343:, released the same year. This type of circuit became known as "distortion," as opposed to the soft-clipping "overdrive" of Boss's later overdrive pedals. The DS-1 uses a preamplifier instead of the conventional op-amp for a gritty, warm tone. When the original Toshiba TA7136AP preamp became scarce, the circuit was redesigned in 1994, introducing several "quirks"—lower volume levels, noise at higher gain levels, and a "waspy" edge due to higher frequencies not being filtered out. These issues led to the pedal being popular among modifiers.
621:
immediate success, as the pedal afforded players more amp-like distortion at lower volume levels no matter what amp was being used. Within a few years, however, the pedal's voicing was considered overly "sweet" as rock music became more aggressive and the fixed frequency limited its versatility. With the surging popularity of the OD-1-influenced Tube
Screamer and its addition of a tone control, Boss began including a "Tone" knob on its pedals with the 1981 SD-1 and the OD-1 was discontinued in 1985.
685:-based pedal, the OCD has gone through multiple iterations, with changes from versions 1.1 to 1.7 being generally subtle alterations of the pedal's EQ response. Version 2 brought more noticeable changes, with a new output buffer, a 2N5457 JFET transistor input stage, and the option to use a new type of switching, enhanced bypass, instead of true bypass. After the first iteration, the drive pot's value was increased for a more "dramatic" distortion, and an asymmetric 1N34
312:
first Super-Fuzzes were made in 1968, and production continued until the late 70s. The pedal is unique in that the full-wave rectification of the circuit produces an upper octave as well as a slight lower octave. This also gives the sound a lot of compression and a mild ring modulator effect. A second unique feature is a tone switch that engages a 1 kHz filter that "scoops" the mids, giving a fat, bassy tone.
184:, primarily for use with the electric guitar. Released in 1969 and designed with an emphasis on long sustain compared to existing fuzzes, the Big Muff Pi was the first overwhelming success for Electro-Harmonix's line of pedals. Due to its reliability, its low price, and its distinctive sound, the Big Muff sold consistently through the 1970s and was found in numerous guitarists' pedal collections, including
405:
The MT-2 sported a complex design for a distortion pedal, with a dual-stage gain circuit, seven filters for both pre- and post-distortion, and a semi-parametric three-band EQ section. The pedal's thick, saturated, tight tone and the extreme sounds the pedal was able to produce thanks to its powerful EQ controls made the MT-2 divisive both upon its release and throughout its ongoing production.
849:. Besides its unique, more balanced EQ curve, the ODR-1 eschews the conventional tone knob, which cuts or boosts treble frequencies, for a "Spectrum" control that simultaneously boosts/cuts both highs and lower-mids as the knob is turned. Original '90s ODR-1s have been listed on the secondhand market for as much as $ 2,000.
753:
at a high volume. Finnegan wanted a "big, open" sound, with a "hint of tube clipping", that would not sound like a pedal was being used. He was quickly overwhelmed with orders, each taking 12–14 weeks, as
Finnegan handmade the pedals himself. Deciding the profit margin was not sustainable, Finnegan
620:
With the 1977 release of the OD-1 OverDrive, Boss coined the term "overdrive," a reference to the pedal's asymmetrical-clipping, tube-like distortion in comparison to the brash sound of "fuzz" pedals available. The OD-1's layout was simple—with only "Level" and "OverDrive" controls. The OD-1 was an
435:
in 1991. Each pedal was meant to imitate the sound of a particular
Marshall amplifier. The trio was discontinued one year afterwards in 1992. The Shredmaster has a lot in common with Marshall's Guv’nor pedal, with the first half of both circuits being nearly identical. However, the Shredmaster has an
404:
The MT-2 Metal Zone was released in 1991, following the discontinuation of the earlier HM-2, which failed to sell well during its production run, but was popular among death metal players. With the MT-2, Boss sought to appeal to that market with an improved pedal as death metal's popularity surged.
663:
diodes of the
Distortion+, which made a significant difference in the two pedals' tone and feel given the overall simplicity of their designs. Following DOD's acquisition by Digitech in 1990, the 250 Preamp was reissued several times, including with the JRC4558 op-amp popularized by the Ibanez Tube
552:
The King of Tone, released in 2005, was designed by former software engineer Mike Piera to create an improved version of the then-discontinued
Marshall Bluesbreaker pedal. A two-sided pedal with independent controls and internal DIP switches to choose between boost, overdrive, and distortion modes,
311:
Super-Fuzz circuit was designed in the late 1960s by the
Japanese company Honey, in the form of a multi-effect called the Honey Psychedelic Machine. Later on, Honey was acquired by Shin-ei, who produced the effect separately and imported it to the USA via Unicord, the parent company of Univox. The
868:
places the Timmy in the Tube
Screamer "family tree," while noting it does not have the Tube Screamer's characteristic mid-hump and is less compressed at lower gain levels. In the boutique market, the Timmy's transparent character and Volume/Gain/Bass/Treble control layout has been widely copied.
468:
and followed quickly with a trio of 1974 releases, including the
Distortion +. MXR's pedals were notable for their small footprint, as effects pedals were typically housed in large enclosures at the time, and durability, since MXR was initially founded to address the issue of other manufacturers'
530:
wrote, a "hard, aggressive sound and tight, focused clipping" that set the template for modern distortion circuits. Pro Co has released numerous versions of the Rat since its initial release, and its enduring popularity has spawned numerous clones and tributes from other pedal manufacturers like
122:
Arbiter
Electronics released the first Fuzz Face in 1969, featuring a unique round metal housing inspired by a microphone stand and with the arrangement of volume knob, distortion knob, and logo intentionally resembling a face. The Fuzz Face's first production run lasted until 1976/77, then was
629:
The Super OverDrive was released in 1981 as Boss's second overdrive pedal, adding a tone control to the earlier OD-1 design, while continuing to replicate the sound of tube amp-style overdrive via an asymmetrical clipping circuit and an inherent midrange-focus, but with less bass roll-off. The
268:
released a version in 1967 based on Sola Sound's MK1.5 Tone Bender update, one of many the pedal went through. With different component values and transistors being used over the years, earlier variants are fuller sounding, while later ones are bright and cutting. Notable examples of the Tone
561:
channel "That Pedal Show" in 2017. Orders soon reached 200 per day—far more than Piera could keep up with—and the King of Tone developed a famously years-long waiting list, while prices on the used market far exceeded the cost of a new pedal. To satisfy demand, Piera developed a single-sided
680:
released the
Obsessive Compulsive Drive (OCD), which was designed as "an open-sounding distortion pedal with decent headroom to more faithfully emulate a driven tube amp," with a circuit similar to the earlier Voodoo Labs Overdrive, itself a variation of the Ibanez Tubescreamer. An
630:
asymmetrical clipping lent the pedal a more aggressive character compared to the rival Tube Screamer, and it became popular in the growing hard rock and heavy metal subgenres with guitarists frequently using it to boost already-overdriven amplifiers like the
383:
scene, the pedal was discontinued in 1991; it was succeeded by the HM-3 Hyper Metal and MT-2 Metal Zone, the latter of which became a commercial success and top-selling pedal for Boss. Following its discontinuance, the HM-2 developed a cult following in the
760:, which named the Centaur one of the industry's greatest effect pedals, "The Klon Centaur is either the greatest, most useful overdrive ever made, or the worst example of guitarists losing all sense of perspective about how much good tone should cost."
861:
overdrive pedals, which became popular for its open, uncompressed tone with expanded EQ options. However, as the pedal was quite large, Cochrane released a smaller, four-knob option, the Timmy, which quickly surpassed the Tim in popularity.
823:
started using a Bluesbreaker on his pedalboard, reigniting industry interest in it. Many pedal makers developed modified recreations of the original circuit, most notably Analogman's King of Tone. Marshall reissued the Bluesbreaker in 2023.
523:
Developed in 1978 with mass production beginning a year later, the Pro Co Rat was the first mass-produced distortion pedal. In the Rat, Pro Co's engineers sought to improve upon the earlier Fuzz Face and ultimately designed a pedal with, as
411:
characterized the general reaction to the pedal as "inspiring or confusing," and the pedal is often lampooned on the internet as the worst distortion ever made. Many in the metal community embraced the sound, however, with Nathan Weaver of
832:
The ODR-1 was created for the German brand Nobels by Kai Tachibana, who was dissatisfied with the strong increase in middle frequencies and decrease in bass common in other overdrive pedals. Sometimes referred to as "the other
754:
discontinued the original Centaur in 2008, having produced 8,000 units, but later contracted out the manufacturing of a revised design, the Klon KTR. By 2019, used Centaurs sold for between $ 1,900 and US$ 2,500. According to
580:
In 1995, Boss released the BD-2, an overdrive pedal aimed at blues players who sought to add distortion while maintaining their amp's signal clarity and dynamics. At the time, blues was experiencing a resurgence thanks to
730:
players. The Tube Screamer has been used by many guitarists to create their signature sound, and is one of the most successful, widely copied, and custom-modified ("modded") overdrive pedals in the history of the
819:. While exceeding at adding subtle grit to a clean amp, the pedal failed to capture the tone of its namesake amp and was not a success during its limited initial production run. This changed years later when
655:' initial lineup of pedals, was originally a slight circuit variation of the Distortion+ by MXR, DOD's most direct competitor in the US market. The two pedals differed primarily in the 250 Preamp's use of
869:
Despite the pedal's success, Cochrane has continued to build the pedals himself and sells them at a reasonable price-point; Cochrane additionally assists the DIY community in creating Timmy-style pedals.
708:
Overdrive Special, a famously expensive and exclusive amplifier—just as the Zendrive would become, with used prices reaching over a thousand dollars, and having fans like Overdrive Special-owner
712:. Struggling to keep up with demand, Hermida partnered with the company Lovepedals in 2013 to take over Zendrive manufacturing. Despite this, the Zendrive remains rare on the pedal market.
807:
Launched in 1991, alongside the Drivemaster and Shredmaster, the Bluesbreaker overdrive was Marshall's first attempt at recreating the tone of a specific amp in a pedal—Marshall's own 1962 "
1589:
246:
acts, featured Maestro Fuzz-Tones on guitar. More significant design changes made after 1967 resulted in different renditions of the Fuzz-Tone released over the years. In the 1990s,
234:
guitar and bass effect. Introduced in 1962, it achieved widespread popularity in 1965 after the Rolling Stones guitarist Keith Richards prominent use of the FZ-1 on the group's hit, "
264:
Released in 1965, Sola Sound's Tone Bender was a re-creation of the popular Maestro Fuzz-Tone, but with more sustain and intended for the European market. For U.S. distribution,
1993:
436:
additional gain recovery stage, and though the three tone knobs appear to be the same on the outside, the tone stack is different. The Shredmaster is frequently associated with
238:". Later in 1965, the design was slightly modified and designated as the model FZ1-1a. In the wake of the success of "Satisfaction," numerous recordings, mostly from 1960s
103:
have achieved iconic status among guitarists and are a key element in many players' tones. Industry publications often publish lists of influential and popular models.
726:
The Ibanez Tube Screamer (TS808/TS9) was designed in the late 1970s by Susumu Tamura of Maxon. It has a characteristic mid-boosted tone popular with blues, rock and
557:
and selling them online under the moniker "Analog.Man." The King of Tone initially sold slowly, but quickly developed a following after Piera appeared on the
1375:
562:
variation, the Prince of Tone, that would be manufactured in China, but still in limited numbers that sold out quickly. In 2022, Analog.Man partnered with
1230:
2047:
749:
The Klon Centaur, made by American engineer Bill Finnegan, was released in 1994 with the aim of recreating the harmonically rich distortion of a
1929:
704:
Alfonso Hermida released the Zendrive in 2004 to acclaim as the overdrive pedal that most successfully emulates the breakup and response of the
1930:""I could have done 90 per cent of my career with an SD-1": why the BOSS overdrive has been the pro guitarist's secret ingredient for 40 years"
1671:
637:
In 2021, Boss released a 40th anniversary edition of the pedal, with the original circuit having remained unchanged since its introduction.
1143:
Hopkins, Craig. Stevie Ray Vaughan – Day by Day, Night After Night: His Early Years, 1954–1982. Backbeat Books; September 15, 2010. p. 327.
131:
popularized the Fuzz Face and was known to buy multiple copies at a time to identify the best ones; his pedal chain often consisted of a
1038:
1260:
1065:
1642:"The Guv'Nor, Drivemaster, Bluesbreaker and Shredmaster return as Marshall officially reissues its famous vintage stompbox range"
1590:""We Copied Them Exactly": Marshall's Steve Smith Introduces the New Guv'nor, Bluesbreaker, Drivemaster and Shredmaster Reissues"
231:
2020:
1401:
2084:
1148:
1102:
589:. The pedal has a clear, punchy tone and features a flatter EQ-curve for a more amp-like tone than similar pedals, like the
1185:
2270:
416:
favorably describing the MT-2 as a "fucked-up, corpse-grinding type sound." Despite this, the pedal has found fans like
151:
816:
1614:
1514:
1319:
1294:
431:
The Shredmaster was the high-gain model of a trio of pedals, including the Drivemaster and Bluesbreaker, released by
1749:
566:
to release a smaller-format, mass-produced version, the Duke of Tone, which in 2023 became MXR's bestselling pedal.
668:, and in 2013 the 250 Preamp was reissued once again, this time as a more faithful replica of the original design.
235:
92:
17:
1870:
1066:"That Pedal Show rate the most legendary pedals of all time: the deserving, the overrated and the total sleepers"
1339:
1119:
423:
The Metal Zone has sold over a million units, making it the company's best-selling pedal behind only the DS-1.
1238:
2321:
1902:
1723:
2243:
1808:
954:
2216:
2161:
2297:
2100:
1489:"How the Boss MT-2 Metal Zone conquered the world and inspired a new generation of metal guitar players"
336:
1781:
1539:
1959:
1455:
413:
167:
2189:
1840:
1488:
601:
1641:
984:
885:
2217:"Marshall BluesBreaker review: can this much-copied drive pedal pick up right where it left off?"
247:
72:
and bass and operated by the player's foot, distortion pedals are most frequently placed in the
2326:
494:
432:
385:
373:
225:
84:
2074:
808:
197:
1376:"Boss announces anniversary versions of the SD-1 Super Overdrive and MT-2 Metal Zone pedals"
1160:
834:
772:
721:
605:
590:
124:
100:
392:. In 2020, Boss renewed production of the pedal as the HM-2W, part of its Japanese-made,
376:
8:
1011:
554:
389:
209:
192:. The "sustained grind" of the Big Muff was later an integral part of the sound of many
2131:
1672:"Out of the Box: Guitar World Celebrates the Time-Honored History of MXR Effect Pedals"
278:
144:
37:
1161:"Dallas Arbiter Fuzz Face fuzz box | Pete Townshend's Guitar Gear | Whotabs"
2080:
1315:
1290:
1144:
1098:
727:
705:
456:
417:
369:
302:
172:
The Big Muff Pi (Ď€), often known simply as the Big Muff, is a fuzz pedal produced in
1429:
1189:
910:
1697:
1619:
750:
332:
290:
243:
193:
177:
53:
2190:"Radiohead's Ed O'Brien is selling his Klon Centaur and other effects for charity"
1092:
732:
652:
639:
631:
441:
339:. The DS-1 uses two hard-clipping diodes for an aggressive edge, similar to the
155:
127:
took over production and has continued to issue several varieties of the pedal.
69:
2136:
890:
788:
536:
490:
189:
147:
88:
1564:
643:
dubbed the pedal one of only a handful to ever achieve "truly iconic status."
469:
pedals' unreliability. The Distortion + has found a wide range of fans, like
2315:
1841:"Boss analog overdrives: what you need to know about the iconic drive pedals"
792:
482:
474:
274:
265:
185:
173:
132:
80:
2194:
864:
812:
744:
665:
582:
526:
478:
470:
407:
335:'s first distortion pedal, and second pedal release overall, following the
201:
140:
128:
73:
33:
1289:(First ed.). USA: For Musicians Only Publishing. pp. 117, 119.
842:
709:
693:
597:
498:
286:
282:
259:
239:
2048:"Warm Audio Warmdrive review – bringing the Zendrive vibe to the masses"
985:"Best distortion pedals: the top 11 high-gain stompboxes for guitarists"
2166:
1754:
846:
820:
780:
768:
756:
664:
Screamer. Digitech was later bought by Cor-Tek, the parent company of
586:
532:
518:
502:
380:
96:
56:, the broader category of distortion pedals is typically divided into
1402:"Boss shares images of new Waza HM-2W cosmetic prototype on Facebook"
838:
796:
776:
764:
686:
660:
609:
506:
486:
437:
355:
340:
326:
270:
117:
1012:"Best distortion pedals: our pick of the top gain stages for guitar"
858:
677:
465:
393:
213:
136:
1314:(FIRST ed.). USA: For Musicians Only Publishing. p. 25.
876:
to release a smaller format, mass-produced version of the Timmy.
837:," the ODR-1, with its fuller sound, became a favorite pedal for
656:
558:
360:
The Boss HM-2, first issued in October 1983, was manufactured in
1648:. Future Publishing Limited Quay House, The Ambury, Bath BA1 1UA
1261:"Fifty Years of Filth: The Story of the Mighty Tone Bender Fuzz"
682:
365:
308:
181:
689:
diode was later added to shift the character of the clipping.
572:
dubbed the King of Tone one of a few "holy grail" overdrives.
1871:"Ibanez Tube Screamer vs Boss Blues Driver: which is better?"
932:
784:
361:
196:
bands through the 1980s and 1990s, being used extensively by
2021:"Warm Audio ODD Box V1 Hard-Clipping Overdrive Pedal review"
1741:
1219:"Beatles Gear" by Andy Babiuk and Tony Bacon; Backbeat, 2002
857:
Cochrane first produced the Tim overdrive, one of the first
651:
The Overdrive 250 Preamp, released in the 1970s as part of
205:
2271:"Is the Nobels ODR-1 the real holy grail overdrive pedal?"
1615:"How to play the guitar like Radiohead's Jonny Greenwood"
1456:"Here's a First Look At The Boss Hm-2 Waza Craft Reissue"
873:
563:
461:
230:
The Maestro FZ-1 Fuzz-Tone was the first widely marketed
763:
The Klon Centaur has been used by guitarists including
2126:
2124:
2122:
1782:"In Bethel, an analog man builds guitar pedal icons"
250:
re-issued the FZ-1a, but it was later discontinued.
2119:
2093:
2156:
2154:
696:"one of the most legendary overdrives ever made."
346:The DS-1 is Boss's bestselling pedal of all time.
1097:(New and Improved ed.). St. Martin's Press.
180:company, along with their Russian sister company
2313:
420:when used on lower gain settings or as a boost.
79:The use of distortion pedals was popularized by
2151:
1090:
253:
1447:
1228:
1210:"Get Back" by the Beatles; Apple, London, 1969
2076:Guitar Effects Pedals: The Practical Handbook
1424:
1422:
1394:
553:Piera started building the pedals by hand in
447:The series was reissued by Marshall in 2023.
52:character. Depending on the style of signal
2289:
1953:
1951:
1864:
1862:
1775:
1773:
1039:"The Best Guitar Effects Pedals of All Time"
624:
161:
1259:Livingstone, Christian (13 December 2018).
1258:
1213:
646:
368:until 1991. It was designed to emulate the
1587:
1482:
1480:
1478:
1476:
1419:
1091:Shapiro, Harry; Glebbeek, Caesar (1995) .
547:
379:. Achieving only moderate success in the
2262:
1948:
1859:
1834:
1832:
1830:
1770:
1612:
1340:"Boss DS-1W Waza Craft Distortion Review"
1333:
1331:
1153:
978:
976:
699:
596:Notable players who use the BD-2 include
575:
219:
123:reissued from 1986 until 1990. In 1993,
1896:
1894:
1892:
1747:
1369:
1367:
1365:
1363:
1361:
1009:
802:
349:
2244:"Nobels ODR-1 BC & ODR-mini review"
2132:"Builder Profile: Klon's Bill Finnegan"
2039:
1903:"Gear Icons: Boss SD-1 Super Overdrive"
1665:
1663:
1639:
1473:
1204:
1201:Modern Guitars - Eric Johnson Interview
1178:
1030:
933:"FuzzEffect: The Fuzz Story and Photos"
715:
426:
399:
320:
14:
2314:
2235:
2208:
2072:
2066:
2012:
1987:
1985:
1983:
1981:
1827:
1800:
1640:Horsley, Jonathan (24 February 2023).
1328:
1309:
1284:
1057:
973:
955:"10 Stompboxes That Changed the World"
852:
615:
1921:
1889:
1868:
1779:
1606:
1515:"Vintage Pedal of the Week: Marshall"
1358:
1312:Analog Man's Guide to Vintage Effects
1287:Analog Man's Guide to Vintage Effects
1112:
946:
2187:
1730:. Premier Guitar Magazine. p. 2
1660:
1036:
315:
296:
111:
2298:"Classic gear: Paul Cochrane Timmy"
2045:
1978:
1695:
1486:
1063:
982:
817:John Mayall & The Bluesbreakers
542:
450:
24:
2295:
2241:
2214:
2018:
1991:
1957:
1838:
1806:
1750:"Pro Co Reissue '85 Whiteface RAT"
1748:Williams, Stuart (2 August 2010).
1337:
1252:
952:
811:" combo, nicknamed for its use by
464:scored its first success with the
388:and is especially associated with
76:between the guitar and amplifier.
25:
2338:
2268:
2101:"Ibanez TS9 Tube Screamer Review"
1960:"DOD Overdrive Preamp 250 review"
1927:
1900:
1721:
1373:
1229:Tolinski, Brad (September 1994).
872:In 2020, Cochrane partnered with
331:Introduced in 1978, the DS-1 was
2162:"The top 20 effects of all time"
1669:
1453:
2181:
2079:. Hal Leonard. pp. 68–71.
1715:
1689:
1633:
1581:
1557:
1532:
1507:
1303:
1278:
1222:
1137:
827:
738:
671:
139:. Other notable users include
40:to an audio signal to create a
1724:"Iron Maiden: Out of Thin Air"
1613:McStarkey, Mick (2021-11-05).
1120:"Duane Allman Guitar Gear Rig"
1084:
1003:
925:
903:
135:into a Fuzz Face, then into a
106:
13:
1:
896:
512:
273:'s sitar-like guitar solo on
236:(I Can't Get No) Satisfaction
93:(I Can't Get No) Satisfaction
1994:"The FX files: Fulltone OCD"
1540:"History of Pedals – Part 2"
1094:Jimi Hendrix: Electric Gypsy
396:-grade "Waza Craft" series.
254:Sola Sound / Vox Tone Bender
7:
1809:"Analog Man's King of Tone"
879:
10:
2343:
742:
719:
516:
454:
353:
324:
300:
257:
223:
165:
115:
95:". Later pedals like the
2188:Owen, Matt (2022-05-26).
1588:Rod Brakes (2023-02-24).
1231:"Welcome to the Machines"
911:"The Art of the Stompbox"
634:into higher-gain sounds.
625:Boss SD-1 Super OverDrive
414:Wolves in the Throne Room
168:Electro-Harmonix Big Muff
162:Electro-Harmonix Big Muff
1546:. Marshall Amplification
1186:"Eric Johnson Interview"
647:DOD Overdrive 250 Preamp
602:Rage Against the Machine
1565:"Solstice (Legacy PCB)"
1010:Astley-Brown, Michael.
548:Analog.Man King of Tone
1698:"Gear Blog: Bob Mould"
700:Hermida Audio Zendrive
692:The OCD was dubbed by
659:diodes instead of the
576:Boss BD-2 Blues Driver
269:Bender in use include
226:Maestro FZ-1 Fuzz-Tone
220:Maestro FZ-1 Fuzz-Tone
85:Maestro FZ-1 Fuzz-Tone
2073:Hunter, Dave (2004).
1704:. KLRU-TV, Austin PBS
841:session players like
803:Marshall Bluesbreaker
350:Boss HM-2 Heavy Metal
198:the Smashing Pumpkins
1788:. Connecticut Mirror
1780:Busemeyer, Stephen.
1430:"BOSS Cult Classics"
1310:Hughes, Tom (2004).
1285:Hughes, Tom (2004).
886:Boss' notable pedals
815:when he played with
722:Ibanez Tube Screamer
716:Ibanez Tube Screamer
606:Billie Joe Armstrong
591:Ibanez Tube Screamer
427:Marshall Shredmaster
400:Boss MT-2 Metal Zone
364:until 1988, then in
337:CE-1 Chorus Ensemble
321:Boss DS-1 Distortion
125:Dunlop Manufacturing
101:Ibanez Tube Screamer
2322:Music-related lists
1758:. Future Publishing
1487:Horsely, Jonathon.
983:Horsley, Jonathon.
853:Paul Cochrane Timmy
616:Boss OD-1 OverDrive
555:Bethel, Connecticut
390:Swedish death metal
1909:. Mixdown Magazine
1869:Robertson, Daryl.
1702:Austin City Limits
1521:. 12 November 2015
1519:Pedals and Effects
285:'s guitar work on
279:Heart Full of Soul
145:Stevie Ray Vaughan
87:pedal on the 1965
2223:. Guitar Magazine
2215:Purvis, Richard.
2086:978-0-87930-806-3
2054:. Guitar Magazine
1936:. Guitar Magazine
1813:vintageguitar.com
1434:rolandcorp.com.au
1149:978-1-4234-8598-8
1104:978-0-312-13062-6
959:premierguitar.com
706:Dumble Amplifiers
473:in his work with
386:heavy metal scene
316:Distortion pedals
303:Univox Super-Fuzz
297:Univox Super-Fuzz
112:Arbiter Fuzz Face
62:distortion pedals
30:Distortion pedals
16:(Redirected from
2334:
2306:
2305:
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2259:
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2255:
2242:Curwen, Trevor.
2239:
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2016:
2010:
2009:
2007:
2005:
1989:
1976:
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1973:
1971:
1955:
1946:
1945:
1943:
1941:
1928:Watts, Michael.
1925:
1919:
1918:
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1898:
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1884:
1882:
1866:
1857:
1856:
1854:
1852:
1836:
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1824:
1822:
1820:
1815:. Vintage Guitar
1804:
1798:
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1768:
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1763:
1745:
1739:
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1709:
1696:Cochran, Kevin.
1693:
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1620:Far Out Magazine
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1344:guitarplayer.com
1335:
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1300:
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1256:
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1247:
1246:
1237:. Archived from
1226:
1220:
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1208:
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1200:
1198:
1197:
1188:. Archived from
1182:
1176:
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1157:
1151:
1141:
1135:
1134:
1132:
1130:
1124:Uberproaudio.com
1116:
1110:
1108:
1088:
1082:
1081:
1079:
1077:
1064:Dickson, Jamie.
1061:
1055:
1054:
1052:
1050:
1043:guitarplayer.com
1034:
1028:
1027:
1025:
1023:
1007:
1001:
1000:
998:
996:
980:
971:
970:
968:
966:
961:. Premier Guitar
950:
944:
943:
941:
939:
929:
923:
922:
920:
918:
907:
751:guitar amplifier
543:Overdrive pedals
457:MXR Distortion +
451:MXR Distortion +
291:Moonage Daydream
194:alternative rock
178:Electro-Harmonix
68:. Designed for
66:overdrive pedals
36:designed to add
21:
18:Distortion pedal
2342:
2341:
2337:
2336:
2335:
2333:
2332:
2331:
2312:
2311:
2310:
2309:
2304:. Guitar World.
2302:guitarworld.com
2294:
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2248:guitarworld.com
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2028:
2017:
2013:
2003:
2001:
1990:
1979:
1969:
1967:
1964:guitarworld.com
1956:
1949:
1939:
1937:
1926:
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1899:
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1880:
1878:
1875:guitarworld.com
1867:
1860:
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1845:guitarworld.com
1837:
1828:
1818:
1816:
1807:Jordan, Oscar.
1805:
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1346:. Guitar Player
1336:
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1242:
1241:on 24 July 2011
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1089:
1085:
1075:
1073:
1070:guitarworld.com
1062:
1058:
1048:
1046:
1045:. Guitar Player
1037:Thompson, Art.
1035:
1031:
1021:
1019:
1008:
1004:
994:
992:
989:guitarworld.com
981:
974:
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914:
909:
908:
904:
899:
882:
855:
835:green overdrive
830:
805:
747:
741:
733:electric guitar
724:
718:
702:
674:
653:DOD Electronics
649:
632:Marshall JCM800
627:
618:
578:
550:
545:
521:
515:
459:
453:
442:Jonny Greenwood
429:
402:
358:
352:
329:
323:
318:
305:
299:
262:
256:
232:fuzz distortion
228:
222:
170:
164:
156:George Harrison
120:
114:
109:
70:electric guitar
23:
22:
15:
12:
11:
5:
2340:
2330:
2329:
2324:
2308:
2307:
2296:Lynham, Alex.
2288:
2275:musicradar.com
2261:
2250:. Guitar World
2234:
2207:
2180:
2150:
2137:Premier Guitar
2118:
2105:Guitar Verdict
2092:
2085:
2065:
2038:
2025:musicradar.com
2019:Sharma, Amit.
2011:
1998:musicradar.com
1992:Lynham, Alex.
1977:
1966:. Guitar World
1958:Lynham, Alex.
1947:
1920:
1907:mixdownmag.com
1901:Colic, Jamie.
1888:
1877:. Guitar World
1858:
1847:. Guitar World
1826:
1799:
1769:
1740:
1728:Premier Guitar
1714:
1688:
1659:
1632:
1605:
1580:
1556:
1531:
1506:
1495:. Guitar World
1472:
1454:Seah, Daniel.
1446:
1418:
1393:
1380:musicradar.com
1357:
1338:Lynham, Alex.
1327:
1320:
1302:
1295:
1277:
1265:Premier Guitar
1251:
1221:
1212:
1203:
1177:
1152:
1136:
1111:
1103:
1083:
1072:. Guitar World
1056:
1029:
1016:musicradar.com
1002:
991:. Guitar World
972:
953:Murphy, Bill.
945:
924:
901:
900:
898:
895:
894:
893:
891:Treble booster
888:
881:
878:
854:
851:
829:
826:
804:
801:
789:Matt Schofield
743:Main article:
740:
737:
720:Main article:
717:
714:
701:
698:
673:
670:
648:
645:
626:
623:
617:
614:
577:
574:
570:Vintage Guitar
549:
546:
544:
541:
537:Wampler Pedals
517:Main article:
514:
511:
455:Main article:
452:
449:
428:
425:
401:
398:
372:response of a
354:Main article:
351:
348:
325:Main article:
322:
319:
317:
314:
301:Main article:
298:
295:
289:'s 1972 song "
258:Main article:
255:
252:
224:Main article:
221:
218:
190:Carlos Santana
166:Main article:
163:
160:
148:Pete Townshend
116:Main article:
113:
110:
108:
105:
89:Rolling Stones
32:are a type of
9:
6:
4:
3:
2:
2339:
2328:
2327:Effects units
2325:
2323:
2320:
2319:
2317:
2303:
2299:
2292:
2277:. Music Radar
2276:
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2138:
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2125:
2123:
2107:. 6 June 2017
2106:
2102:
2096:
2088:
2082:
2078:
2077:
2069:
2053:
2049:
2046:Oleszko, Ed.
2042:
2027:. Music Radar
2026:
2022:
2015:
2000:. Music Radar
1999:
1995:
1988:
1986:
1984:
1982:
1965:
1961:
1954:
1952:
1935:
1931:
1924:
1908:
1904:
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1839:Brakes, Rod.
1835:
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1756:
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1718:
1703:
1699:
1692:
1677:
1673:
1670:Gill, Chris.
1666:
1664:
1647:
1643:
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1616:
1609:
1595:
1594:Guitar Player
1591:
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1407:
1403:
1397:
1382:. Music Radar
1381:
1377:
1370:
1368:
1366:
1364:
1362:
1345:
1341:
1334:
1332:
1323:
1321:0-9759209-0-1
1317:
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1296:0-9759209-0-1
1292:
1288:
1281:
1266:
1262:
1255:
1240:
1236:
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1216:
1207:
1192:on 2007-10-22
1191:
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1071:
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1044:
1040:
1033:
1018:. Music Radar
1017:
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492:
488:
484:
483:Grateful Dead
480:
476:
475:Ozzy Osbourne
472:
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458:
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328:
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294:
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288:
284:
280:
277:' 1965 song "
276:
275:the Yardbirds
272:
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186:David Gilmour
183:
179:
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174:New York City
169:
159:
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153:
149:
146:
142:
138:
134:
133:wah-wah pedal
130:
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119:
104:
102:
98:
94:
90:
86:
82:
81:Keith Richard
77:
75:
71:
67:
63:
59:
55:
51:
47:
43:
39:
35:
31:
27:
19:
2301:
2291:
2279:. Retrieved
2274:
2269:Laing, Rob.
2264:
2252:. Retrieved
2247:
2237:
2225:. Retrieved
2220:
2210:
2199:. Retrieved
2195:Guitar World
2193:
2183:
2172:. Retrieved
2170:. 2019-03-04
2165:
2142:. Retrieved
2140:. 2014-01-21
2135:
2109:. Retrieved
2104:
2095:
2075:
2068:
2056:. Retrieved
2051:
2041:
2029:. Retrieved
2024:
2014:
2002:. Retrieved
1997:
1968:. Retrieved
1963:
1938:. Retrieved
1933:
1923:
1911:. Retrieved
1906:
1879:. Retrieved
1874:
1849:. Retrieved
1844:
1817:. Retrieved
1812:
1802:
1790:. Retrieved
1786:ctmirror.org
1785:
1760:. Retrieved
1753:
1743:
1732:. Retrieved
1727:
1722:Bosso, Joe.
1717:
1706:. Retrieved
1701:
1691:
1680:. Retrieved
1678:. Future plc
1676:Guitar World
1675:
1650:. Retrieved
1645:
1635:
1624:. Retrieved
1618:
1608:
1597:. Retrieved
1593:
1583:
1572:. Retrieved
1568:
1559:
1548:. Retrieved
1544:marshall.com
1543:
1534:
1523:. Retrieved
1518:
1509:
1497:. Retrieved
1492:
1463:. Retrieved
1459:
1449:
1437:. Retrieved
1433:
1409:. Retrieved
1405:
1396:
1384:. Retrieved
1379:
1374:Laing, Rob.
1348:. Retrieved
1343:
1311:
1305:
1286:
1280:
1268:. Retrieved
1264:
1254:
1243:. Retrieved
1239:the original
1235:Guitar World
1234:
1224:
1215:
1206:
1194:. Retrieved
1190:the original
1180:
1168:. Retrieved
1164:
1155:
1139:
1127:. Retrieved
1123:
1114:
1093:
1086:
1074:. Retrieved
1069:
1059:
1047:. Retrieved
1042:
1032:
1020:. Retrieved
1015:
1005:
993:. Retrieved
988:
963:. Retrieved
958:
948:
938:13 September
936:. Retrieved
927:
917:13 September
915:. Retrieved
905:
871:
865:Guitar World
863:
856:
831:
828:Nobels ODR-1
813:Eric Clapton
809:Bluesbreaker
806:
762:
755:
748:
745:Klon Centaur
739:Klon Centaur
725:
703:
691:
675:
672:Fulltone OCD
666:Cort Guitars
650:
638:
636:
628:
619:
595:
583:Eric Clapton
579:
569:
568:
551:
527:Guitar World
525:
522:
479:Jerry Garcia
471:Randy Rhoads
460:
446:
430:
422:
408:Guitar World
406:
403:
359:
345:
330:
306:
263:
229:
202:Dinosaur Jr.
171:
152:Eric Johnson
141:Duane Allman
129:Jimi Hendrix
121:
83:'s use of a
78:
74:signal chain
65:
61:
57:
49:
45:
41:
34:effects unit
29:
28:
26:
843:Tom Bukovac
710:Robben Ford
694:Music Radar
598:Tom Morello
499:Iron Maiden
495:Dave Murray
287:David Bowie
283:Mick Ronson
260:Tone Bender
244:psychedelic
240:garage rock
107:Fuzz pedals
58:fuzz pedals
2316:Categories
2221:guitar.com
2201:2022-12-13
2174:2021-08-28
2167:Guitar.com
2144:2022-12-13
2111:27 January
2052:guitar.com
1934:guitar.com
1762:29 January
1755:MusicRadar
1734:2018-07-31
1708:2018-08-01
1682:2018-07-31
1646:MusicRadar
1626:2022-02-06
1599:2023-12-09
1574:2023-12-09
1550:2023-10-01
1525:2018-12-12
1460:guitar.com
1270:5 February
1245:2011-07-29
1196:2007-10-23
1170:5 November
1165:Thewho.net
1129:5 November
897:References
847:Tim Pierce
821:John Mayer
793:Ed O'Brien
781:Nels Cline
769:John Mayer
757:Guitar.com
587:Gary Moore
533:JHS Pedals
519:Pro Co RAT
513:Pro Co Rat
503:Thom Yorke
440:guitarist
381:glam metal
97:Pro Co Rat
38:distortion
839:Nashville
797:Radiohead
777:Aerosmith
773:Joe Perry
765:Jeff Beck
687:germanium
676:In 2004,
661:germanium
610:Green Day
507:Radiohead
491:HĂĽsker DĂĽ
487:Bob Mould
438:Radiohead
370:mid-range
356:Boss HM-2
341:ProCo Rat
327:Boss DS-1
271:Jeff Beck
118:Fuzz Face
2031:30 April
2004:28 April
1406:Gearnews
880:See also
859:boutique
678:Fulltone
466:Phase 90
433:Marshall
394:boutique
374:Marshall
214:Mudhoney
137:Uni-Vibe
54:clipping
1970:23 June
1940:31 July
1881:31 July
1851:31 July
1792:31 July
1652:June 5,
1569:Aion FX
1499:31 July
1465:May 31,
1439:May 31,
1411:May 31,
1386:31 July
1350:31 July
1109:p. 689.
657:silicon
559:Youtube
481:of the
176:by the
2281:13 May
2254:10 May
2227:10 May
2083:
2058:10 May
1819:10 May
1318:
1293:
1147:
1101:
1076:11 May
1049:11 May
1022:11 May
995:11 May
965:12 May
913:. 2010
791:, and
683:op amp
640:Guitar
501:, and
418:Prince
366:Taiwan
309:Univox
281:" and
248:Gibson
182:Sovtek
154:, and
91:song "
46:gritty
1913:9 May
785:Wilco
728:metal
377:stack
362:Japan
64:, or
50:fuzzy
48:, or
2283:2024
2256:2024
2229:2024
2113:2021
2081:ISBN
2060:2024
2033:2024
2006:2024
1972:2024
1942:2023
1915:2024
1883:2023
1853:2023
1821:2024
1794:2024
1764:2012
1654:2023
1501:2023
1467:2021
1441:2021
1413:2021
1388:2023
1352:2023
1316:ISBN
1291:ISBN
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