List of distortion pedals
Distortion pedals are a type of effects unit designed to add distortion to an audio signal to create a warm, gritty, or fuzzy character. Depending on the style of signal clipping, the broader category of distortion pedals is typically divided into fuzz pedals, distortion pedals, and overdrive pedals. Designed for electric guitar and bass and operated by the player's foot, distortion pedals are most frequently placed in the signal chain between the guitar and amplifier.
The use of distortion pedals was popularized by Keith Richards' use of a Maestro FZ-1 Fuzz-Tone pedal on the 1965 Rolling Stones song " Satisfaction". Later pedals like the Pro Co Rat and Ibanez Tube Screamer 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.
Classification
While "distortion" is the technical term for the different sounds caused by signal clipping, distortion effects pedals—which act as small amplifier circuits—are typically further classified into fuzz, distortion, and overdrive, depending on the circuit design and how the waveform is affected. Fuzz pedals came to the market first, with these pedals seeking to replicate the harmonic content generated by an amplifier being faulty or damaged. This sound is often characterized as harsh, with the waveform the most heavily affected of the three types, reaching nearly a square wave. To create their effect, fuzz pedals use lo-fi transistors.Conventional overdrives, like the Ibanez Tube Screamer, use diodes within the feedback loop of an op amp, so the signal does not fully distort or clip and results in a milder effect. This is known as "soft-clipping," or overdrive. The affected waveform maintains rounded peaks with the intent to emulate and/or complement a traditional vacuum tube-based amplifier. Some overdrives are meant to "color" the affected tone, while others are meant to be relatively transparent, adding drive but otherwise mostly preserving the guitar and amp's basic character. When the diodes are placed at the end of the circuit, however, the entirety of the signal is clipped. This is known as "hard-clipping," or distortion, which has a more aggressive sound and dramatic effect on the underlying tone, with angular peaks in the affected waveform. Because overdrive and distortion pedals both typically use op amps and diodes, the line between the two types can blur. The Klon Centaur, for example, is hard-clipping but considered a classic overdrive, while the MXR Distortion + and DOD Overdrive 250 Preamp have nearly identical circuits despite the opposing use of "Distortion" and "Overdrive" in their names.
Some overdrive and distortion pedals, similarly to fuzzes, use transistors and therefore do not have soft- or hard-clipping circuitry. These transistors are arranged in stages, cascading into one another for a more saturated sound, in a similar fashion to overdriving multiple vacuum tubes in an amp. Examples include the Boss Blues Driver and "amp in a box" overdrives like the Marshall JTM45-emulating Z.Vex Box of Rock.
Fuzz pedals
Arbiter Fuzz Face
Arbiter Electronics released the first Fuzz Face in 1966, 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 reissued from 1986 until 1990. In 1993, Dunlop Manufacturing took over production and has continued to issue several varieties of the pedal. Jimi Hendrix 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 wah-wah pedal into a Fuzz Face, then into a Uni-Vibe. Other notable users include Duane Allman, Stevie Ray Vaughan Pete Townshend, Eric Johnson, and George Harrison.Electro-Harmonix Big Muff
The Big Muff Pi, often known simply as the Big Muff, is a fuzz pedal produced in New York City by the Electro-Harmonix company, along with their Russian sister company Sovtek, 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 David Gilmour and Carlos Santana. The "sustained grind" of the Big Muff was later an integral part of the sound of many alternative rock bands through the 1980s and 1990s, being used extensively by the Smashing Pumpkins, Dinosaur Jr., NOFX, Bush and Mudhoney.Maestro FZ-1 Fuzz-Tone
The Maestro FZ-1 Fuzz-Tone was the first widely marketed fuzz distortion 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, " Satisfaction". 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 garage rock and psychedelic 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, Gibson re-issued the FZ-1a, but it was later discontinued.Sola Sound / Vox Tone Bender
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, Vox 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 Bender in use include Jeff Beck's sitar-like guitar solo on the Yardbirds' 1965 song "Heart Full of Soul" and Mick Ronson's guitar work on David Bowie's 1972 song "Moonage Daydream".Univox Super-Fuzz
The Univox 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 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.Z.Vex Fuzz Factory
The Fuzz Factory, designed overnight in 1994, was the second pedal from Z.Vex-founder Zachary Vex. The design began with a collection of unique germanium transistors Vex purchased from a surplus store with the intent of creating a fuzz pedal similar to a Fuzz Face. While initially disappointed by the transistors' sound, Vex added a booster to the front of the circuit and the pedal went "haywire" with squealing and odd noises. Vex replaced the fixed-value resistors with pots to gain control over the sounds, leading to a layout of five-knobs—three of which he could not easily describe the function of. The local dealer Vex took the first Fuzz Factories to objected to the layout, feeling customers would be confused, but Vex insisted this would mean buyers could find their own sounds. Dubbed a "masterpiece" by Guitar World for being intuitive yet "near-infinite in its tone-sculpting potential," the pedal's success established Vex as a pivotal figure in the popularization of boutique effects pedals.Distortion pedals
Boss DS-1 Distortion
Introduced in 1978, the DS-1 was Boss's first distortion pedal, and second pedal release overall, following the CE-1 Chorus Ensemble. The DS-1 uses two hard-clipping diodes for an aggressive edge, similar to the ProCo Rat, 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. The DS-1 is Boss's bestselling "drive" pedal of all time.Boss HM-2 Heavy Metal
The Boss HM-2, first issued in October 1983, was manufactured in Japan until 1988, then in Taiwan until 1991. It was designed to emulate the mid-range response of a Marshall stack. Achieving only moderate success in the glam metal 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 heavy metal scene and is especially associated with Swedish death metal. In 2020, Boss renewed production of the pedal as the HM-2W, part of its Japanese-made, boutique-grade "Waza Craft" series.Boss MT-2 Metal Zone
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. 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. Despite this, the pedal has found fans in metal and other genres, including Prince and Joe Bonamassa.The Metal Zone has sold over a million units, making it the company's best-selling overdrive or distortion pedal behind only the DS-1.