Wiktor Wise
Creating distortion on an electric guitar is an essential skill for rock and metal guitarists. There are several ways to achieve distortion, including adjusting the amplifier settings, using pedals, and modifying the circuitry. Distortion gives a rough sound and can be used to create crushing riffs or soaring solos. The amount of gain an amplifier circuit is designed to utilize is the main factor in achieving distortion. Pushing the amplifier past its head room causes clipping, which is the technical term for distortion. Tube amps are often favored for their warm and dynamic response, but solid-state amps are more affordable and can also deliver impressive distortion tones.
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What You'll Learn
Electric guitar and amplifier setup
Electric guitars and amplifiers have been used to create distorted sounds since at least the 1940s. The distortion effect is created by pushing the amplifier past its "head room", which is the range within which an amplifier can produce a clean sound. When pushed beyond this range, the amplifier goes into clipping, which results in a distorted sound.
To create distortion, you need an amplifier that allows the amp stage to be overdriven, high gain from your guitar, and high gain on the input of the amplifier. Tube amplifiers, also known as valve amplifiers, are often favoured for their warm and dynamic response, but solid-state amplifiers can also deliver impressive distortion tones, especially for those on a budget. Modeling amplifiers are versatile and great for experimenting with different sounds without investing in multiple amplifiers.
When setting up your electric guitar and amplifier for distortion, it is important to focus on creating a balanced tone that highlights both your rhythm and lead playing. Start by ensuring your guitar is properly shielded and grounded to avoid unwanted noise and feedback. A noise gate pedal can also help by cutting off the signal when you're not playing. Control your strings by muting strings you're not playing with your picking hand and using your fretting hand to silence them when needed.
There are several techniques you can use to create distortion. One method is to increase the gain on your amplifier, which will distort the sound even if the master volume is not raised much. Another way to introduce distortion is by connecting an overdrive or distortion effector between the guitar and amplifier. Distortion effectors generally produce more distortion than overdrive effectors. Additionally, you can use a volume pedal to control the volume when you want to continue increasing the volume on a note you are holding.
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Using pedals and effectors
To set up a distortion pedal, you'll need two instrument cables. Connect one cable from your guitar to the input on the pedal, and the other cable from the output of the pedal to the input of your amplifier. You can then power the pedal with an external power supply or a 9V battery.
Once the pedal is connected, you can turn on the distortion effect by stepping on the pedal's bypass switch. Adjust the volume knob on your guitar to maximum volume and fine-tune the pedal settings to your desired level of distortion. The level should be louder than your clean tone, and you can then adjust the gain or "distortion" to control the amount of breakup or "saturation".
Different types of amplifiers will also impact the pedal's tone. Tube amplifiers, for example, are very reactive to overdrives and distortions, and can easily achieve an aggressive, saturated tone. The EQ settings on the amplifier can be used to shape the desired distorted tone. Additionally, the type of pickups on your guitar will impact the sound of the distortion pedal. Humbucking pickups with a higher output will produce a fuller, thicker sound, while single-coil pickups will result in a thinner, more nasal tone.
Distortion pedals can be used in a variety of creative ways to shape your desired guitar tone. They are highly versatile and can be used in many different genres. By understanding how to tailor the pedal to your setup, you can create unique and defining tonal changes.
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Mastering rhythm and lead techniques
Rhythm guitar forms the foundation of a song, with the guitarist strumming chords and maintaining the rhythm. This role is crucial as it provides the base for the lead guitarist to shine. However, it is not just about strumming chords; it involves intricate picking techniques, muting, and playing mini-melodies within the chord structure. To master rhythm guitar, focus on learning various chords and strumming patterns. The seven fundamental chords (C, D, E, F, G, A, B) are a great place to start, as they will allow you to play countless songs. Practice different strumming patterns and techniques to add variety to your playing. Additionally, work on developing a sense of timing and understanding of the pulse and flow of music.
Lead guitar often takes the spotlight, adding melodies, solos, and iconic riffs to a song. Lead guitarists use their strings to express emotion and excitement through techniques like bending, sliding, hammer-ons, and pull-offs. To master lead techniques, you need to put in the time and effort, as it requires a lot of practice and equipment. Lead guitarists often use electric guitars with thinner necks and strings, which allow for a broader range of tones and techniques. It is beneficial to explore different effects and experiment with distortion to create unique sounds.
Distortion is a guitar effect that has been used since at least the 1940s, and it involves intentionally distorting the clean signal through amplifiers. There are modern methods such as pedals and digital effects, but originally, guitarists breached the amplifier circuitry threshold, resulting in 'clipping' or waveform distortion. This creates a rougher, more metallic, or buzzy sound. To achieve this, you can crank up the volume on your amplifier, use a distortion pedal, or utilise a modelling amp with various settings.
Whether you focus on rhythm, lead, or both, remember that each role contributes to your overall development as a guitarist. With practice, you can seamlessly transition between rhythm and lead within a song, adding depth and versatility to your playing.
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Choosing the right guitar for distortion
When it comes to choosing the right guitar for distortion, there are a few key factors to consider. Firstly, it's important to understand the different types of distortion and the tonal qualities they offer. The three main types of distortion are overdrive, fuzz, and distortion pedals, each producing a unique sound. Overdrive gives a warm, tube-like sound often used in blues and rock, while fuzz can make your guitar sound out of this world with its thick, buzzy texture. Distortion pedals, on the other hand, provide that classic crunchy sound perfect for metal and hard rock.
The next factor to consider is the type of amplifier you'll be using with your guitar. Tube amps are known for their rich, organic sound and are often favoured for distortion due to their warm and dynamic response. However, they tend to be more expensive and heavier than other options. Solid-state amps, on the other hand, are more affordable, reliable, and lighter, making them easier to transport. They can still deliver impressive distortion tones, especially for those on a budget. Additionally, modelling amps offer versatility and are great for experimenting with different sounds without investing in multiple amplifiers.
When choosing a guitar for distortion, it's crucial to consider the pickups. Intentionally powerful pickups, such as the Valco "Chicagoan" pick-ups, can provide a louder and fatter tone, resulting in a more distorted sound. The guitar's electronics also play a role, as some guitars may have built-in distortion settings or effects that can be used to shape your distorted tone.
Lastly, don't underestimate the importance of trying out different guitars to find the right one for you. Play around with the settings and spend time tweaking the knobs to find a sound that suits your style. Remember, the gear you choose should complement your playing style and the music you want to create. It's not about having the most expensive equipment, but rather finding the right tools that work for your distortion needs.
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Historical methods of creating distortion
The earliest examples of guitar distortion can be traced back to the end of the 1940s. Guitar players, always keen to experiment, noticed that their tube amps produced a distorted sound when the volume was turned up to high levels. This sound was considered undesirable by engineers at the time, but guitarists actively sought to replicate it, with some even deliberately damaging their amplifiers to achieve this tone.
In 1947, Junior Barnard of the Bob Wills band began experimenting with a rudimentary humbucker pick-up and a small amplifier to create his signature "low-down and dirty" bluesy sound. In 1951, guitarist Willie Kizart used a vacuum tube amplifier with a slightly damaged speaker cone to produce a distorted sound for Ike Turner and the Kings of Rhythm's "Rocket 88". This was later emulated by Link Wray on "Rumble" and Dave Davies of The Kinks on "You Really Got Me", the latter of whom achieved the effect by cutting a hole in the speaker with a box cutter.
In the early 1960s, a session guitarist in Soho, London, took a Maestro Fuzz Tone to a music shop and asked if it could be modified to add more bass and sustain. An engineer on staff created the Tone Bender, which was used by Jeff Beck and Jimmy Paige, among others. In 1962, Gibson released the "Fuzz Tone" under its Maestro label, which was used by Keith Richards on the Rolling Stones' 1965 hit "(I Can't Get No) Satisfaction".
In 1966, Marshall Amplification began boosting the treble end on their tube amplifiers, allowing guitarists to achieve a raw, "organic" distortion. Jimi Hendrix used the Arbiter Fuzz Face, a circular pedal originally conceived as a microphone stand, to create mind-bending fuzz.
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Frequently asked questions
You will need an amplifier to distort the sound of your electric guitar. Tube amps are often favoured for their warm and dynamic response, but solid-state amps can also deliver impressive distortion tones and are more affordable. You can also use pedals to distort the sound, such as a distortion pedal or a modelling amp.
Every amplifier has a head room, which is the range the amp can produce a clean sound. Pushing it past the head room will create clipping, which is what distortion is. Turn up the volume and the gain knob to increase the distortion.
Start by ensuring your guitar is properly shielded and grounded. A noise gate pedal can also help by cutting off the signal when you’re not playing. Use your picking hand to mute strings you’re not playing, and your fretting hand to lightly touch strings to silence them when needed.
When crafting solos, focus on phrasing and dynamics. Use bends, slides, and vibrato to add emotion to your playing. Experiment with different scales and modes to add variety to your solos. Don't be afraid to incorporate techniques like tapping and legato for added flair.
