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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
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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".
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45:
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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
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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.
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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."
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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.
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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
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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
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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:
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...
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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 "
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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.
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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
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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 "
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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
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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
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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.
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1113:. This is because, technically, sag results from more current being drawn from the power supply, causing a greater voltage drop over the
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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
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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
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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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17:
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1502:
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
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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
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1007:. Power amplifier distortion is normally entirely symmetric, generating predominantly odd-order harmonics.
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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
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129:, a number of other ways to produce distortion have been developed since the 1960s, such as distortion
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effects and limiters to prevent sudden volume peaks from vocal mics from causing unwanted distortion.
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device that would intentionally create the fuzzy effect. The two engineers sold their circuit to
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300:) was increased beyond their design limit or if they sustained minor damage. From 1935 onward,
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89:, producing a "fuzzy", "growling", or "gritty" tone. Distortion is most commonly used with the
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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
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727:"Soft clipping" gradually flattens the peaks of a signal which creates a number of higher
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2734:(Jon Blackstone) Article on the physics of distortion, with interactive demonstrations
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The High Performance Marshall Handbook: A Guide to Great Marshall Amplifier Sounds
1675:. Performance and Production. Vol. II. Continuum International. p. 286.
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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
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2728:(R.G. Keen) Article on the physics of distortion and electronic techniques
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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
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1391:"Boost, Overdrive, Distortion & Fuzz Pedals - What's the Difference?"
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1369:"Look at Me!: The Noisy, Blown-Out SoundCloud Revolution Redefining rap"
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distortion without excessive volume. These include built-in or separate
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and diodes. Classic examples of overdrive/distortion pedals include the
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Running with the Devil: Power, Gender, and Madness in Heavy Metal Music
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Big Muff fuzzboxes: a NYC re-issue (L) and a Russian Sovtek version (R)
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Sound FX: Unlocking the Creative Potential of Recording Studio Effects
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2532:. Guitar History Series. Vol. 6. Bold Strummer Ltd. p. 37.
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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,
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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.
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462:). The resultant sound can be heard on his highly influential 1958
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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
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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,
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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
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991:
337:
192:
are often used interchangeably; where a distinction is made,
113:
originally obtained an overdriven sound by turning up their
1037:
2041:
Sixties Rock: Garage, Psychedelic, and Other Satisfactions
1970:
Sixties Rock: Garage, Psychedelic, and Other Satisfactions
1915:
Sixties Rock: Garage, Psychedelic, and Other Satisfactions
255:
to amplify vocals or when playing back prerecorded music.
1218:
to prevent signal peaks from causing unwanted distortion.
903:
The Ibanez TS9 Tube Screamer is a popular overdrive pedal
1629:
The Rolling Stone illustrated history of rock & roll
1150:
542:
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
287:
2766:
Technical website with information on multiFX pedals
1776:
Louisiana Rocks! The True Genesis of Rock & Roll
1672:
Continuum Encyclopedia of Popular Music of the World
994:
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
18:Distortion (guitar)
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:
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:
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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:
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1877:
1875:
1873:
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1710:
1708:
1703:. 15 August 2016
1693:
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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:
2884:Sound recording
2822:Audio mastering
2803:
2798:
2764:Wayback Machine
2722:
2717:
2708:
2706:
2698:
2697:
2693:
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2016:
2015:
2008:
2006:
1995:
1991:
1981:
1965:
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1941:
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1608:
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1572:, 1992, p. 19.
1560:
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1500:
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1384:
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1357:
1329:
1261:bass amplifiers
1216:audio engineers
1204:
1175:
1153:
1132:
1080:
1059:
984:
919:
916:
915:
897:
869:
860:
845:clipped by the
831:
757:
755:Valve overdrive
667:
486:
476:
470:" and Rawhide.
417:valve amplifier
290:
261:
237:electric basses
91:electric guitar
63:
42:
35:
28:
23:
22:
15:
12:
11:
5:
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3131:Rhythm section
3128:
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3098:
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3091:Audio engineer
3088:
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3069:
3066:
3065:
3063:
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3057:
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3037:
3035:Overproduction
3032:
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3008:
3005:
3004:
3002:
3001:
2996:
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2964:Exciter effect
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2742:
2735:
2732:Distortion 101
2729:
2721:
2720:External links
2718:
2716:
2715:
2691:
2665:
2656:
2646:. 16 June 2016
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2003:Vintage Guitar
1989:
1979:
1959:
1931:
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1904:
1879:
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1823:
1816:
1796:
1790:978-1589806771
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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:
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3248:Effects units
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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:
3048:
3046:
3043:
3041:
3038:
3036:
3033:
3031:
3028:
3026:
3023:
3022:
3020:
3013:
3010:
3009:
3006:
3000:
2997:
2995:
2992:
2990:
2987:
2985:
2982:
2980:
2977:
2975:
2974:Octave effect
2972:
2970:
2967:
2965:
2962:
2960:
2957:
2955:
2952:
2949:
2945:
2942:
2940:
2937:
2934:
2930:
2927:
2925:
2922:
2920:
2919:Chorus effect
2917:
2915:
2912:
2910:
2907:
2906:
2904:
2902:
2896:
2890:
2887:
2885:
2882:
2880:
2877:
2875:
2872:
2870:
2867:
2865:
2862:
2860:
2857:
2853:
2852:Wah-wah pedal
2850:
2848:
2845:
2844:
2843:
2840:
2838:
2835:
2833:
2830:
2828:
2825:
2823:
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2814:
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2806:
2802:
2795:
2790:
2788:
2783:
2781:
2776:
2775:
2772:
2765:
2761:
2758:
2757:Tons of Tones
2755:
2752:
2749:
2746:
2743:
2739:
2736:
2733:
2730:
2727:
2724:
2723:
2705:
2701:
2695:
2681:on 2008-06-23
2680:
2676:
2669:
2660:
2645:
2641:
2635:
2627:
2625:0-933224-96-6
2621:
2617:
2616:
2608:
2600:
2598:0-933224-96-6
2594:
2590:
2589:
2581:
2567:on 2013-12-28
2563:
2556:
2549:
2541:
2539:0-933224-80-X
2535:
2531:
2530:
2522:
2520:
2511:
2509:0-415-97324-4
2505:
2501:
2500:
2492:
2484:
2482:9781441995360
2478:
2474:
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2457:
2455:9781441995360
2451:
2447:
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2423:9780240520865
2419:
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2406:
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2396:0-88188-900-8
2392:
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2379:
2371:
2369:9780240520322
2365:
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2344:
2342:0-88188-900-8
2338:
2334:
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2315:9780295984988
2311:
2307:
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2298:
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2288:0-8195-6260-2
2284:
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2279:
2271:
2263:
2261:0-7935-2509-8
2257:
2253:
2252:
2244:
2236:
2234:9780801878626
2230:
2226:
2225:
2217:
2209:
2207:0-87930-731-5
2203:
2199:
2198:
2190:
2182:
2180:9781617747021
2176:
2172:
2171:
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2155:
2153:9780312130626
2149:
2145:
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2136:
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2115:
2107:
2100:
2091:
2083:
2077:
2073:
2072:
2064:
2057:
2053:
2051:0-252-06915-3
2047:
2043:
2042:
2034:
2026:
2020:
2004:
2000:
1993:
1986:
1982:
1980:0-252-06915-3
1976:
1972:
1971:
1963:
1949:on 2010-11-29
1948:
1944:
1938:
1936:
1927:
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:
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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:
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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:
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602:
598:
594:
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587:
583:
579:
575:
571:
566:
564:
560:
556:
551:
549:
545:
536:
532:
530:
526:
522:
518:
515:
511:
507:
503:
499:
498:Marty Robbins
495:
491:
485:
481:
471:
469:
465:
461:
460:Larsen effect
456:
451:
449:
445:
441:
436:
434:
430:
426:
422:
418:
414:
410:
406:
402:
398:
394:
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386:
381:
378:
377:Willie Kizart
374:
370:
365:
363:
359:
355:
351:
347:
343:
339:
335:
331:
327:
323:
319:
315:
311:
307:
303:
302:Western swing
299:
295:
282:
278:
274:
270:
265:
256:
254:
250:
246:
242:
238:
234:
230:
226:
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218:
214:
210:
206:
201:
199:
195:
191:
187:
183:
179:
175:
170:
168:
164:
160:
159:hip hop music
156:
152:
148:
147:hardcore punk
144:
140:
136:
132:
131:effect pedals
128:
124:
120:
116:
112:
108:
107:Hammond organ
104:
100:
96:
95:electric bass
92:
88:
84:
81:are forms of
80:
76:
59:
55:
54:guitar effect
51:
46:
40:
33:
19:
3214:
3179:Loudness war
3146:Ghost singer
3121:Orchestrator
3116:Horn section
2999:Reverse echo
2959:Equalization
2938:
2929:Delay effect
2879:Punch in/out
2874:Ping-ponging
2842:Effects unit
2837:Effects loop
2827:Audio mixing
2817:Audio filter
2751:Fuzz Central
2707:. Retrieved
2703:
2694:
2683:. Retrieved
2679:the original
2668:
2659:
2648:. Retrieved
2643:
2634:
2614:
2607:
2587:
2580:
2569:. Retrieved
2562:the original
2548:
2528:
2498:
2491:
2471:
2464:
2444:
2412:
2405:
2385:
2378:
2358:
2351:
2331:
2324:
2304:
2297:
2277:
2270:
2250:
2243:
2223:
2216:
2197:Beatles Gear
2196:
2189:
2169:
2162:
2142:
2135:
2124:. Retrieved
2114:
2105:
2099:
2090:
2070:
2063:
2055:
2040:
2033:
2009:November 30,
2007:. Retrieved
2002:
1992:
1984:
1969:
1962:
1951:. Retrieved
1947:the original
1914:
1907:
1896:. Retrieved
1892:
1887:Dahl, Bill.
1882:
1870:. Retrieved
1864:
1854:
1834:
1826:
1806:
1799:
1775:
1768:
1757:. Retrieved
1753:
1743:
1731:. Retrieved
1727:
1717:
1705:. Retrieved
1700:
1691:
1671:
1664:
1655:
1648:. Retrieved
1633:. New York:
1628:
1620:
1611:
1592:
1585:
1565:
1557:
1537:
1530:
1519:. Retrieved
1504:
1474:
1444:
1437:
1417:
1410:
1399:. Retrieved
1397:. 2018-01-10
1394:
1385:
1372:
1362:
1350:/Valve sound
1296:synthesizers
1292:stage pianos
1270:Though some
1269:
1250:
1221:
1196:
1176:
1162:
1141:
1136:loudspeakers
1133:
1120:
1104:power supply
1084:high-voltage
1081:
1060:
1047:
1022:
1009:
997:
971:power chords
967:
963:
927:
914:
886:
877:equalization
870:
861:
832:
823:
815:
799:
795:audio signal
780:
766:
763:Triode valve
746:
741:
738:
726:
722:subharmonics
706:audio signal
695:
676:
651:Led Zeppelin
640:
617:
586:Jimi Hendrix
568:In May 1965
567:
552:
544:The Ventures
541:
510:Glenn Snoddy
494:preamplifier
490:Grady Martin
487:
464:instrumental
452:
437:
429:James Cotton
425:power chords
389:Howlin' Wolf
382:
366:
354:Goree Carter
346:Howlin' Wolf
342:Muddy Waters
330:Elmore James
294:low-fidelity
291:
227:devices and
202:
197:
193:
189:
185:
171:
78:
74:
73:
3169:Click track
3153:Vocal coach
3096:Backup band
3076:professions
3050:Turntablism
2924:Compression
2909:Pitch shift
2869:Overdubbing
2809:Engineering
2738:Amptone.com
1872:January 25,
1859:Koda, Cub.
1306:as used in
1272:bass guitar
1210:Electronic
1063:transformer
1061:The output
1040:(as in the
838:transistors
834:Solid-state
768:Vacuum tube
742:overdriving
734:square wave
718:power chord
702:frequencies
659:heavy metal
647:Deep Purple
624:Syd Barrett
593:Big Muff Pi
555:Dave Davies
521:stand-alone
502:Don't Worry
444:vacuum tube
405:Chuck Berry
393:Guitar Slim
269:Chuck Berry
115:vacuum tube
103:synthesizer
3237:Categories
3101:Bandleader
3060:Xenochrony
3015:aesthetics
2979:Noise gate
2939:Distortion
2901:processing
2864:Microphone
2709:2016-07-18
2685:2008-06-25
2650:2016-07-18
2644:reverb.com
2571:2008-05-24
2126:2008-03-09
1953:2009-04-09
1898:2008-05-24
1861:"Pat Hare"
1759:2008-05-24
1644:0394513223
1607:0822312654
1521:2023-12-23
1401:2022-02-01
1355:References
1348:Tube sound
1029:dummy load
990:A pair of
951:Pro Co RAT
889:attenuator
858:Approaches
847:DC voltage
698:non-linear
679:distortion
628:Pink Floyd
599:, and the
478:See also:
409:Maybellene
403:" (1953).
364:" (1950).
350:rock music
304:guitarist
273:Maybellene
253:PA systems
209:rackmounts
194:distortion
186:distortion
182:compressed
165:known as "
135:rock music
127:rockabilly
75:Distortion
39:Distortion
3011:Practices
2914:Auto-Tune
2889:Tape loop
2859:Diffusion
2741:projects.
1728:salon.com
1276:fuzz bass
1259:and some
1248:genres).
1233:pop music
1229:nightclub
1187:wah pedal
1115:rectifier
1096:capacitor
1092:rectifier
1067:impedance
1025:rackmount
959:Fuzz Face
729:harmonics
683:wave form
677:The word
643:hard rock
609:fuzz bass
582:Fuzz Face
559:The Kinks
488:In 1961,
455:Link Wray
413:overtones
373:Rocket 88
334:Buddy Guy
310:Bob Wills
241:fuzz bass
198:overdrive
190:overdrive
178:overtones
151:acid rock
143:punk rock
139:hard rock
117:-powered
79:overdrive
3086:Arranger
3045:Sampling
2969:Flanging
2847:Talk box
2760:Archived
2019:cite web
1893:Allmusic
1866:Allmusic
1754:Allmusic
1733:29 April
1707:29 April
1377:Archived
1327:See also
1317:mandolin
1310:and the
1288:headroom
1280:big band
1191:EQ pedal
1145:headroom
957:and the
955:Big Muff
710:harmonic
691:clipping
607:to play
584:used by
421:Pat Hare
328:such as
306:Bob Dunn
277:overtone
221:speakers
174:clipping
2989:Pumping
2954:Ducking
2899:Signal
1257:DI unit
1134:Guitar
1124:sustain
1107:voltage
1042:H&K
935:op-amps
928:Analog
842:op amps
840:and/or
791:current
787:voltage
783:cathode
776:triodes
773:class-A
578:Mosrite
312:band,
259:History
123:distort
3189:Medley
3184:Mashup
2994:Reverb
2984:Phaser
2622:
2595:
2536:
2506:
2479:
2452:
2420:
2393:
2366:
2339:
2312:
2285:
2258:
2231:
2204:
2177:
2150:
2078:
2048:
1977:
1922:
1845:
1814:
1787:
1679:
1650:5 July
1641:
1604:
1576:
1545:
1512:
1482:
1452:
1425:
1395:inSync
1321:fiddle
1179:preamp
1102:, the
1100:volume
810:biased
687:signal
588:, the
525:Gibson
500:song "
468:Rumble
399:song "
371:song "
153:, and
3204:Remix
3162:Other
3072:Roles
3030:Lo-fi
2933:STEED
2565:(PDF)
2558:(PDF)
2122:. BBC
1308:blues
1088:anode
1034:12AX7
992:6L6GC
685:of a
338:blues
2745:AX84
2620:ISBN
2593:ISBN
2534:ISBN
2504:ISBN
2477:ISBN
2450:ISBN
2418:ISBN
2391:ISBN
2364:ISBN
2337:ISBN
2310:ISBN
2283:ISBN
2256:ISBN
2229:ISBN
2202:ISBN
2175:ISBN
2148:ISBN
2076:ISBN
2046:ISBN
2025:link
2011:2015
1975:ISBN
1920:ISBN
1874:2010
1843:ISBN
1812:ISBN
1785:ISBN
1735:2017
1709:2017
1677:ISBN
1652:2012
1639:ISBN
1613:kit.
1602:ISBN
1574:ISBN
1543:ISBN
1510:ISBN
1480:ISBN
1450:ISBN
1423:ISBN
1298:use
1038:EL84
881:gain
879:and
871:The
653:and
611:on "
482:and
431:'s "
344:and
332:and
298:gain
188:and
161:and
105:and
87:gain
77:and
58:Boss
50:DS-1
48:The
2948:ADT
1319:or
1294:or
1225:DJs
626:of
601:Vox
565:".
557:of
514:WSM
466:, "
387:of
360:' "
243:),
169:".
3239::
3106:DJ
2702:.
2642:.
2518:^
2432:^
2054:.
2021:}}
2017:{{
2001:.
1983:.
1934:^
1891:.
1863:.
1837:,
1779:.
1752:.
1726:.
1699:.
1654:.
1637:.
1610:.
1600:.
1568:,
1494:^
1464:^
1393:.
1375:.
1371:.
1235:,
1048:A
961:.
751:.
724:.
649:,
638:.
419:.
352:,
235:,
215:,
211:,
207:,
149:,
145:,
141:,
101:,
97:,
2950:)
2946:(
2935:)
2931:(
2793:e
2786:t
2779:v
2712:.
2688:.
2653:.
2628:.
2601:.
2574:.
2542:.
2512:.
2485:.
2458:.
2426:.
2399:.
2372:.
2345:.
2318:.
2291:.
2264:.
2237:.
2210:.
2183:.
2156:.
2129:.
2084:.
2027:)
2013:.
1956:.
1928:.
1901:.
1876:.
1849:.
1820:.
1793:.
1762:.
1737:.
1711:.
1685:.
1580:.
1551:.
1524:.
1488:.
1458:.
1431:.
1404:.
969:"
283:.
239:(
41:.
34:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.