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Posts Tagged ‘distortion’

Oo-la-la! T-Rex will soon be releasing a new distortion pedal called the Tonebug Distortion. Not much info on it yet, but it is supposed to lay on tons of gain. I was fortunate enough to see a video from the folks at GearWire that quickly demonstrates what this pedal can do.

Admittedly, I’ve preferred overdrives over distortion boxes, but I’m really liking the tone from this puppy! Don’t know if I’d shell out $399 for it, though. But T-Rex pedals are premium pedals, so that’s not a surprising price.

For more information, check out the T-Rex site!

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In a previous post, I asked, “Where have all the overdrives gone?” For the last couple of years, it seemed that a new overdrive pedal would hit the market every week. Then suddenly, about a month ago, it seemed that the well just dried up. Excuse the pun, but did the overdrive market become fully saturated? Looks like it…

It seems I’m seeing another trend, though not quite as profound as I saw with overdrives, and that is the emergence of fuzz pedals. And like overdrives, fuzz pedals seem to come in different varieties. The most basic is the original FuzzFace design which uses two transistors to create a bunch of gain so that practically everything that goes into it gets converted to a square wave. After that, you get pedals like the Zvex Fuzz Factory that gives you control over various aspects of the fuzz tone.

Personally, I haven’t spent that much time with fuzz pedals. It’s not that I don’t like the sound; I do, it’s just that my playing style really hasn’t leaned towards a “fuzzy” type of sound. For those unfamiliar with the fuzz tone, here’s a good demo.

The Difference Between Overdrive, Distortion, and Fuzz Pedals

I’ve been doing a lot of research on getting the fundamental differences between the three types of distortion, and the following is a synopsis of what I’ve found:

  • Overdrive – First is overdrive. This can be used as either a verb or noun, but from a sonic standpoint, overdrive produces the gentlest type of distortion, commonly known as soft clipping. Overdrive and booster pedals produce this type of sound. Using “overdrive” as a verb, it commonly means to overpower the pre-amp tubes of an tube amp, though technically it’s simply overpowering the input. Overdrive pedals simulate this with clipping diodes so you can get that overdriven sound at lower volumes.

    Overdive pedals include: Tube Screamer, Bad Monkey, OCD, Holy Fire, Swollen Pickle, etc.

  • Distortion – Here we get into a bit of a grey area because technically, any pedal that uses a transistor to clip or distort a signal is a distortion pedal, so the Tube Screamer and OCD fall into this realm. But many distortion pedals such as the TS also add signal gain, so they also overdrive the front-end of the amp. The big difference between Tube Screamer types and dedicated distortion pedals is in the type of clipping they produce. Distortion pedals produce a harder clipping of the input signal in their transistors at any volume level.

    Distortion pedals include: DS-1, Metal Zone, Holy Fire, Rat, Saturator, etc.

  • Fuzz – Fuzz is square wave distortion produced by a couple of cascading transistors that amplify the input gain so much that it produces a square wave when looked at in an oscilloscope. The tone of the fuzz typically has a lot of bass, and tons of odd-order harmonics. It’s ugly, but in a good way, and applied properly, can produce some spectacular tones. Jimi and SRV were masters of the fuzz.

    Fuzz pedals include: FuzzFace, Fuzz Factory, Graphic Fuzz

Note that I didn’t want to get too technical here mainly because the technology is less important than the tone. As in all things, you need to hear and play them for yourself to see what you like.

By the way, I found a great wiki article on distortion, which goes into a more technical discussion if you’re interested. Check it out!

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To date, this is the most popular article on this site, having held the top hits spot for the past several years now. My feeling is that it addresses the murkiness of the debate between overdrive vs. distortion. And despite many people like myself who constantly say they’re two, mutually exclusive things, it remains a subject that needs clarification. I’m glad this has been a -hopefully good – resource for people! 

Remember: Distortion Is What You Hear! Overdrive Produces It!

I had an interesting conversation with a friend today regarding the difference between overdrive and distortion. Talk about two terms that are bandied about interchangeably in the guitar world! If you ask ten different guitarists the difference between them you’ll get ten different answers. But a common theme you’ll hear is what each sounds like; in other words, you’ll get a much more qualitative description as opposed to a quantitative description. What I’ve been after is a much more objective, quantitative description of each, but not necessarily too technical. So after talking about one versus the other, I decided to write down what we discussed, and throw my two-cents into the mix.

First, let’s look at the two terms, but from the perspective of an amplifier. The simplest explanation I could come up with is that overdrive, or in audiophile terms, over-powering, occurs when input gain exceeds the capacity of a device to handle the amount of gain thrown at it; in our case, a tube. What happens is that the smooth waveform that goes into the device gets “clipped” because the device’s input capacity is less than what is being thrown at it. Sonically, we perceive the result of this clipping as distortion. The higher the amplitude of the wave, the greater amount of distortion we hear.

But what about pedals? I’ll get to that in a bit, but I wanted to take the time to clarify these terms. There’s been a lot of confusion about these two terms because they’re used so loosely, and oftentimes interchangeably. For me, I’ll stick with the audiophile’s perspective of overdrive in that distortion is the result of overdrive or over-powering an amplification device. A way to think about overdrive vs. distortion is that overdrive happens in the front-end (what you put in), while distortion happens on the back-end (what you hear).


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But here’s where we get into a bit of murky territory, especially with pedals. Strictly speaking, if we’re talking about overdrive as simply overpowering the front-end of an amp to make the tubes clip, the only pedal that is technically an overdrive is a boost pedal that takes your guitar’s signal and ups its voltage. But lots of manufacturers call their pedals overdrive pedals. In reality, all of those are distortion pedals as they include an internal clipping circuit which is overdriven into distortion – this includes the venerable Tube Screamer. OMG! Sacrilege!

So how do you tell the difference? That’s why I said we get into murky territory with respect to pedals. But as a rule of thumb, a distortion pedal will create a distorted sound irrespective of the amp. In other words, it’ll clip on its own. Put it front of the clean channel of an amp, switch it on, and it’ll create distortion. However, many, if not most, “distortion” pedals also provide a bit of gain boost to overdrive an amp. That’s where it gets murky, as most of the pedals termed “overdrive pedal” function as a combination of both overdrive AND distortion.

There are no real hard and fast rules, but in general, pedals that are commonly known as overdrive pedals (Tube Screamer, etc.) employ what’s called a “soft-clipping” circuit or transistor, where only a small portion of the input signal is clipped. Most distortion pedals employ a “hard-clipping” device to severely clip the input signal to get that “square wave” tone. But as I said, there are no hard and fast rules. Here’s an image that nicely describes the differences in the waveforms between soft-clipping and hard-clipping devices:

Picture courtesy of GM Arts

Sonic Differences Between Overdrive and Distortion Pedals

Many people have asked me over the years if there is a sonic difference between overdrive and distortion pedals. Having tested several of these pedals over the years, I hate to sound ambiguous, but from a practical standpoint, in some cases, it’s simply too hard to tell. For instance, if I crank up my Timmy’s gain then add a bunch of volume to slam the front-end of my amp, I get a lot of crunchy distortion out of my speaker as the signal squares off. Moreover, I get a bit of compression and sustain and it “feels” like I’m playing through a distortion box. On the other hand, if I take my EWS Little Brute Drive and turn the gain knob to about 10 am, I get a similar sounding distortion with a similar feel – even though it’s a hard clipping device! They’re tonally a little different as the EWS adds a bit of low-end punch, but nevertheless, sonically and feel-wise, they’re extremely close.

But there does exist a difference, and that is in output volume. When I do what I do with my Timmy to get that hard distortion sound, I have to use an attenuator because all the input gain creates A LOT of volume, so I attenuate the output so I can keep the volume at a manageable level. But with my EWS Little Brute Drive, because it’s a distortion pedal, it will clip irrespective of the amp, plus I set its output volume to unity. I can set my amp to any volume, then switch the pedal on to get my overdrive-like sound.  I actually do this with the Little Brute Drive a lot when I don’t want to lug my attenuator to a gig.

So yes, you can set up an overdrive or a distortion pedal to make it difficult to tell the difference, but in general terms, with a hard-clipping device, you’ll experience a lot more compression than with a soft-clipping device. The tone will feel “squishy” with very little dynamics. That’s not a bad thing, mind you, because sometimes that’s what you want. Overdrive pedals, on the other hand, because they don’t produce a square wave, will feel a lot more “open” and dynamic. There will be a bit of compression at higher gain levels, but rarely will you get to the order of compression that a distortion box will make.

Gain vs. Volume

Image courtesy of Sweetwater.com

Unfortunately, this is yet another area where we get into murky territory, and where a lot of people confuse the two. So to start out, let’s just put it simply: Gain is input; volume is output.

To provide a bit more clarity, think about the function of an amp as a two-stage device. The first stage takes the relatively weak signal from your instrument, then passes it on to the second stage and amplifies the signal to produce the sound.

The first stage of an amp is called the preamp. The signal passed through the preamp is called Gain. The level of gain will have a direct effect on the volume of your amp. Typically, the more gain you introduce, the higher your volume. BUT, that said, higher and higher levels of gain will have a lesser and lesser effect on volume, as the pre-amp reaches its capacity to handle the amount of signal passed to it (commonly called saturation) and will max out sending all it can handle to the second stage or power amp.

Think of the power amp as the stage that controls the output strength of your sound, or volume, if you will. It works similarly to the pre-amp in that the more signal you throw at it, the louder your volume. Some amps come with a Master Volume. Think of it as a valve mechanism that controls the amount of signal that is allowed to pass into the power amp. When it’s wide open, all the preamp signal will pass through to the power amp. For amps without a master volume, the amount of preamp signal allowed to pass to the power amp is set by the builder.

So what does this have to do with pedals? If you look at the picture above, whether labeled or not, all come equipped with both a Gain (or Drive) and a Volume (or Level) knob. These work pretty much the same way as Gain and Master knobs on an amp. The Volume knob controls how much pedal signal will be sent to your amp’s preamp. That could be enough signal to saturate your preamp which will overdrive it into clipping and create distortion. Combined with a distorted sound from the pedal, this could – and in many cases does – create a very pleasing mix of distortion sounds.

So which kind of pedal to choose?

The pat answer is it depends on what you’re after with respect to your distorted tone. I know that this is a rather ambiguous statement, but again, there are no hard and fast rules. In the end, you should choose a pedal based on what sounds good to you. But here are a couple of guidelines:

  • If you have a tube amp and just want distortion purely from overdriving the tubes, then a booster makes sense. There are several kinds of boosters. Some boost only a certain frequency range, like a Fat boost that boosts the lower frequencies. I personally prefer a clean, transparent boost that has a flat frequency response so that the distortion that occurs is my amp’s tone. I typically use a booster in conjunction with my amp set just at the edge of breakup, so when I switch it on, not only will I get a volume boost, I’ll overdrive the pre-amp tubes; and depending on how much gain I throw at the amp, I’ll get the power tubes working as well. Here’s a trick to try: If you have an effects loop, place the booster as the last pedal in your effects loop. When switched on, it will boost the gain going into your power tubes to saturate them. You don’t get a huge volume boost, especially if the power tubes are close to saturation, but you do get a bit of a kick. I learned that from Gene Baker, who does that in his rig.
  • If you want to add a bit of color and overdrive your amp, then a soft-clipping pedal like a Tube Screamer works quite well. Tube Screamer-type pedals typically give you a mid-range boost that results in a much warmer and smoother distortion. Many also add sustain and a bit of compression to simulate power tube saturation at any volume. My Tone Freak Effects Abunai 2 is exceptional in this department. Then there are others, like the EHX Soul Food that add a bit color but interact well with the front-end of an amp. But that said, there are some like my beloved Timmy Overdrive that are transparent. They’ll give you the gain and boost but will not color your sound (Note: that you’ll still have to set up the pedal’s EQ). I will add though, that in general, an overdrive pedal sounds and performs best when the amp is already clipping a bit. The mixture of the two creates a more complex signal that is quite pleasing to the ears.
  • If you want to get a distorted tone at any volume, then a distortion pedal is the way to go. There are lots of these on the market. My personal favorite (and the one I own) is the EWS Little Brute Drive. It’s a half-size pedal with a single knob, but it will give you TONS of distortion at any volume. I normally use it for leads, as it gives just a few dB of gain, but gives me all the distortion I need to get a great screaming tone! It also colors with a fat bottom end which makes leads sound beefy. Typically, you’ll use a distortion pedal against a clean amp. But then again, there are no hard and fast rules.
  • Then if a distortion pedal still doesn’t provide enough gain for you and you need to get a hard-clipped, super-squishy, compressed distortion, then the fuzz will get you there. I call fuzz “ugly dog” distortion. To me it’s like an ugly dog that you look at and say, “holy s$%t,” but it has personality, so you can’t help but love it. Can’t say I’ve ever been into fuzz, but I’ve spoken to lots of players who use it all the time, and they love it!

You can also chain overdrive and distortion effects to great success (aka “stacking”). I do this quite a bit because you get colors that you can’t get with just your amp. One thing that I do regularly is to use an overdrive pedal to push my amp hard, then when I want to get more tube compression and sustain, I slam the front-end with a booster (which is the last pedal in my chain). This doesn’t result in a volume boost because the tubes are already saturated, but you do get much more high-gain sound, and that can really work with solos.

Again, there are no hard and fast rules. You have to play a lot of them to find your sweet spot. But that’s half the fun of it!

More Overdrive Murkiness…

I referred to my Timmy above as a “transparent” overdrive. There’s a lot of debate about transparency, but suffice it to say that while technically distortion is color, transparent overdrives are those that once their EQ is set up to match the EQ setting on your amp, they will not add any other “color” than distortion. On the other hand, once you set up a non-transparent pedal’s EQ, it will still add its own tonal characteristics to color your tone. In practical terms though, transparent overdrives fall more into the booster arena, but it’s the EQ and internal soft-clipping circuits that still define it as an overdrive.

But further exacerbating the overdrive murkiness is that many overdrive pedals are actually purpose-built to mimic the sound of a specific overdriven amplifier. These are meant to be played through a clean channel with lots of headroom. A good example of this is the Caitlinbread Dirty Little Secret that produces classic Marshall Plexi to Super Lead tones. With a pedal like that, you just set your clean channel to purely clean and let the pedal do the overdrive work.

Note: Several articles I’ve read on this topic use the generic “overdriven amp” explanation to describe all overdrive pedals. It would be okay if they described them with respect to how the pedal responds, but more often than not, they use the term to describe the sound. Unfortunately, they completely miss the pedals that are built to be transparent. I’m not saying they’re entirely wrong, but just a little narrow in scope when you consider the overall landscape of overdrive pedals available.

Now… let’s add even more murkiness to the overdrive issue, shall we? There are some overdrives like the EHX Soul Food, which is a Klon Centaur clone, that at first blush, fall into the transparent overdrive category. So one would think that you’d set your amp at the edge of breakup, then use the pedal to push it over the edge and add its own clipping. This is a common way of using an overdrive, and it’s exactly how I use my Timmy. But even though the Soul Food wasn’t purpose-built to mimic a particular amp, I use it almost exclusively as a standalone soft-clipping device played through a clean channel. Its distortion sound is so damn sweet that I don’t want to taint it by adding clipping from my amp.

So… what you choose will be wholly dependent upon what pleases you.

Update: November 26, 2012

I ended the article three years ago with the statement that you have to play a lot of pedals for find your sweet spot. Three years later, that statement remains true. You see, in a recent article where I asked if new overdrives are relevant with so many on the market, there are some pedals that work with certain rig configurations, and some that just do not. There are also some rig configurations that work great on stage that sound absolutely horrible in the studio. I’ve been in the studio for the last few weeks (grabbing studio time where I can), and when we worked on a song where I needed some high-gain sounds, my rig just did not work! I was using my trusty DV Mark Little 40 clean, with my Timmy and the Little Brute Drive for distortion. Sounded like crap when recorded. I ended up bringing in my VHT Special 6, cranking it up all the way, and slamming it with a booster! Worked like a charm, with all the high-gain character that I wanted out of that tone. So I learned a valuable lesson there.

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Wanna slam the front-end of your amp with up to 50dB of gain, then be able to add some distortion? Then look no further than the Way Huge Angry Troll. I don’t have much information on it yet, but it’s a simple two knob affair. The left-hand knob controls the variable boost, while the right-hand knob provides 6 positions of “Anger” from no anger (clean boost) to a full fist. Here’s ProGuitarShop.com’s video demo.

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Kasha KA-ODP-A

Awhile ago, I was perusing a forum where one of the members mentioned in a reply that it’s a good time to be a guitarist. There’s so much varied gear out there that guitarists have all sorts of options to choose from. One area of guitar gear that certainly seems to get regular entries is the overdrive pedal.

The OD pedal is something of which I never tire. There are so many great ones out there – I just can’t get enough of ’em. One such pedal that has just recently caught my eye is the KA-ODP-A 4-Channel Overdrive Pedal from Kasha amps. This pedal promises to be something special. Check out its features:

– 4 channels with separate voicing and gain structure
– Analog design
– 10 dB clear boost
– True bypass switching
– Very low power consumption (3mA and runs on a single 9V battery)
– No tone change, only enhances sound
– Compact standard aluminum chassis (4 3/8″x2 1/4″ x 1 1/4″)
– AC power jack (uses standard Boss DC power supplies)
– High gloss mirror black powder coat
– Hand made in the USA
– Low noise
– Crystal Blue LED (high intensity)
– Weight: 1.5lb

Built By an Amp Builder

There’s something about gear that’s built by an amp builder, especially when it comes to pedals or other peripheral devices. Amp builders have an innate understanding of the electronics behind tone, and how peripheral devices interact with their amps. A great example of this is Jeff Aragaki from Aracom Amps and his brand-new attenuatore, the Power Rox PRX150-Pro. Jeff totally gets it with how an amp interacts with a speaker, and the Power Rox is a testament to that. The same may be said of the Kasha overdrive in front of an amp. I had a chance to speak with John (Kasha’s owner and builder) this afternoon about the pedal, and it was clear from our conversation that this guy really understands the interplay between effects and an amp – especially with respect to overdrive.

Kasha has been around awhile, having been building the famous ROCKMOD line of amps since the 80’s, so they know something about amps, and their tone is well-known. Guitarists such as George Lynch and Davey Johnstone (Elton John), and tons of session guitarists have been playing ROCKMODS for years. So when John decided to build an overdrive pedal, he didn’t want to model it off of traditional circuits, so he created his own. The result is the 4-Channel Kasha Overdrive.

What’s very intriguing about this pedal is that it doesn’t have an EQ. John designed the pedal in such a way that it preserves the tone going in and outputs it with some OD “flavor” as John puts it. The thinking is that you don’t need an EQ if you’re not doing anything to the EQ of the signal. Smart.

The Kasha overdrive is a lesson in simplicity, having only two knobs: An overdrive selection knob to choose from one of the four different overdrives, and a gain knob. Very simple. But it also sports a “Turbo” switch at the top which will add a 10db clean boost to slam your pre-amp tubes with even more gain. But despite all that, this thing operates on 3 milliamps and only requires a standard 9V power source! That is incredible! My beloved Holy Fire requires a special 48V power supply! So what John has created is definitely special.

I’m going to be trying this pedal out in the next coming weeks, and I’m excited! I’ll keep you posted!

For more information, go to the Kasha product page (scroll down to the end to see the overdrive)

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5 Tone Bones - Gear has stellar performance, value, and quality. This is definitely top of the class, best of breed, and it's a no-brainer to add this to your gear lineup!

GeekDriver by the Original Geek

The GeekDriver by the Original Geek

Summary: Is it a booster? Is it an overdrive? No! It’s the GeekDriver.

Pros: From gorgeous, slightly fat boost to searing, face peeling overdrive with tons of overtones and harmonics, this pedal does it!

Cons: None.

Features:

  • Hand-wired and soldered in the US
  • Volume, Treble, Bass and Gain Controls
  • Neutrik and Switchcraft jacks
  • True Bypass

Price: $205 direct

Tone Bone Score: 5.0. I’m absolutely blown away by this pedal! I can’t say for sure, but this is a pedal that I’d almost always have on.

I don’t give 5 Tone Bones away lightly. I have to be so totally blown away by some gear that I have to give it my highest rating. When I first heard the GeekDriver on Geek’s Premier Guitar Video, I immediately became intrigued. Then when I finally met the Geek himself at the shop he shares with Tonic Amps, and he demonstrated the GeekDriver in person, I knew I had to have one, so I told him I wanted one, and tonight I picked it up.

What exactly is the GeekDriver?

As the Geek will tell you, the GeekDriver is based upon the ColorSound Overdriver that was popularized by Jeff Beck. At its core, it’s a clean booster, but the Gain knob changes the game significantly, giving you anywhere from mild breakup to ugly, snarling dog overdrive, replete with tons of overtones and harmonics. At high gain levels, it’s like the ugly dog that’s so ugly you can’t help but love it, if you catch my drift.

One thing’s for sure, it’s not transparent, nor is it meant to be. When active it adds a slight compressive fat boost at all volume levels. The effect is incredibly subtle, almost visceral, in that  you “feel” that coloration more than you hear it. This aspect alone made me give this pedal the 5 Tone Bones. The effect is so sensual and appealing. I know I’m using a lot of flowery adjectives here, but it’s because it’s so hard to articulate the emotional effect that compressive boost has on me. When I get that feeling, I know I’m onto something good.

Then you turn the gain up, and in addition to that colored boost, you get layers of overdrive which become this ugly fuzz as you increase the gain that’s total ear candy. But despite the cacophony of distorted signals, the tone is still incredibly defined and articulate. Unlike a pedal like the OCD which can get pretty muddy when you crank the gain, the GeekDriver just oozes thick fuzz, but never gets muddy. Nice.

How it sounds…

In a word, it sounds awesome. It is very hard to describe what it actually sounds like. It’s like a colored overdrive with fuzz attached. In any case here are a couple of clips (BTW, both clips were recorded at bedroom level using my Aracom PRX150-Pro attenuator. That thing ROCKS, retaining all my tone and dynamics):

In this first clip, I was just noodling, switching back and forth a couple times between the clean tone of my amp and the GeekDriver. Note that I set the Gain pretty high on the GeekDriver on the first section to show how ugly it can get – I love that sound!

In this next clip, I start the solo out only with the GeekDriver, with a very light pick attack. In the second part of the solo, I add my Abunai 2 to the chain to demonstrate how delicious the GeekDriver sounds when another overdrive pedal is stacked on top of it.

I believe the GeekDriver was meant to be stacked. I placed it first on my board, then ran my Tone Freak Effects Abunai 2, and my Creation Audio Labs Holy Fire after it. With both pedals, the GeekDriver just FREAKIN’ ROCKED THE HOUSE!!! Oh, it’s sounds f-in’ awesome by itself, but used as a “base” pedal in front of another OD or distortion pedal, and the mix is like nothing you’ve experienced!

Overall Impressions

As you can tell, I freakin’ love this pedal! I’m not surprise why Jeff Beck dug the original ColorSound Overdriver. This is definitely Geek’s unique take on that classic pedal, and what a unique take that is! It may not be for everyone, especially if you’re looking for a transparent boost. But if you’re looking for something totally different from your typical boost or drive pedal, the GeekDriver has a voice all its own. Like I said, it freakin’ rocks the house!

About the Original Geek

Meeting Geek was pure serendipity. I originally was going to Tonic Amps to meet Darin Elingson about his cabs and Fane speakers. I didn’t know the Original Geek shared a shop space with him. That’s serendipity for you.

For those who are familiar with Jeff and his creations, he is known as “GeekMacDaddy,” and for years, his pedals have been by GeekMacDaddy. But his company has gone through a recent name change, and is now known as the “The Original Geek.” But who cares about the name? I certainly don’t. I just know his pedals kick f-in’ ass!

For more information, and to order one, go to http://www.geekmacdaddy.com.

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Tone Freak Effects Severe High Gain Distortion PedalReleased in May (how did I miss this?), the Severe is “Tone Freak Effects’ answer to high gain distortion.” Oh man… This looks like a incredibly mean pedal. Set up like the Abunai 2 with a 3-way clipping switch, with level, gain, and tone, the Severe also sports a 3-way bright switch so it can be used with different amps. Very cool.

As Derek Tabata mentions on his site, the Severe will never turn your tone into a compressed mushy mess. The distortion can be laid on thick but, remains open. I can attest to this with the Abunai 2. You can lay on thick overdrive with that pedal, but it’ll never turn super thick.

With the Severe, Derek has taken high-gain distortion to another level! I’m amazed at how it sounds in the sound clips! Check ’em out!

Severe Demo Clip

Les Paul

Les Paul

Tom Anderson

Personally, I’m not a high-gain type of player, however, as I’ve gotten more and more comfortable soloing, I’ve found that I’m pushing more and more into high-gain territory. The only problem is that to achieve that with an amp means it has to be LOUD. That’s why I love pedals like this! You get the effect you need at far lower sound levels.

And you can’t go wrong with Tone Freak Effects! You just can’t! For more information, visit the Tone Freak Effects web site!

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