892: 890: 885: 882: 878: 874: 873:pre-amplifier 864: 855: 852: 848: 843: 839: 835: 826: 822: 820: 819:wall of sound 811: 807: 804: 803: 802: 798: 796: 792: 788: 784: 779: 777: 774: 769: 761: 752: 750: 745: 743: 737: 735: 730: 725: 723: 719: 715: 711: 707: 703: 699: 694: 692: 688: 684: 680: 671: 662: 660: 656: 655:Black Sabbath 652: 648: 644: 639: 637: 633: 629: 625: 621: 616: 614: 610: 606: 602: 598: 594: 591: 587: 583: 579: 575: 571: 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