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Hugely versatile pedal. Able to get any tone of distortion from any genre. Super EQ control for bass, mid, and treble for precise sound sculpting. 100% analog sound with true bypass. Sturdy housing with durable components.
Can have a muddy sound.
Solid and well-built pedal. Powerful range of sound. Easy to use tactile switches. Has a distinctive crisp and dirty rock sound. Great range of fuzzy sounds. Versatile enough to be used on guitars and bass guitars.
Can sound slightly muddy on extended range guitars.
Features a dedicated distortion control. Has a three-band EQ and level control. Great tool for sound shaping. Rugged construction and build. Runs on 9-volt battery or DC power supply (not included). Features multi-gain circuitry that generates thick, tube-like distortion and endless sustain.
Some customers experienced power issues.
True bypass loses very little tone. Crunchy, fuzzy bass that lives up to its dark matter name. A staple for grunge, punk, alternative, and metal solos. Impressive sound and range of control for the price. Works well for creating distorted vocal effects.
Bass tends to be a bit too heavy.
Small and easy to situate in any pedal box. Offers two great options in one pedal. Lots of sound-shaping control. Surprisingly huge distortion. Crunch-filled overdrive. Dedicated level, tone, drive, and mode controls. A workhorse pedal for any kit or collection.
Some customers experienced an annoying buzz or hum when in use.
We recommend these products based on an intensive research process that's designed to cut through the noise and find the top products in this space. Guided by experts, we spend hours looking into the factors that matter, to bring you these selections.
If you're an electric guitar player, chances are you're looking for that large, crunchy power you've heard blazing from the amps of your idols. Although there are many elements that contribute to achieving that perfect sound, one of the key ingredients is a distortion pedal. But if you're new to the world of guitar effects, you might not be sure what you need to get the sound you want.
The purpose of this article is to introduce you to your options and help you understand crucial differences, so you can find the sound you're searching for. You'll learn about the three essential controls every distortion pedal has as well as how distortion differs from overdrive. You'll also get some tips on how to get the most out of your new distortion pedal.
If you're ready for an education, keep reading. If you'd prefer to just dive in and choose one of the pedals we've hand-picked as the best, consider purchasing one of the options we've spotlighted.
At its most basic level, a distortion pedal has three controls. Each knob twists clockwise to increase the parameter and counterclockwise to decrease the parameter. The name of these three controls varies from manufacturer to manufacturer, but they all affect the same three aspects. Most often, these knobs are labeled level, tone, and distortion.
The level is simply the volume. It's the same as the knob on your car stereo: you turn it clockwise for louder and counterclockwise for quieter.
To be easier to understand, this knob should be called the EQ, but it never is. It is like the bass and treble that, again, you can find on your car stereo. On lower-priced distortion pedals, you will only have one knob that controls both the bass and the treble. As you turn it counterclockwise, the emphasis on lower frequencies increases. When you turn the knob clockwise, higher frequencies are emphasized.
The third knob is used to control the level of distortion. This knob can also be called gain or drive. Turning this knob counterclockwise gives you a cleaner signal, making it easier to distinctly hear individual notes. As you rotate the control clockwise, you increase the amount of distortion, adding more aggression and dissonance. Depending on the pedal, when this knob is turned fully to the right, you may no longer hear much of the original note. Instead, it will sound more like a roar or a growl.
Although there are only three essential controls on a distortion pedal, that doesn't stop manufacturers from creating a seemingly unlimited variety of features. Some of these other options are listed below. Again, these may be called by different names depending on the manufacturer, but essentially, they all perform similar functions.
Additional tone controls
The simplest version of tone control is one knob. The more knobs you add, the more control you gain. With two knobs, you can set the bass and the treble, turning both up or down if needed. When you add a third knob, it is to give you more control over the mid-range frequencies. A fourth knob will allow you to specifically choose which mid-range frequency you want to boost (or cut).
Stylistic toggle switches
The idea behind the toggle switch is to quickly change the color/type/style of your distortion. For instance, in one position, your distortion might be dark and heavy, but with a quick flip up, it could turn thin and aggressive.
As distortion pedals get more expensive, you will find ones with dual channels. You can easily recognize these pedals because they will have two foot switches. With a dual-channel distortion pedal, you can have two completely different sounds — something for the lead and something for the rhythm — that you can quickly switch between with just the tap of your foot.
A multi-effects pedal offers three or more pedals in one. For instance, you could have distortion, chorus, and delay on one pedal. Depending on your needs, you could use the effects in any combination, giving you an incredible range of sonic diversity.
If you can think of it, a manufacturer has probably already incorporated it into a pedal. These options can range from a boost in volume to additional tonal colors. Additional controls are not universal, and you can typically only find them on higher-priced distortion pedals. They are not necessities, but they can help in specific situations, which vary from player to player.
Distortion pedals start around $20. These are no-frills pedals that offer minimal control — usually just a distortion, a level, and a tone knob.
From $25 to $55, you can find value. Pedals in this range feature greater flexibility when it comes to tone control, often using two or three knobs. They may also have a toggle switch that gives you options on your distortion type.
As you approach the $100 to $160 price range, you start seeing pedals with even more control, dialable frequency select, additional effects, and distortion sounds targeted for particular genres.
As you move beyond $160, you may be getting a second channel and more knobs. But be careful because at this range, shape, design, and artwork can drive up the price without giving you any additional functionality.
Even if used in moderation, a distortion pedal can be an essential piece of equipment for a guitar player from any genre. The key to making it work for you is understanding how it functions and adding the sound as needed. In art, all rules were made to be broken, but here are some guidelines to help get you get started with your new distortion pedal.
Understand your pedal. Read the manual. Know how to power and use your pedal so you don't inadvertently damage it.
Start in the middle. Begin with all knobs at noon. That way, you get a little bit of everything. Adjust each control clockwise or counterclockwise as desired.
Push the limits. Don't be afraid to turn any or all of the dials all the way up. Just don't damage your amp in the process.
Find the hidden tricks. Learn what every knob and switch does, not only on its own but in conjunction with all of the other knobs and switches on your distortion pedal.
Add compression. Consider purchasing a compression pedal to help you control the signal going into your distortion pedal.
Add modulation. You can fine-tune the color of your distortion with a variety of other pedals. Chorus, delay, reverb, and other effects can all be added to create a sound that is unique to you.
Consider a noise gate. A noise gate cuts off the low hum and buzz that you hear when you are not playing. It should go at or near the end of your pedal chain — be careful that it doesn't come after and clip such effects as delay and reverb.
Don't neglect volumes. It's not always about tone and drive. A slight volume tweak on any one of the pedals in your chain may drastically affect the overall color and quality of your tone.
Q. What is the difference between overdrive and distortion?
A. Overdrive pushes your volume to the limits and a little beyond. If you crank the gain on your amplifier all the way up and turn the volume knob back, you'll get a signal that is basically coming in hot. This effect adds color and gives a frayed edge to the guitar's tone, but it still sounds like the original notes and the chords.
Distortion adds dissonance to the overtones. Depending on how much you distort the tone, the individual notes may become nearly unrecognizable. If you play a full chord with distortion, you might not be happy with the sound because there will be too many competing notes, which is why most players stick with power chords (just part of the chord) when using distortion.
Q. How loud do I have to turn my amp up to get distortion?
A. The beauty of distortion is that it doesn't depend on volume. If you use a distortion pedal, you can get all that dirt and fuzz without disturbing the neighbors. Most players still love to crank up a distorted sound to feel the power, but it is possible to play at a lower volume and still get that crunch. In fact, it's necessary if you want to hear the lead vocalist.
Q. I have several effects pedals. Does it matter what order I place them in?
A. Yes, the order makes a big difference. Each pedal affects all that came before it. Placing a distortion pedal at the end of your pedal chain will give you a different sound than placing it first. After experimenting, you will probably find your favorite spot to be just in front of any effects that modulate the sound, such as chorus, delay, and reverb. However, finding the sound that best expresses your music is not a matter of right or wrong. Experiment and be inventive.