Missed the start of the series? Catch up here.

Ahh, it’s time for all things filth! Overdrive, distortion, fuzz, soft clipping, hard clipping, and limitless other descriptions to describe one of the most dramatic sound effects ever!

If dynamics effects are to claim the prize of being the most controversial and misunderstood effects; then the coveted prize for most popular, certainly (and with no competition) goes to anything that has the words ‘overdrive’, ‘distortion’, ‘fuzz’, or any variant in its descriptive moniker! While originally intended for guitar players (you’ll understand once you learn the history of this effect), no other effect has been so widespread throughout all of music production. Everything from vocals to drums, keyboards, and everything in between has been distorted, overdriven or fuzzed up at one time or another.

I’ll move it one step further. Distortion (unless otherwise specified, for simplicity I’ll refer to this topic generally as “distortion” from now on) actually makes up about 85-90% of the effects market. Now, I’ll be the first to admit that occasionally I use a made up expressive term like “cajillion” to make a point about enormous quantity; BUT, concerning distortion, no such exaggeration is needed – as there are thousands (and I mean that literally) of distortion devices being produced right at this moment.

I’ll bet that you, reading this right now, have at least a few distortion effects lying around!

I know that I certainly own… well… let’s just skip that number for now! Put it this way: I will never again make fun of, or criticize my girlfriend’s penchant for owning innumerable pairs of shoes!

However you slice it, distortion is the big card game in town and everyone wants a seat at the table; either as a consumer, or an opportunist manufacturer who boasts about delivering a new spin to all things crunch!

Why distort your signal?

Now on to more pertinent queries. Why on earth would you want to purposely distort a signal? After all, aren’t we taught by Hi-Fi manufacturers that the lower the signal distortion the better? Why the exception here?

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Missed part one? Catch up here.

Last time around we talked about the basics of amplifier distortion: What it is, where it came from and what it sounds like. Now it’s time to discuss the non-amp distortion gizmos out there that claim to be able to replicate the dirty sound of amplifier crunch. Bold claim! Can they do it? Let’s find out.

First, we need to define a few terms so that you aren’t flying blind! We have already established the 3 primary distortion-creating sections of an amp:

1. The pre-amp, consisting of the pre-amp tubes
2. The power amp consisting of the power tubes
3. Power tube compression and drive.

The basic functions of these 3 sections are as follows:

Pre-amp

This is where the input signal is shaped, EQ’d (most of the time – but there are exceptions!), and distorted to various degrees. Since this is the first stage only, pre-amp-only distortion is described as being raspy, over-compressed (due to the particular characteristics of the pre-amp tubes), and thin sounding in general.

Power amp

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Bonus Question answer

Last time around, our bonus question was this:

Where was the first echo (or delay) effect first manufactured?

If you have been following the Hearing Effects series so far, then you’ll know by now that nothing has a clear-cut answer. There is always too much debate about who really did what, and who really did what when; and this is even among the official records’ archivists!

However, regardless of who first “pioneered” the echo effect; the first to commercially manufacture it was Ray Butts in the early 1950s, who designed and built his wire-based echo machine into guitar amplifiers. (There might be someone out there to dispute that, but most fingers point to Ray.) It is a common mistake that the “echoplex” distributed by Maestro was the first, but that mix up is understandable since the “echoplex” holds the popularity award, and is still certainly regarded as the “Holy Grail” of echo effects.

This leads us straight into our next topic of echo/delay/reverb effects. Smooth, aren’t I?

Inspired by Nature

Alright, let’s dive right in. Everyone knows the sound characteristics of, say, yelling in a giant stadium or a cavern, or even out in the open high mountain ranges (for those who have actually experienced the wonder of something like the Grand Canyon).

Nature has built-in reverberation. For each different environment, sounds behave accordingly. The larger, more open and unobstructed spaces produce a longer delay between the sound and the bouncing around of that sound that reaches back to your ears. Those reflections can take a few milliseconds or up to a second or two to reach back to you. Once they do: Click to read the rest…