The design with new technoligy, was also more relieable than the previous silicon and germanium transistors. The idea was to capture the tone of those huge tube stacks in all their glory in a small box. Pedals with a noticeable mid range and compression, like the Tube Screamer, started to appear in the late 70s. These pedals can sound horrible on an uncompressed, mids scooped Twin or smaller bedroom amps, but creamy and smooth on a compressed and mids boosted Marshall. The transparent and mids scooped models were originally designed in the late 60s and early 70s to drive large tube stacks into distortion. Transparent and mids scooped and on the other side of the spectrum, compressed and mids boosted.
Overdrive and distortion pedals can be divided in two categories. On the other hand, an pedal that’s selected to match perfectly with your amp and taste, will make your tones shine and bring out the best in your setup.ĭo yourself a favour when you’re buying gain effects and ask yourself these questions: How will I be using the pedal – stage or rehearsal, studio or bedroom? Do I want boost, overdrive, distortion or fuzz? Will I be using two or more gain pedals at the same time? Know your amp! The wrong pedal for your amp and guitar, can do more harm than good and cause a lot of frustration. Overdrive and distortion isn’t just about getting noise and gain.
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In this feature we’ll look at a handful of models and how to incorporate these in your rig, with David Gilmour’s tones and bedroom setups in mind. It can be a tough challenge to decide and to find pedals that suits your rig and purpose. The market overflows with overdrive and distortion pedals.
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