![]() Nothing can mimic tubes, although there are a million different “tube-sound distortions” available, they just can’t make the real sound of tubes (there are pretty good ones though). The ultimate distortion/overdrive comes from tubes which are overdriven so that it creates a smooth singing sound. For example Craig Anderton’s Tube-sound Fuzz is actually an overdrive unit. These don’t apply to all effects on the market, for example Craig Anderton calls almost all of his distortions “fuzz”, no matter if it’s a distortion, overdrive or fuzz. Crunch has a sound that resembles the sound of breakfast cereals crunching combined to a guitar sound (I don’t mean snap, crackle and pop). Crunch is not a specific type of distortion, but mild overdrive or distortion. Fuzz is a metallic and very rough type of distortion that turns the sound of a guitar into a fuzzy sound. Overdrive is a natural and smooth sound, while a distortion is more rough. They are words describing the type of distortion an amp or an effect gives out. When talking about distortion, you can usually hear the words overdrive, distortion, fuzz and crunch. Now we’re going to discuss the methods of creating distortion with effect boxes. Now, most amps have a distortion control, but distortion effects are still popular. Later in the sixties, the first distortion effect boxes were made to simulate the sound of razored cones and overdriven amps. The only way to get distortion was to turn volume to eleven and hope the tubes didn’t melt (or the neighbors didn’t call the cops! Coming to the sixties, guitarists razored the speaker cones to make a fuzzy sound. In the mid 50’s, when electric guitars became popular, all amplifiers were designed for vocals, and they didn’t really give the edge guitarists wanted. experiment.Design Your Own Distortion By Rikupetteri Salminen History of Distortions that seems to set the gain range around where it will work with stock fuzzface passive values. ![]() so for those i think i use like, 220r for q1, and around 140r for q2. but usually a small resistance is good, then try a trim at the 8.2k resistor.Ī lot of the ff's i build that are silicon i use mpsa06, their gain is pretty consistently around 200. then adjustment of the 8.2k resistor, and sometimes the 470/330r resistor too. its a good way to set the gain range for the transistor, to get it in the ballpark that's most musically linear. generally ya want about double the resistor value of q1's e to ground resistor, but differences in the transistors themselves can change that some.Īdding the resistors will soften the fuzz considerably. you have an EASY 20% tolerance in there, but i'd bet around 2.2k and 4.7k will be about right. ![]() Then measure the resistance of the pots, and replace with the next standard resistor sizes ya got. then ya can dial it in to where it sounds best to your ear, I'd suggest doing it on the breadboard first, and using a pair of 10k pots between emitter and ground, one for each q. But adding small resistances to the e/ground connections can make the gain softer, more responsive, and closer to the sweetness of the early germanium devices.īias from the c, but set the gain with e.
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