Processing Gain-Based Rock Guitar Effects

Though the terms are often used interchangeably, knowledgeable guitarists do make distinctions between the different types of the gain-based processing effect where the signal strength overwhelms the circuitry's capacity to reproduce it exactly. Though the term "distortion" is used generically to report this effect, it also has a connotation when used to report the differences between fuzz and overdrive. Take a moment to sort out these terms on the guitar player's level.

Distortion boxes add gain to your guitar's signal. A lot gain, in fact, that the circuit cannot handle it any more. The resulting "overdrive" makes the circuit clip, or distort.

Distortion, in the generic sense of the signal getting electronically corrupted, is the signature sound of rock and roll. Are you able to imagine classic riffs such as the Rolling Stones' "Satisfaction" and AC/DC's "Back in Black" without a tiny crunch? The notes would be the same, but the musical statement would lose all its power, danger, and excitement.

Because guitarists often use the terms overdrive, distortion, and fuzz interchangeably, and no clear-cut definition of each variation exists, you'll find overdrive units that can accomplish fuzz-like effects, and vice versa. Always listen before you buy.

Distortion devices usually offer controls:

Drive (or gain) determines the amount of distortion.

Tone (sometimes called EQ, for equalization, or filter) lets you shape the bass and treble content.

Output (or level) determines the final, overall volume of the signal coming out of the box.

Overdrive

You can use an overdrive pedal as a tidy boost by setting the drive control low and the output control high. This is a great way to saturate your tube amp without adding much coloration to your tone.
Distortion

Overdrive is the mildest and most natural sounding of the distortion types. The best models, such as the classic Ibanez Tube Screamer, shown in Figure one, emulate the characteristics of a tube amplifier â�" some even have actual tubes built in to their circuitry. The sound, rich in even harmonics, is warm and full. Use overdrive for blues and classic rock as well as pop lead sounds and hard rock rhythm sounds.Stones to Metallica.

Distortion pedals carryover all kinds of creative names, such as "Grunge," "Metal," and "In Your Face, Whimpering Slug." These names can give you a clue to the pedal's tone, but you still require your ears to judge. Keep in mind the adage "One man's metal is another man's grunge."
Fuzz

Distortion, in the sense that it is compared with fuzz and overdrive, is an exaggerated, edgier type of overdrive.

Fuzz boxes, which were among the earliest guitar effects, take you to the extreme fringe of distortion. Their bright, buzz-saw-like tone is the choice for traditional 1960s sounds. Pedals that focus on fuzz don't do an excellent job of simulating the natural distortion of a tube amp; however, you can simulate a fuzz tone with a traditional distortion box by turning up the gain control and setting the tone for the brightest feasible sound.