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class="vector-toc-list"> </ul> </li> <li id="toc-Sola_Sound_/_Vox_Tone_Bender" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Sola_Sound_/_Vox_Tone_Bender"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.4</span> <span>Sola Sound / Vox Tone Bender</span> </div> </a> <ul id="toc-Sola_Sound_/_Vox_Tone_Bender-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Univox_Super-Fuzz" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Univox_Super-Fuzz"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.5</span> <span>Univox Super-Fuzz</span> </div> </a> <ul id="toc-Univox_Super-Fuzz-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Distortion_pedals" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Distortion_pedals"> <div class="vector-toc-text"> <span class="vector-toc-numb">2</span> <span>Distortion pedals</span> </div> </a> <button 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id="toc-Boss_MT-2_Metal_Zone" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Boss_MT-2_Metal_Zone"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.3</span> <span>Boss MT-2 Metal Zone</span> </div> </a> <ul id="toc-Boss_MT-2_Metal_Zone-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Marshall_Shredmaster" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Marshall_Shredmaster"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.4</span> <span>Marshall Shredmaster</span> </div> </a> <ul id="toc-Marshall_Shredmaster-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-MXR_Distortion_+" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#MXR_Distortion_+"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.5</span> <span>MXR Distortion +</span> </div> </a> <ul id="toc-MXR_Distortion_+-sublist" class="vector-toc-list"> </ul> </li> <li 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</div> </div> </nav> <h1 id="firstHeading" class="firstHeading mw-first-heading"><span class="mw-page-title-main">List of distortion pedals</span></h1> <div id="p-lang-btn" class="vector-dropdown mw-portlet mw-portlet-lang" > <input type="checkbox" id="p-lang-btn-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-p-lang-btn" class="vector-dropdown-checkbox mw-interlanguage-selector" aria-label="Go to an article in another language. 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data-mw-ve-target-container> <div class="vector-body-before-content"> <div class="mw-indicators"> </div> <div id="siteSub" class="noprint">From Wikipedia, the free encyclopedia</div> </div> <div id="contentSub"><div id="mw-content-subtitle"><span class="mw-redirectedfrom">(Redirected from <a href="/w/index.php?title=Boss_SD-1&redirect=no" class="mw-redirect" title="Boss SD-1">Boss SD-1</a>)</span></div></div> <div id="mw-content-text" class="mw-body-content"><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><p class="mw-empty-elt"> </p> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Compound_Recordings_Pedal_collection_(a_part).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/c/ca/Compound_Recordings_Pedal_collection_%28a_part%29.jpg/220px-Compound_Recordings_Pedal_collection_%28a_part%29.jpg" decoding="async" width="220" height="165" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/ca/Compound_Recordings_Pedal_collection_%28a_part%29.jpg/330px-Compound_Recordings_Pedal_collection_%28a_part%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/ca/Compound_Recordings_Pedal_collection_%28a_part%29.jpg/440px-Compound_Recordings_Pedal_collection_%28a_part%29.jpg 2x" data-file-width="3264" data-file-height="2448" /></a><figcaption>A collection of effects pedals, including several distortions: a MXR Distortion + (top row, second from left), and a Pro Co Rat, Arbiter Fuzz Face, and Electro-Harmonix Big Muff (all middle row, from left).</figcaption></figure> <p><b>Distortion pedals</b> are a type of <a href="/wiki/Effects_unit" title="Effects unit">effects unit</a> designed to add <a href="/wiki/Distortion_(music)" title="Distortion (music)">distortion</a> to an audio signal to create a <i>warm</i>, <i>gritty</i>, or <i>fuzzy</i> character. Depending on the style of signal <a href="/wiki/Clipping_(audio)" title="Clipping (audio)">clipping</a>, the broader category of distortion pedals is typically divided into <b>fuzz pedals</b>, <b>distortion pedals</b>, or <b>overdrive pedals</b>. Designed for <a href="/wiki/Electric_guitar" title="Electric guitar">electric guitar</a> and bass and operated by the player's foot, distortion pedals are most frequently placed in the <a href="/wiki/Signal_chain" title="Signal chain">signal chain</a> between the guitar and amplifier. </p><p>The use of distortion pedals was popularized by <a href="/wiki/Keith_Richard" title="Keith Richard">Keith Richard</a>'s use of a <a href="/wiki/Maestro_FZ-1_Fuzz-Tone" title="Maestro FZ-1 Fuzz-Tone">Maestro FZ-1 Fuzz-Tone</a> pedal on the 1965 <a href="/wiki/Rolling_Stones" class="mw-redirect" title="Rolling Stones">Rolling Stones</a> song "<a href="/wiki/(I_Can%27t_Get_No)_Satisfaction" title="(I Can't Get No) Satisfaction">(I Can't Get No) Satisfaction</a>".<sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> Later pedals like the <a href="/wiki/Pro_Co_Rat" class="mw-redirect" title="Pro Co Rat">Pro Co Rat</a> and <a href="/wiki/Ibanez_Tube_Screamer" title="Ibanez Tube Screamer">Ibanez Tube Screamer</a> 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.<sup id="cite_ref-Murphy_3-0" class="reference"><a href="#cite_note-Murphy-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Horsley_4-0" class="reference"><a href="#cite_note-Horsley-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Thompson_6-0" class="reference"><a href="#cite_note-Thompson-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Dickson_7-0" class="reference"><a href="#cite_note-Dickson-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Fuzz_pedals">Fuzz pedals</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=List_of_distortion_pedals&action=edit&section=1" title="Edit section: Fuzz pedals"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Arbiter_Fuzz_Face">Arbiter Fuzz Face</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=List_of_distortion_pedals&action=edit&section=2" title="Edit section: Arbiter Fuzz Face"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Fuzz_Face" title="Fuzz Face">Fuzz Face</a></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Dallas_Arbiter_Fuzz_Face.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/1/14/Dallas_Arbiter_Fuzz_Face.jpg/220px-Dallas_Arbiter_Fuzz_Face.jpg" decoding="async" width="220" height="147" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/1/14/Dallas_Arbiter_Fuzz_Face.jpg/330px-Dallas_Arbiter_Fuzz_Face.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/14/Dallas_Arbiter_Fuzz_Face.jpg/440px-Dallas_Arbiter_Fuzz_Face.jpg 2x" data-file-width="5184" data-file-height="3456" /></a><figcaption>Dallas Arbiter Fuzz Face</figcaption></figure> <p>Arbiter Electronics released the first Fuzz Face in 1969, 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, <a href="/wiki/Dunlop_Manufacturing" title="Dunlop Manufacturing">Dunlop Manufacturing</a> took over production and has continued to issue several varieties of the pedal. <a href="/wiki/Jimi_Hendrix" title="Jimi Hendrix">Jimi Hendrix</a> 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 <a href="/wiki/Wah-wah_pedal" title="Wah-wah pedal">wah-wah pedal</a> into a Fuzz Face, then into a <a href="/wiki/Uni-Vibe" title="Uni-Vibe">Uni-Vibe</a>.<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> Other notable users include <a href="/wiki/Duane_Allman" title="Duane Allman">Duane Allman</a>,<sup id="cite_ref-allman_9-0" class="reference"><a href="#cite_note-allman-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Stevie_Ray_Vaughan" title="Stevie Ray Vaughan">Stevie Ray Vaughan</a><sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Pete_Townshend" title="Pete Townshend">Pete Townshend</a>,<sup id="cite_ref-townshend_11-0" class="reference"><a href="#cite_note-townshend-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Eric_Johnson_(guitarist,_born_1954)" class="mw-redirect" title="Eric Johnson (guitarist, born 1954)">Eric Johnson</a>,<sup id="cite_ref-johnson_12-0" class="reference"><a href="#cite_note-johnson-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> and <a href="/wiki/George_Harrison" title="George Harrison">George Harrison</a>.<sup id="cite_ref-getback_13-0" class="reference"><a href="#cite_note-getback-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-beatlesgear_14-0" class="reference"><a href="#cite_note-beatlesgear-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Electro-Harmonix_Big_Muff">Electro-Harmonix Big Muff</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=List_of_distortion_pedals&action=edit&section=3" title="Edit section: Electro-Harmonix Big Muff"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Electro-Harmonix_Big_Muff" class="mw-redirect" title="Electro-Harmonix Big Muff">Electro-Harmonix Big Muff</a></div> <p>The Big Muff Pi (π), often known simply as the Big Muff, is a fuzz pedal produced in <a href="/wiki/New_York_City" title="New York City">New York City</a> by the <a href="/wiki/Electro-Harmonix" title="Electro-Harmonix">Electro-Harmonix</a> company, along with their Russian sister company <a href="/wiki/Sovtek" title="Sovtek">Sovtek</a>, 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 <a href="/wiki/David_Gilmour" title="David Gilmour">David Gilmour</a><sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> and <a href="/wiki/Carlos_Santana" title="Carlos Santana">Carlos Santana</a>. The "sustained grind" of the Big Muff was later an integral part of the sound of many <a href="/wiki/Alternative_rock" title="Alternative rock">alternative rock</a> bands through the 1980s and 1990s, being used extensively by <a href="/wiki/The_Smashing_Pumpkins" title="The Smashing Pumpkins">the Smashing Pumpkins</a>, <a href="/wiki/Dinosaur_Jr." title="Dinosaur Jr.">Dinosaur Jr.</a>, <a href="/wiki/NOFX" title="NOFX">NOFX</a>, <a href="/wiki/Bush_(British_band)" title="Bush (British band)">Bush</a> and <a href="/wiki/Mudhoney" title="Mudhoney">Mudhoney</a>. </p> <div class="mw-heading mw-heading3"><h3 id="Maestro_FZ-1_Fuzz-Tone">Maestro FZ-1 Fuzz-Tone</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=List_of_distortion_pedals&action=edit&section=4" title="Edit section: Maestro FZ-1 Fuzz-Tone"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Maestro_FZ-1_Fuzz-Tone" title="Maestro FZ-1 Fuzz-Tone">Maestro FZ-1 Fuzz-Tone</a></div> <p>The Maestro FZ-1 Fuzz-Tone was the first widely marketed <a href="/wiki/Fuzzbox#1960s:_fuzz,_distortion,_and_introduction_of_commercial_devices" class="mw-redirect" title="Fuzzbox">fuzz distortion</a> 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, "<a href="/wiki/(I_Can%27t_Get_No)_Satisfaction" title="(I Can't Get No) Satisfaction">(I Can't Get No) Satisfaction</a>". 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 <a href="/wiki/Garage_rock" title="Garage rock">garage rock</a> and <a href="/wiki/Psychedelic_rock" title="Psychedelic rock">psychedelic</a> 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, <a href="/wiki/Gibson_(guitar_company)" title="Gibson (guitar company)">Gibson</a> re-issued the FZ-1a, but it was later discontinued. </p> <div class="mw-heading mw-heading3"><h3 id="Sola_Sound_/_Vox_Tone_Bender"><span id="Sola_Sound_.2F_Vox_Tone_Bender"></span>Sola Sound / Vox Tone Bender</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=List_of_distortion_pedals&action=edit&section=5" title="Edit section: Sola Sound / Vox Tone Bender"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Tone_Bender" title="Tone Bender">Tone Bender</a></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:1966_VOX_TONE_BENDER_FUZZ.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/5f/1966_VOX_TONE_BENDER_FUZZ.jpg/220px-1966_VOX_TONE_BENDER_FUZZ.jpg" decoding="async" width="220" height="165" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/5f/1966_VOX_TONE_BENDER_FUZZ.jpg/330px-1966_VOX_TONE_BENDER_FUZZ.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/5f/1966_VOX_TONE_BENDER_FUZZ.jpg/440px-1966_VOX_TONE_BENDER_FUZZ.jpg 2x" data-file-width="2560" data-file-height="1920" /></a><figcaption>A 1966 Vox Tone Bender fuzz pedal.</figcaption></figure> <p>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, <a href="/wiki/Vox_(company)" title="Vox (company)">Vox</a> 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 <a href="/wiki/Jeff_Beck" title="Jeff Beck">Jeff Beck</a>'s sitar-like guitar solo on <a href="/wiki/The_Yardbirds" title="The Yardbirds">the Yardbirds</a>' 1965 song "<a href="/wiki/Heart_Full_of_Soul" title="Heart Full of Soul">Heart Full of Soul</a>" and <a href="/wiki/Mick_Ronson" title="Mick Ronson">Mick Ronson</a>'s guitar work on <a href="/wiki/David_Bowie" title="David Bowie">David Bowie</a>'s 1972 song "<a href="/wiki/Moonage_Daydream" title="Moonage Daydream">Moonage Daydream</a>".<sup id="cite_ref-PG_16-0" class="reference"><a href="#cite_note-PG-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Univox_Super-Fuzz">Univox Super-Fuzz</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=List_of_distortion_pedals&action=edit&section=6" title="Edit section: Univox Super-Fuzz"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Univox_Super-Fuzz" title="Univox Super-Fuzz">Univox Super-Fuzz</a></div> <p>The <a href="/wiki/Univox" title="Univox">Univox</a> 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.<sup id="cite_ref-17" class="reference"><a href="#cite_note-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-18" class="reference"><a href="#cite_note-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Distortion_pedals">Distortion pedals</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=List_of_distortion_pedals&action=edit&section=7" title="Edit section: Distortion pedals"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Boss_DS-1_Distortion">Boss DS-1 Distortion</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=List_of_distortion_pedals&action=edit&section=8" title="Edit section: Boss DS-1 Distortion"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Boss_DS-1" title="Boss DS-1">Boss DS-1</a></div> <p>Introduced in 1978, the DS-1 was <a href="/wiki/Boss_Corporation" title="Boss Corporation">Boss</a>'s first distortion pedal, and second pedal release overall, following the <a href="/wiki/Boss_Corporation#CE-1_Chorus_Ensemble" title="Boss Corporation">CE-1 Chorus Ensemble</a>. The DS-1 uses two hard-clipping diodes for an aggressive edge, similar to the <a href="/wiki/ProCo_Rat" class="mw-redirect" title="ProCo Rat">ProCo Rat</a>, 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.<sup id="cite_ref-Lynham_19-0" class="reference"><a href="#cite_note-Lynham-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-Lynham_19-1" class="reference"><a href="#cite_note-Lynham-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> </p><p>The DS-1 is Boss's bestselling pedal of all time.<sup id="cite_ref-Laing_20-0" class="reference"><a href="#cite_note-Laing-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Boss_HM-2_Heavy_Metal">Boss HM-2 Heavy Metal</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=List_of_distortion_pedals&action=edit&section=9" title="Edit section: Boss HM-2 Heavy Metal"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Boss_HM-2" title="Boss HM-2">Boss HM-2</a></div> <p>The Boss HM-2, first issued in October 1983, was manufactured in <a href="/wiki/Japan" title="Japan">Japan</a> until 1988, then in <a href="/wiki/Taiwan" title="Taiwan">Taiwan</a> until 1991.<sup id="cite_ref-gearnews-waza_21-0" class="reference"><a href="#cite_note-gearnews-waza-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> It was designed to emulate the <a href="/wiki/Mid-range_speaker" title="Mid-range speaker">mid-range</a> response of a <a href="/wiki/Marshall_Amplification" title="Marshall Amplification">Marshall</a> <a href="/wiki/Guitar_amplifier#Stacks" title="Guitar amplifier">stack</a>.<sup id="cite_ref-rolandcorp_22-0" class="reference"><a href="#cite_note-rolandcorp-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> Achieving only moderate success in the <a href="/wiki/Glam_metal" title="Glam metal">glam metal</a> 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.<sup id="cite_ref-rolandcorp_22-1" class="reference"><a href="#cite_note-rolandcorp-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> Following its discontinuance, the HM-2 developed a cult following in the <a href="/wiki/Heavy_metal_subculture" title="Heavy metal subculture">heavy metal scene</a> and is especially associated with <a href="/wiki/Swedish_death_metal" title="Swedish death metal">Swedish death metal</a>. In 2020, Boss renewed production of the pedal as the HM-2W, part of its Japanese-made, <a href="/wiki/Boutique" title="Boutique">boutique</a>-grade "Waza Craft" series.<sup id="cite_ref-guitar-reissue_23-0" class="reference"><a href="#cite_note-guitar-reissue-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Boss_MT-2_Metal_Zone">Boss MT-2 Metal Zone</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=List_of_distortion_pedals&action=edit&section=10" title="Edit section: Boss MT-2 Metal Zone"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Boss_MT-2" title="Boss MT-2">Boss MT-2</a></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Boss_MT-2_Metal_Zone.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/b/bc/Boss_MT-2_Metal_Zone.jpg/220px-Boss_MT-2_Metal_Zone.jpg" decoding="async" width="220" height="293" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/bc/Boss_MT-2_Metal_Zone.jpg/330px-Boss_MT-2_Metal_Zone.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/bc/Boss_MT-2_Metal_Zone.jpg/440px-Boss_MT-2_Metal_Zone.jpg 2x" data-file-width="3024" data-file-height="4032" /></a><figcaption>Boss MT-2 Metal Zone</figcaption></figure> <p>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.<sup id="cite_ref-Horsely_24-0" class="reference"><a href="#cite_note-Horsely-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> The pedal's thick, saturated, tight tone<sup id="cite_ref-Laing_20-1" class="reference"><a href="#cite_note-Laing-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-Horsely_24-1" class="reference"><a href="#cite_note-Horsely-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> Despite this, the pedal has found fans in metal and other genres, including <a href="/wiki/Prince_(musician)" title="Prince (musician)">Prince</a><sup id="cite_ref-Horsely_24-2" class="reference"><a href="#cite_note-Horsely-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> and <a href="/wiki/Joe_Bonamassa" title="Joe Bonamassa">Joe Bonamassa</a>.<sup id="cite_ref-Parker1_25-0" class="reference"><a href="#cite_note-Parker1-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> </p><p>The Metal Zone has sold over a million units, making it the company's best-selling pedal behind only the DS-1.<sup id="cite_ref-Laing_20-2" class="reference"><a href="#cite_note-Laing-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Marshall_Shredmaster">Marshall Shredmaster</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=List_of_distortion_pedals&action=edit&section=11" title="Edit section: Marshall Shredmaster"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The Shredmaster was the high-gain model of a trio of pedals—including the Bluesbreaker and Drivemaster—released by <a href="/wiki/Marshall_Amplification" title="Marshall Amplification">Marshall</a> in 1991, superseding the brand's first overdrive pedal, the Guv'nor.<sup id="cite_ref-26" class="reference"><a href="#cite_note-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> While the Bluesbreaker and Drivemaster replicated the tones of specific Marshall amps, the Shredmaster was a distortion pedal and replaced the other two pedals' three-band EQ setup with controls for Bass, Treble, and Contour, the last of which altered the character of the midrange while enhancing low and high frequencies. With poor sales, the trio was discontinued one year after their release.<sup id="cite_ref-27" class="reference"><a href="#cite_note-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Radiohead" title="Radiohead">Radiohead</a> guitarist <a href="/wiki/Jonny_Greenwood" title="Jonny Greenwood">Jonny Greenwood</a> is often cited as the Shredmaster's most famous player.<sup id="cite_ref-:2142_28-0" class="reference"><a href="#cite_note-:2142-28"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup> </p><p>Marshall reissued the Shredmaster, Bluesbreaker, Drivemaster, and Guv'nor in 2023 as its Vintage Reissue series, in response to the pedals having become sought-after vintage gear despite their initial unpopularity.<sup id="cite_ref-29" class="reference"><a href="#cite_note-29"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="MXR_Distortion_+"><span id="MXR_Distortion_.2B"></span>MXR Distortion +</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=List_of_distortion_pedals&action=edit&section=12" title="Edit section: MXR Distortion +"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/MXR_Distortion_%2B" title="MXR Distortion +">MXR Distortion +</a></div> <p><a href="/wiki/MXR" title="MXR">MXR</a> scored its first success with the <a href="/wiki/Phase_90" class="mw-redirect" title="Phase 90">Phase 90</a> and followed quickly with a trio of 1974 releases, including the Distortion +. MXR's pedals were notable for their small footprint, as effects pedals were typically housed in large enclosures at the time, and durability, since MXR was initially founded to address the issue of other manufacturers' pedals' unreliability. The Distortion + has found a wide range of fans, like <a href="/wiki/Randy_Rhoads" title="Randy Rhoads">Randy Rhoads</a> in his work with <a href="/wiki/Ozzy_Osbourne" title="Ozzy Osbourne">Ozzy Osbourne</a>,<sup id="cite_ref-gill_30-0" class="reference"><a href="#cite_note-gill-30"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Jerry_Garcia" title="Jerry Garcia">Jerry Garcia</a> of the <a href="/wiki/Grateful_Dead" title="Grateful Dead">Grateful Dead</a>,<sup id="cite_ref-gill_30-1" class="reference"><a href="#cite_note-gill-30"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Bob_Mould" title="Bob Mould">Bob Mould</a> of <a href="/wiki/H%C3%BCsker_D%C3%BC" title="Hüsker Dü">Hüsker Dü</a>,<sup id="cite_ref-31" class="reference"><a href="#cite_note-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Dave_Murray_(musician)" title="Dave Murray (musician)">Dave Murray</a> of <a href="/wiki/Iron_Maiden" title="Iron Maiden">Iron Maiden</a>,<sup id="cite_ref-32" class="reference"><a href="#cite_note-32"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> and <a href="/wiki/Thom_Yorke" title="Thom Yorke">Thom Yorke</a> of <a href="/wiki/Radiohead" title="Radiohead">Radiohead</a>. </p> <div class="mw-heading mw-heading3"><h3 id="Pro_Co_Rat">Pro Co Rat</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=List_of_distortion_pedals&action=edit&section=13" title="Edit section: Pro Co Rat"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Pro_Co_RAT" title="Pro Co RAT">Pro Co RAT</a></div> <p>Developed in 1978 with mass production beginning a year later,<sup id="cite_ref-MusicRadar_85_reissue_review_33-0" class="reference"><a href="#cite_note-MusicRadar_85_reissue_review-33"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> the Pro Co Rat was the first mass-produced distortion pedal. In the Rat, Pro Co's engineers sought to improve upon the earlier Fuzz Face and ultimately designed a pedal with, as <i><a href="/wiki/Guitar_World" title="Guitar World">Guitar World</a></i> wrote, a "hard, aggressive sound and tight, focused clipping" that set the template for modern distortion circuits.<sup id="cite_ref-Horsley_4-1" class="reference"><a href="#cite_note-Horsley-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> Pro Co has released numerous versions of the Rat since its initial release, and its enduring popularity has spawned numerous clones and tributes from other pedal manufacturers like <a href="/wiki/JHS_Pedals" title="JHS Pedals">JHS Pedals</a> and <a href="/wiki/Wampler_Pedals" title="Wampler Pedals">Wampler Pedals</a>. </p> <div class="mw-heading mw-heading2"><h2 id="Overdrive_pedals">Overdrive pedals</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=List_of_distortion_pedals&action=edit&section=14" title="Edit section: Overdrive pedals"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Analog.Man_King_of_Tone">Analog.Man King of Tone</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=List_of_distortion_pedals&action=edit&section=15" title="Edit section: Analog.Man King of Tone"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The King of Tone, released in 2005, was designed by former software engineer Mike Piera to create an improved version of the then-discontinued Marshall Bluesbreaker pedal. A two-sided pedal with independent controls and internal DIP switches to choose between boost, overdrive, and distortion modes, Piera started building the pedals by hand in <a href="/wiki/Bethel,_Connecticut" title="Bethel, Connecticut">Bethel, Connecticut</a> and selling them online under the moniker "Analog.Man."<sup id="cite_ref-Busemeyer_34-0" class="reference"><a href="#cite_note-Busemeyer-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> The King of Tone initially sold slowly, but quickly developed a following after Piera appeared on the <a href="/wiki/Youtube" class="mw-redirect" title="Youtube">Youtube</a> channel "That Pedal Show" in 2017. Orders soon reached 200 per day—far more than Piera could keep up with—and the King of Tone developed a famously years-long waiting list, while prices on the used market far exceeded the cost of a new pedal. To satisfy demand, Piera developed a single-sided variation, the Prince of Tone, that would be manufactured in China, but still in limited numbers that sold out quickly. In 2022, Analog.Man partnered with <a href="/wiki/MXR" title="MXR">MXR</a> to release a smaller-format, mass-produced version, the Duke of Tone, which in 2023 became MXR's bestselling pedal.<sup id="cite_ref-Busemeyer_34-1" class="reference"><a href="#cite_note-Busemeyer-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> </p><p><i>Vintage Guitar</i> dubbed the King of Tone one of a few "holy grail" overdrives.<sup id="cite_ref-Jordan_35-0" class="reference"><a href="#cite_note-Jordan-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Boss_BD-2_Blues_Driver">Boss BD-2 Blues Driver</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=List_of_distortion_pedals&action=edit&section=16" title="Edit section: Boss BD-2 Blues Driver"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Boss_BD-2_Blues_Driver.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/7/7c/Boss_BD-2_Blues_Driver.jpg/220px-Boss_BD-2_Blues_Driver.jpg" decoding="async" width="220" height="293" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/7c/Boss_BD-2_Blues_Driver.jpg/330px-Boss_BD-2_Blues_Driver.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/7c/Boss_BD-2_Blues_Driver.jpg/440px-Boss_BD-2_Blues_Driver.jpg 2x" data-file-width="3024" data-file-height="4032" /></a><figcaption>Boss BD-2 Blues Driver</figcaption></figure> <p>In 1995, Boss released the BD-2, an overdrive pedal aimed at blues players who sought to add distortion while maintaining their amp's signal clarity and dynamics.<sup id="cite_ref-Brakes_36-0" class="reference"><a href="#cite_note-Brakes-36"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup> At the time, blues was experiencing a resurgence thanks to <a href="/wiki/Eric_Clapton" title="Eric Clapton">Eric Clapton</a> and <a href="/wiki/Gary_Moore" title="Gary Moore">Gary Moore</a>. The pedal has a clear, punchy tone and features a flatter EQ-curve for a more amp-like tone than similar pedals, like the <a href="/wiki/Ibanez_Tube_Screamer" title="Ibanez Tube Screamer">Ibanez Tube Screamer</a>.<sup id="cite_ref-Robertson_37-0" class="reference"><a href="#cite_note-Robertson-37"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup> </p><p>Notable players who use the BD-2 include <a href="/wiki/Tom_Morello" title="Tom Morello">Tom Morello</a> of <a href="/wiki/Rage_Against_the_Machine" title="Rage Against the Machine">Rage Against the Machine</a> and <a href="/wiki/Billie_Joe_Armstrong" title="Billie Joe Armstrong">Billie Joe Armstrong</a> of <a href="/wiki/Green_Day" title="Green Day">Green Day</a>.<sup id="cite_ref-Robertson_37-1" class="reference"><a href="#cite_note-Robertson-37"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Boss_OD-1_OverDrive">Boss OD-1 OverDrive</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=List_of_distortion_pedals&action=edit&section=17" title="Edit section: Boss OD-1 OverDrive"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>With the 1977 release of the OD-1 OverDrive, Boss coined the term "overdrive," a reference to the pedal's asymmetrical-clipping, tube-like distortion<sup id="cite_ref-Brakes_36-1" class="reference"><a href="#cite_note-Brakes-36"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup> in comparison to the brash sound of "fuzz" pedals available.<sup id="cite_ref-Colic_38-0" class="reference"><a href="#cite_note-Colic-38"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> The OD-1's layout was simple—with only "Level" and "OverDrive" controls. The OD-1 was an immediate success, as the pedal afforded players more amp-like distortion at lower volume levels no matter what amp was being used. Within a few years, however, the pedal's voicing was considered overly "sweet" as rock music became more aggressive and the fixed frequency limited its versatility. With the surging popularity of the OD-1-influenced Tube Screamer and its addition of a tone control, Boss began including a "Tone" knob on its pedals with the 1981 SD-1 and the OD-1 was discontinued in 1985.<sup id="cite_ref-Colic_38-1" class="reference"><a href="#cite_note-Colic-38"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Boss_SD-1_Super_OverDrive">Boss SD-1 Super OverDrive</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=List_of_distortion_pedals&action=edit&section=18" title="Edit section: Boss SD-1 Super OverDrive"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The Super OverDrive was released in 1981 as Boss's second overdrive pedal, adding a tone control to the earlier OD-1 design, while continuing to replicate the sound of tube amp-style overdrive<sup id="cite_ref-Laing_20-3" class="reference"><a href="#cite_note-Laing-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> via an asymmetrical clipping circuit and an inherent midrange-focus, but with less bass roll-off.<sup id="cite_ref-Brakes_36-2" class="reference"><a href="#cite_note-Brakes-36"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup> The asymmetrical clipping lent the pedal a more aggressive character compared to the rival Tube Screamer, and it became popular in the growing hard rock and heavy metal subgenres with guitarists frequently using it to boost already-overdriven amplifiers like the <a href="/wiki/Marshall_JCM800" title="Marshall JCM800">Marshall JCM800</a> into higher-gain sounds.<sup id="cite_ref-Colic_38-2" class="reference"><a href="#cite_note-Colic-38"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> </p><p>In 2021, Boss released a 40th anniversary edition of the pedal,<sup id="cite_ref-Laing_20-4" class="reference"><a href="#cite_note-Laing-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> with the original circuit having remained unchanged since its introduction. <i><a href="/wiki/Guitar_Magazine" class="mw-redirect" title="Guitar Magazine">Guitar</a></i> dubbed the pedal one of only a handful to ever achieve "truly iconic status."<sup id="cite_ref-Watts_39-0" class="reference"><a href="#cite_note-Watts-39"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="DOD_Overdrive_250_Preamp">DOD Overdrive 250 Preamp</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=List_of_distortion_pedals&action=edit&section=19" title="Edit section: DOD Overdrive 250 Preamp"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The Overdrive 250 Preamp, released in the 1970s as part of <a href="/wiki/DOD_Electronics" title="DOD Electronics">DOD Electronics</a>' initial lineup of pedals, was originally a slight circuit variation of the Distortion+ by MXR, DOD's most direct competitor in the US market.<sup id="cite_ref-LynhamDOD_40-0" class="reference"><a href="#cite_note-LynhamDOD-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> The two pedals differed primarily in the 250 Preamp's use of <a href="/wiki/Silicon" title="Silicon">silicon</a> diodes instead of the <a href="/wiki/Germanium" title="Germanium">germanium</a> diodes of the Distortion+, which made a significant difference in the two pedals' tone and feel given the overall simplicity of their designs. Following DOD's acquisition by Digitech in 1990, the 250 Preamp was reissued several times, including with the JRC4558 op-amp popularized by the Ibanez Tube Screamer. Digitech was later bought by Cor-Tek, the parent company of <a href="/wiki/Cort_Guitars" title="Cort Guitars">Cort Guitars</a>, and in 2013 the 250 Preamp was reissued once again, this time as a more faithful replica of the original design.<sup id="cite_ref-LynhamDOD_40-1" class="reference"><a href="#cite_note-LynhamDOD-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Fulltone_OCD">Fulltone OCD</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=List_of_distortion_pedals&action=edit&section=20" title="Edit section: Fulltone OCD"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Fulltone_OCD_v.1.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/c/c1/Fulltone_OCD_v.1.jpg/220px-Fulltone_OCD_v.1.jpg" decoding="async" width="220" height="172" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/c1/Fulltone_OCD_v.1.jpg/330px-Fulltone_OCD_v.1.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/c1/Fulltone_OCD_v.1.jpg/440px-Fulltone_OCD_v.1.jpg 2x" data-file-width="1600" data-file-height="1249" /></a><figcaption>The Fulltone OCD</figcaption></figure> <p>In 2004, <a href="/wiki/Fulltone" title="Fulltone">Fulltone</a> released the Obsessive Compulsive Drive (OCD), which was designed as "an open-sounding distortion pedal with decent headroom to more faithfully emulate a driven tube amp,"<sup id="cite_ref-OCD_41-0" class="reference"><a href="#cite_note-OCD-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup> with a circuit similar to the earlier Voodoo Labs Overdrive, itself a variation of the Ibanez Tubescreamer.<sup id="cite_ref-OCD_41-1" class="reference"><a href="#cite_note-OCD-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup> An <a href="/wiki/Op_amp" class="mw-redirect" title="Op amp">op amp</a>-based pedal, the OCD has gone through multiple iterations, with changes from versions 1.1 to 1.7 being generally subtle alterations of the pedal's EQ response. Version 2 brought more noticeable changes, with a new output buffer, a 2N5457 JFET transistor input stage, and the option to use a new type of switching, enhanced bypass, instead of true bypass.<sup id="cite_ref-OCD_41-2" class="reference"><a href="#cite_note-OCD-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup> After the first iteration, the drive pot's value was increased for a more "dramatic" distortion, and an asymmetric 1N34 <a href="/wiki/Germanium" title="Germanium">germanium</a> diode was later added to shift the character of the clipping.<sup id="cite_ref-OCD_41-3" class="reference"><a href="#cite_note-OCD-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup> </p><p>The OCD was dubbed by <a href="/wiki/Music_Radar" class="mw-redirect" title="Music Radar">Music Radar</a> "one of the most legendary overdrives ever made."<sup id="cite_ref-Sharma_42-0" class="reference"><a href="#cite_note-Sharma-42"><span class="cite-bracket">[</span>42<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Hermida_Audio_Zendrive">Hermida Audio Zendrive</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=List_of_distortion_pedals&action=edit&section=21" title="Edit section: Hermida Audio Zendrive"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Alfonso Hermida released the Zendrive in 2004 to acclaim as the overdrive pedal that most successfully emulates the breakup and response of the <a href="/wiki/Dumble_Amplifiers" title="Dumble Amplifiers">Dumble Amplifiers</a> Overdrive Special, a famously expensive and exclusive amplifier—just as the Zendrive would become, with used prices reaching over a thousand dollars, and having fans like Overdrive Special-owner <a href="/wiki/Robben_Ford" title="Robben Ford">Robben Ford</a>. Struggling to keep up with demand, Hermida partnered with the company Lovepedal in 2013 to take over Zendrive manufacturing. Despite this, the Zendrive remains rare on the pedal market.<sup id="cite_ref-Oleszko_43-0" class="reference"><a href="#cite_note-Oleszko-43"><span class="cite-bracket">[</span>43<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Ibanez_Tube_Screamer">Ibanez Tube Screamer</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=List_of_distortion_pedals&action=edit&section=22" title="Edit section: Ibanez Tube Screamer"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Ibanez_Tube_Screamer" title="Ibanez Tube Screamer">Ibanez Tube Screamer</a></div> <p>The Ibanez Tube Screamer (TS808/TS9) was designed in the late 1970s by Susumu Tamura of Maxon. It has a characteristic mid-boosted tone popular with blues, rock and <a href="/wiki/Heavy_metal_music" title="Heavy metal music">metal</a> players. The Tube Screamer has been used by many guitarists to create their signature sound, and is one of the most successful, widely copied, and custom-modified ("modded") overdrive pedals in the history of the <a href="/wiki/Electric_guitar" title="Electric guitar">electric guitar</a>.<sup id="cite_ref-hunter_44-0" class="reference"><a href="#cite_note-hunter-44"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-GuitarVerdictReview_45-0" class="reference"><a href="#cite_note-GuitarVerdictReview-45"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Klon_Centaur">Klon Centaur</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=List_of_distortion_pedals&action=edit&section=23" title="Edit section: Klon Centaur"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Klon_Centaur" title="Klon Centaur">Klon Centaur</a></div> <p>The Klon Centaur, made by American engineer Bill Finnegan, was released in 1994 with the aim of recreating the harmonically rich distortion of a <a href="/wiki/Guitar_amplifier" title="Guitar amplifier">guitar amplifier</a> at a high volume.<sup id="cite_ref-Premier_Guitar-2014_46-0" class="reference"><a href="#cite_note-Premier_Guitar-2014-46"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup> Finnegan wanted a "big, open" sound, with a "hint of tube clipping", that would not sound like a pedal was being used.<sup id="cite_ref-Premier_Guitar-2014_46-1" class="reference"><a href="#cite_note-Premier_Guitar-2014-46"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup> He was quickly overwhelmed with orders, each taking 12–14 weeks, as Finnegan handmade the pedals himself. Deciding the profit margin was not sustainable, Finnegan discontinued the original Centaur in 2008, having produced 8,000 units, but later contracted out the manufacturing of a revised design, the Klon KTR. By 2019, used Centaurs sold for between $1,900 and US$2,500.<sup id="cite_ref-Guitar.com-2019_47-0" class="reference"><a href="#cite_note-Guitar.com-2019-47"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup> According to <i><a href="/wiki/Guitar.com" class="mw-redirect" title="Guitar.com">Guitar.com</a></i>, which named the Centaur one of the industry's greatest effect pedals, "The Klon Centaur is either the greatest, most useful overdrive ever made, or the worst example of guitarists losing all sense of perspective about how much good tone should cost."<sup id="cite_ref-Guitar.com-2019_47-1" class="reference"><a href="#cite_note-Guitar.com-2019-47"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup> </p><p>The Klon Centaur has been used by guitarists including <a href="/wiki/Jeff_Beck" title="Jeff Beck">Jeff Beck</a>, <a href="/wiki/John_Mayer" title="John Mayer">John Mayer</a>, <a href="/wiki/Joe_Perry_(musician)" title="Joe Perry (musician)">Joe Perry</a> (of <a href="/wiki/Aerosmith" title="Aerosmith">Aerosmith</a>), <a href="/wiki/Nels_Cline" title="Nels Cline">Nels Cline</a> (of <a href="/wiki/Wilco" title="Wilco">Wilco</a>), <a href="/wiki/Matt_Schofield" title="Matt Schofield">Matt Schofield</a>, and <a href="/wiki/Ed_O%27Brien" title="Ed O'Brien">Ed O'Brien</a> (of <a href="/wiki/Radiohead" title="Radiohead">Radiohead</a>).<sup id="cite_ref-Premier_Guitar-2014_46-2" class="reference"><a href="#cite_note-Premier_Guitar-2014-46"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-48" class="reference"><a href="#cite_note-48"><span class="cite-bracket">[</span>48<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Marshall_Bluesbreaker">Marshall Bluesbreaker</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=List_of_distortion_pedals&action=edit&section=24" title="Edit section: Marshall Bluesbreaker"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Launched in 1991 alongside the Drivemaster and Shredmaster, the Bluesbreaker overdrive was Marshall's attempt at recreating the tone of Marshall's own 1962 "<a href="/wiki/Marshall_Bluesbreaker" title="Marshall Bluesbreaker">Bluesbreaker</a>" combo, nicknamed for its use by <a href="/wiki/Eric_Clapton" title="Eric Clapton">Eric Clapton</a> when he played with <a href="/wiki/John_Mayall_%26_The_Bluesbreakers" class="mw-redirect" title="John Mayall & The Bluesbreakers">John Mayall & The Bluesbreakers</a>. While exceeding at adding subtle grit to a clean amp, the pedal failed to capture the tone of its namesake amp and was not a success during its limited initial production run. This changed years later when <a href="/wiki/John_Mayer" title="John Mayer">John Mayer</a> started using a Bluesbreaker on his pedalboard, reigniting industry interest in it. Many pedal makers developed modified recreations of the original circuit, most notably Analogman's King of Tone. In 2023, Marshall reissued the Bluesbreaker, Drivermaster, and Shredmaster, as well as the earlier Guv'nor, as part of their Vintage Reissue series.<sup id="cite_ref-Purvis_49-0" class="reference"><a href="#cite_note-Purvis-49"><span class="cite-bracket">[</span>49<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Marshall_The_Guv'nor"><span id="Marshall_The_Guv.27nor"></span>Marshall The Guv'nor</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=List_of_distortion_pedals&action=edit&section=25" title="Edit section: Marshall The Guv'nor"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The Guv'nor, released in 1988, was Marshall's first overdrive pedal. <i><a href="/wiki/Guitar.com" class="mw-redirect" title="Guitar.com">Guitar.com</a></i> credited the Guv'nor as the first "Marshall-in-a-box" (MIAB) pedal, a type of overdrive pedal that specifically seeks to replicate the sound of a cranked Marshall amp, typically a <a href="/wiki/Marshall_1959" title="Marshall 1959">Plexi</a> or <a href="/wiki/Marshall_JCM800" title="Marshall JCM800">JCM800</a>.<sup id="cite_ref-Purvis1_50-0" class="reference"><a href="#cite_note-Purvis1-50"><span class="cite-bracket">[</span>50<span class="cite-bracket">]</span></a></sup> The Guv'nor features a three-band EQ—typical for amplifiers but not overdrive or distortion pedals—lending the pedal greater tonal versatility. The pedal also sports an effects loop, a rare feature for a pedal, and one <i>Guitar.com</i> dubbed "infamously pointless."<sup id="cite_ref-Purvis1_50-1" class="reference"><a href="#cite_note-Purvis1-50"><span class="cite-bracket">[</span>50<span class="cite-bracket">]</span></a></sup> Notable players include <a href="/wiki/Gary_Moore" title="Gary Moore">Gary Moore</a>, with the pedal visible in artwork for his album <i><a href="/wiki/Still_Got_the_Blues" title="Still Got the Blues">Still Got the Blues</a></i>.<sup id="cite_ref-Brakes1_51-0" class="reference"><a href="#cite_note-Brakes1-51"><span class="cite-bracket">[</span>51<span class="cite-bracket">]</span></a></sup> </p><p>The Guv'nor was discontinued in 1991 to make way for the launch of the Bluesbreaker, Shredmaster, and Drivemaster, the latter of which featured a revised Guv'nor circuit in new housing and without the effects loop. The Drivemaster in turn gained fans like <a href="/wiki/Jeff_Buckley" title="Jeff Buckley">Jeff Buckley</a> and <a href="/wiki/Dan_Hawkins_(musician)" title="Dan Hawkins (musician)">Dan Hawkins</a>.<sup id="cite_ref-Brakes1_51-1" class="reference"><a href="#cite_note-Brakes1-51"><span class="cite-bracket">[</span>51<span class="cite-bracket">]</span></a></sup> Long after leaving the market, the Guv'nor circuit became popular with boutique pedal makers, with the circuit forming the basis of a wave of successful MIABs, such as the <a href="/wiki/JHS_Pedals" title="JHS Pedals">JHS</a> Angry Charlie. Marshall relaunched the Guv'nor in 2023 as part of its Vintage Reissue series, which sought to take advantage of the four short-lived pedals having become collector's items.<sup id="cite_ref-Brakes1_51-2" class="reference"><a href="#cite_note-Brakes1-51"><span class="cite-bracket">[</span>51<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Nobels_ODR-1">Nobels ODR-1</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=List_of_distortion_pedals&action=edit&section=26" title="Edit section: Nobels ODR-1"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The ODR-1 was created for the German brand Nobels by Kai Tachibana, who was dissatisfied with the strong increase in middle frequencies and decrease in bass common in other overdrive pedals. Sometimes referred to as "the other <a href="/wiki/Ibanez_Tube_Screamer" title="Ibanez Tube Screamer">green overdrive</a>," the ODR-1, with its fuller sound, became a favorite pedal for <a href="/wiki/Nashville" class="mw-redirect" title="Nashville">Nashville</a> session players like <a href="/wiki/Tom_Bukovac" title="Tom Bukovac">Tom Bukovac</a> and <a href="/wiki/Tim_Pierce" title="Tim Pierce">Tim Pierce</a>. Besides its unique, more balanced EQ curve, the ODR-1 eschews the conventional tone knob, which cuts or boosts treble frequencies, for a "Spectrum" control that simultaneously boosts/cuts both highs and lower-mids as the knob is turned.<sup id="cite_ref-Curwen_52-0" class="reference"><a href="#cite_note-Curwen-52"><span class="cite-bracket">[</span>52<span class="cite-bracket">]</span></a></sup> Original '90s ODR-1s have been listed on the secondhand market for as much as $2,000.<sup id="cite_ref-Laing_ODR_53-0" class="reference"><a href="#cite_note-Laing_ODR-53"><span class="cite-bracket">[</span>53<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Paul_Cochrane_Timmy">Paul Cochrane Timmy</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=List_of_distortion_pedals&action=edit&section=27" title="Edit section: Paul Cochrane Timmy"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Cochrane first produced the Tim overdrive, one of the first <a href="/wiki/Boutique" title="Boutique">boutique</a> overdrive pedals, which became popular for its open, uncompressed tone with expanded EQ options. However, as the pedal was quite large, Cochrane released a smaller, four-knob option, the Timmy, which quickly surpassed the Tim in popularity. <i><a href="/wiki/Guitar_World" title="Guitar World">Guitar World</a></i> places the Timmy in the Tube Screamer "family tree," while noting it does not have the Tube Screamer's characteristic mid-hump and is less compressed at lower gain levels. In the boutique market, the Timmy's transparent character and Volume/Gain/Bass/Treble control layout has been widely copied. Despite the pedal's success, Cochrane has continued to build the pedals himself and sells them at a reasonable price-point; Cochrane additionally assists the DIY community in creating Timmy-style pedals.<sup id="cite_ref-Lynham_Timmy_54-0" class="reference"><a href="#cite_note-Lynham_Timmy-54"><span class="cite-bracket">[</span>54<span class="cite-bracket">]</span></a></sup> </p><p>In 2020, Cochrane partnered with <a href="/wiki/MXR" title="MXR">MXR</a> to release a smaller format, mass-produced version of the Timmy. </p> <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=List_of_distortion_pedals&action=edit&section=28" title="Edit section: See also"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a href="/wiki/Boss_Corporation#Notable_pedals" title="Boss Corporation">Boss' notable pedals</a></li> <li><a href="/wiki/Treble_booster" title="Treble booster">Treble booster</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=List_of_distortion_pedals&action=edit&section=29" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-1">^</a></b></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.museumofmakingmusic.org/stompbox-birth">"The Art of the Stompbox"</a>. 2010<span class="reference-accessdate">. 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