How Does Increasing Voltage Affect Distortion In Speaker

Electronic manipulation of audio signals to increase their gain

This article is about baloney in music. For baloney in general, see Baloney.

Distortion (music)

A "Turbo Distortion" guitar outcome pedal fabricated by Boss

Distortion and overdrive are forms of audio point processing used to change the sound of amplified electric musical instruments, usually by increasing their gain, producing a "fuzzy", "growling", or "gritty" tone. Distortion is most commonly used with the electric guitar, merely may also be used with other electric instruments such every bit electric bass, electric piano, and Hammond organ. Guitarists playing electric blues originally obtained an overdriven sound past turning up their vacuum tube-powered guitar amplifiers to high volumes, which acquired the indicate to misconstrue. While overdriven tube amps are withal used to obtain overdrive, especially in genres like blues and rockabilly, a number of other ways to produce distortion take been adult since the 1960s, such as distortion outcome pedals. The growling tone of a distorted electric guitar is a key office of many genres, including dejection and many stone music genres, notably hard rock, punk rock, hardcore punk, acid stone, and heavy metal music, while the utilise of distorted bass has been essential in a genre of hip hop music and alternative hip hop known as "SoundCloud rap".^[1]

The effects alter the musical instrument sound by clipping the betoken (pushing it by its maximum, which shears off the peaks and troughs of the indicate waves), adding sustain and harmonic and inharmonic overtones and leading to a compressed sound that is ofttimes described every bit "warm" and "dingy", depending on the type and intensity of distortion used. The terms baloney and overdrive are often used interchangeably; where a distinction is fabricated, distortion is a more farthermost version of the consequence than overdrive.^[two] Fuzz is a particular form of extreme distortion originally created by guitarists using faulty equipment (such every bit a misaligned valve (tube); see below), which has been emulated since the 1960s by a number of "fuzzbox" furnishings pedals.

Distortion, overdrive, and fuzz can exist produced by furnishings pedals, rackmounts, pre-amplifiers, ability amplifiers (a potentially speaker-blowing arroyo), speakers and (since the 2000s) by digital amplifier modeling devices and audio software.^{[3] [4]} These furnishings are used with electrical guitars, electrical basses (fuzz bass), electronic keyboards, and more rarely as a special effect with vocals. While distortion is often created intentionally equally a musical effect, musicians and sound engineers sometimes have steps to avoid distortion, specially when using PA systems to amplify vocals or when playing back prerecorded music.

History [edit]

Early uses of amplified distortion [edit]

The showtime guitar amplifiers were relatively low-fidelity, and would oftentimes produce distortion when their volume (gain) was increased beyond their design limit or if they sustained minor damage.^[v] Around 1945, Western-swing guitarist Junior Barnard began experimenting with a rudimentary humbucker pick-upward and a small amplifier to obtain his signature "low-down and dirty" bluesy audio. Many electrical blues guitarists, including Chicago bluesmen such as Elmore James and Buddy Guy, experimented in order to get a guitar sound that paralleled the rawness of blues singers such as Muddy Waters and Howlin' Wolf,^[6] replacing ofttimes their originals with the powerful Valco "Chicagoan" choice-ups, originally created for lap-steel, to obtain a louder and fatter tone. In early rock music, Goree Carter'south "Rock Awhile" (1949) featured an over-driven electric guitar style similar to that of Chuck Drupe several years later,^[7] as well every bit Joe Hill Louis' "Boogie in the Park" (1950).^{[viii] [9]}

In the early 1950s, guitar distortion sounds started to evolve based on sounds created earlier in the decade by accidental damage to amps, such every bit in the popular early recording of the 1951 Ike Turner and the Kings of Rhythm vocal "Rocket 88", where guitarist Willie Kizart used a vacuum tube amplifier that had a speaker cone slightly damaged in transport.^{[10] [11] [12]} Electric guitarists began intentionally "doctoring" amplifiers and speakers in club to emulate this form of distortion.^[13]

Electric blues guitarist Willie Johnson of Howlin' Wolf′due south band began deliberately increasing gain across its intended levels to produce "warm" distorted sounds.^[5] Guitar Slim likewise experimented with distorted overtones, which can be heard in his hit electrical blues song "The Things That I Used to Exercise" (1953).^[fourteen] Chuck Berry's 1955 classic "Maybellene" features a guitar solo with warm overtones created past his small valve amplifier.^[xv] Pat Hare produced heavily distorted power chords on his electric guitar for records such as James Cotton's "Cotton fiber Crop Dejection" (1954) as well as his ain "I'm Gonna Murder My Baby" (1954), creating "a grittier, nastier, more ferocious electrical guitar sound,"^[16] accomplished by turning the volume knob on his amplifier "all the way to the right until the speaker was screaming."^[17]

In 1956, guitarist Paul Burlison of the Johnny Burnette Trio deliberately dislodged a vacuum tube in his amplifier to tape "The Train Kept A-Rollin" after a reviewer raved virtually the sound Burlison'due south damaged amplifier produced during a live operation. According to other sources Burlison'due south amp had a partially broken loudspeaker cone. Pop-oriented producers were horrified by that eerie "ii-tone" sound, quite clean on trebles just strongly distorted on basses, only Burnette insisted to publish the sessions, arguing that "that guitar sounds like a nice horn section".^[18]

In the late 1950s, Guitarist Link Wray began intentionally manipulating his amplifiers' vacuum tubes to create a "noisy" and "muddied" audio for his solos after a similarly adventitious discovery. Wray also poked holes in his speaker cones with pencils to further distort his tone, used electronic echo chambers (then usually employed by singers), the recent powerful and "fat" Gibson humbucker pickups, and controlled "feedback" (Larsen effect). The resultant sound can exist heard on his highly influential 1958 instrumental, "Rumble" and Rawhide.^[nineteen]

1960s: fuzz, distortion, and introduction of commercial devices [edit]

In 1961, Grady Martin scored a hit with a fuzzy tone caused by a faulty preamplifier that distorted his guitar playing on the Marty Robbins song "Don't Worry". Later that year Martin recorded an instrumental tune nether his own proper noun, using the same faulty preamp. The song, on the Decca label, was called "The Fuzz." Martin is by and large credited as the discoverer of the "fuzz effect."^[20]

Big Muff fuzzboxes: a NYC re-issue (L) and a Russian Sovtek version (R)

Presently thereafter, the American instrumental stone band The Ventures asked their friend, session musician and electronics enthusiast Orville "Scarlet" Rhodes for help recreating the Grady Martin "fuzz" sound.^[20] Rhodes offered The Ventures a fuzzbox he had made, which they used to tape "2000 Pound Bee" in 1962.^[21] The all-time-known early on commercial distortion circuit was the Maestro FZ-one Fuzz-Tone, manufactured by Gibson, released in 1962.^[22]

Also in the early 1960s, surf rock guitarist Dick Dale, who produced hits such as "Let'due south Get Trippin'" (1961) and "Misirlou" (1962), worked closely with Fender to push the limits of electric amplification technology,^[23] producing the get-go 100-watt guitar amplifier.^[24]

In 1964, a fuzzy and somewhat distorted sound gained widespread popularity later on guitarist Dave Davies of The Kinks used a razor bract to slash his speaker cones for the band'southward unmarried "Yous Really Got Me".^[25]

In May 1965 Keith Richards used a Gibson Maestro FZ-ane Fuzz-Tone to tape "(I Tin can't Get No) Satisfaction".^[26] The song'southward success greatly boosted sales of the device, and all bachelor stock sold out past the end of 1965.^[27] Other early fuzzboxes include the Mosrite FuzzRITE and Arbiter Group Fuzz Face used past Jimi Hendrix,^[28] the Electro-Harmonix Big Muff Pi used past Hendrix and Carlos Santana,^[29] and the Vox Tone Bender used by Paul McCartney to play fuzz bass on "Think for Yourself" and other Beatles recordings.^[30]

In 1966, Jim Marshall of the British company Marshall Amplification began modifying the electronic circuitry of his amplifiers so equally to attain a "brighter, louder" sound and fuller distortion capabilities.^{[31] [32]}

Likewise in 1966, Syd Barrett of Pinkish Floyd created the song Interstellar Overdrive, a vocal fabricated entirely in electric distortion. It was released a twelvemonth after in modified form on their debut album The Piper at the Gates of Dawn.

In the late 1960s and early 1970s difficult rock bands such every bit Deep Purple, Led Zeppelin and Black Sabbath forged what would eventually get the heavy metal sound through a combined utilize of high volumes and heavy distortion.^[33]

Theory and circuits [edit]

Waveform plot showing the different types of clipping. Valve overdrive is a course of soft limiting, while transistor clipping or extremely overdriven valves resemble hard clipping.

The word distortion refers to whatever modification of wave form of a signal, but in music it is used to refer to nonlinear distortion (excluding filters) and specially to the introduction of new frequencies by memoryless nonlinearities.^[34] In music the different forms of linear distortion have specific names describing them. The simplest of these is a baloney process known as "volume adjustment", which involves distorting the amplitude of a sound wave in a proportional (or 'linear') manner in order to increment or decrease the book of the sound without affecting the tone quality. In the context of music, the nigh common source of (nonlinear) distortion is clipping in amplifier circuits and is most commonly known as overdrive.^[35]

Clipping is a not-linear process that produces frequencies non originally present in the audio signal. These frequencies tin be harmonic overtones, pregnant they are whole number multiples of i of the signal'south original frequencies, or "inharmonic", resulting from full general intermodulation distortion.^{[36] [37] [38]} The same nonlinear device will produce both types of distortion, depending on the input point. Intermodulation occurs whenever the input frequencies are non already harmonically related. For instance, playing a power chord through distortion results in intermodulation that produces new subharmonics.

"Soft clipping" gradually flattens the peaks of a signal which creates a number of college harmonics which share a harmonic human relationship with the original tone. "Difficult clipping" flattens peaks abruptly, resulting in higher power in higher harmonics.^[39] Equally clipping increases, a tone input progressively begins to resemble a square wave which has odd number harmonics. This is more often than not described as sounding "harsh".

Distortion and overdrive circuits each 'prune' the bespeak before information technology reaches the master amplifier (make clean boost circuits do non necessarily create 'clipping') as well as boost signals to levels that cause distortion to occur at the master amplifier'southward front end terminate stage (past exceeding the ordinary input signal amplitude, thus overdriving the amplifier) Note : production names may non accurately reflect type of circuit involved - see above.^[40]

A fuzz box alters an audio signal until information technology is nearly a square wave and adds circuitous overtones by manner of a frequency multiplier.^[41]

Valve overdrive [edit]

Vacuum tube or "valve" distortion is achieved by "overdriving" the valves in an amplifier.^[42] In layman's terms, overdriving is pushing the tubes beyond their normal rated maximum. Valve amplifiers—peculiarly those using class-A triodes—tend to produce asymmetric soft clipping that creates both even and odd harmonics. The increment in even harmonics is considered to create "warm"-sounding overdrive furnishings.^{[39] [43]}

A basic triode valve (tube) contains a cathode, a plate and a grid. When a positive voltage is applied to the plate, a current of negatively charged electrons flows to it from the heated cathode through the grid. This increases the voltage of the audio point, amplifying its volume. The grid regulates the extent to which plate voltage is increased. A small negative voltage applied to the grid causes a large decrease in plate voltage.^[44]

Valve amplification is more or less linear—meaning the parameters (aamplitude, frequency, phase) of the amplified signal are proportional to the input signal—so long as the voltage of the input signal does not exceed the valve'due south "linear region of operation". The linear region falls between

1. The saturation region: the voltages at which plate current stops responding to positive increases in grid voltage and
2. The cutoff region: the voltages at which the charge of the filigree is likewise negative for electrons to flow to the plate. If a valve is biased within the linear region and the input signal's voltage exceeds this region, overdrive and non-linear clipping volition occur.^{[42] [45]}

Multiple stages of valve gain/clipping can be "cascaded" to produce a thicker and more complex distortion sound. In layperson's terms, a musician volition plug a fuzz pedal into a tube amp that is being "cranked" to a clipping "overdriven" condition; as such, the musician volition go the distortion from the fuzz which is so distorted further by the amp. During the 1990s, some Seattle grunge guitarists chained together every bit many equally 4 fuzz pedals to create a thick "wall of audio" of distortion.

In some mod valve effects, the "muddy" or "gritty" tone is actually achieved non by high voltage, merely by running the circuit at voltages that are too low for the circuit components, resulting in greater non-linearity and distortion. These designs are referred to as "starved plate" configurations, and result in an "amp death" audio.^{[ commendation needed ]}

Solid-state distortion [edit]

Solid-country amplifiers incorporating transistors and/or op amps can be fabricated to produce difficult clipping. When symmetrical, this adds additional high-amplitude odd harmonics, creating a "dirty" or "gritty" tone.^[39] When asymmetrical, it produces both fifty-fifty and odd harmonics. Electronically, this is ordinarily accomplished past either amplifying the signal to a point where information technology is clipped by the DC voltage limitation of the power supply rail, or by clipping the signal with diodes.^{[ citation needed ]} Many solid-land distortion devices try to emulate the audio of overdriven vacuum valves using boosted solid-country circuitry. Some amplifiers (notably the Marshall JCM 900) utilize hybrid designs that utilize both valve and solid-state components.^{[ citation needed ]}

Approaches [edit]

Guitar distortion tin be produced by many components of the guitar's signal path, including effects pedals, the pre-amplifier, power amplifier, and speakers. Many players employ a combination of these to obtain their "signature" tone.

Pre-amplifier distortion [edit]

The pre-amplifier section of a guitar amplifier serves to amplify a weak instrument signal to a level that tin can drive the power amplifier. Information technology oftentimes also contains circuitry to shape the tone of the instrument, including equalization and gain controls. Often multiple cascading gain/clipping stages are employed to generate distortion. Because the kickoff component in a valve amplifier is a valve gain stage, the output level of the preceding elements of the signal chain has a strong influence on the distortion created by that phase. The output level of the guitar's pickups, the setting of the guitar'due south volume knob, how hard the strings are plucked, and the use of volume-boosting effects pedals can drive this stage harder and create more distortion.

During the 1980s and 1990s, nearly valve amps featured a "principal book" control, an adjustable attenuator betwixt the preamp department and the ability amp. When the preamp book is fix high to generate loftier distortion levels, the main volume lowered, keeping the output volume at manageable levels.

Overdrive/distortion pedals [edit]

The Ibanez TS9 Tube Screamer is a popular overdrive pedal

Demo of a Big Muff(help·info)

Analog overdrive/baloney pedals work on like principles to preamplifier distortion. Because most effects pedals are designed to operate from bombardment voltages, using vacuum tubes to generate distortion and overdrive is impractical; instead, virtually pedals apply solid-state transistors, op-amps and diodes. Classic examples of overdrive/baloney pedals include the Boss OD series (overdrives), the Ibanez Tube Screamer (an overdrive), the Electro-Harmonix Big Muff Pi (a fuzz box) and the Pro Co RAT (a distortion). Typically, "overdrive" pedals are designed to produce sounds associated with classic stone or blues, with "distortion" pedals producing the "high gain, scooped mids" sounds associated with heavy metallic; fuzz boxes are designed to emulate the distinctive sound of the earliest overdrive pedals such equally the Big Muff and the Fuzz Face.^{[ citation needed ]}

Most overdrive/baloney pedals can be used in two ways: a pedal can be used as a "boost" with an already overdriven amplifier to drive information technology further into saturation and "color" the tone, or it can be used with a completely clean amplifier to generate the whole overdrive/baloney effect. With care—and with accordingly chosen pedals—it is possible to "stack" multiple overdrive/distortion pedals together, allowing one pedal to deed equally a 'boost' for another.^[46]

Fuzz boxes and other heavy distortions can produce unwanted dissonances when playing chords. To get around this, guitar players (and keyboard players) using these furnishings may restrict their playing to unmarried notes and simple "power chords" (root, fifth, and octave). Indeed, with the virtually extreme fuzz pedals, players may choose to play mostly unmarried notes, considering the fuzz can make even unmarried notes sound very thick and heavy. Heavy distortion too tends to limit the player's control of dynamics (loudness and softness)—similar to the limitations imposed on a Hammond organ player (Hammond organ does not produce louder or softer sounds depending on how difficult or soft the performer plays the keys; nevertheless, the performer can all the same control the book with drawbars and the expression pedal). Heavy metallic music has evolved effectually these restrictions, using circuitous rhythms and timing for expression and excitement. Lighter distortions and overdrives can exist used with triadic chords and seventh chords; every bit well, lighter overdrive allows more than control of dynamics.^{[ citation needed ]}

Power amplifier distortion [edit]

A pair of 6L6GC power valves, often used in American-made amplifiers

Power valves (tubes) can be overdriven in the aforementioned way that pre-amplifier valves can, only because these valves are designed to output more power, the distortion and grapheme they add to the guitar'south tone is unique. During the 1960s to early 1970s, distortion was primarily created by overdriving the power valves. Because they have become accustomed to this sound^{[ dubious – hash out ]}, many guitar players^{[ who? ]} favour this blazon of distortion, and thus fix their amps to maximum levels in society to drive the power section hard. Many valve-based amplifiers in common employ accept a button-pull output configuration in their power department, with matched pairs of tubes driving the output transformer. Power amplifier distortion is normally entirely symmetric, generating predominantly odd-order harmonics.

Because driving the power valves this difficult also means maximum book, which tin be hard to manage in a small recording or rehearsal space, many solutions have emerged that in some style divert some of this power valve output from the speakers, and allow the player to generate power valve distortion without excessive book. These include congenital-in or separate power attenuators and ability-supply-based ability attenuation, such as a VVR, or Variable Voltage Regulator to driblet the voltage on the valves' plates, to increase distortion whilst lowering volume. Guitarists such as Eddie Van Halen have been known to utilize variacs earlier VVR engineering was invented.^{[ specify ]} Lower-power valve amps (such equally a quarter-watt or less)^{[ citation needed ]}, speaker isolation cabinets, and low-efficiency guitar speakers are also used to tame the volume.

Power-valve distortion can also be produced in a dedicated rackmount valve power amp. A modular rackmount setup often involves a rackmount preamp, a rackmount valve ability amp, and a rackmount dummy load to attenuate the output to desired volume levels. Some effects pedals internally produce power-valve baloney, including an optional dummy load for use equally a ability-valve distortion pedal. Such furnishings units can utilise a preamp valve such every bit the 12AX7 in a power-valve excursion configuration (as in the Stephenson's Stage Pig), or employ a conventional ability valve, such equally the EL84 (every bit in the H&K Crunch Chief compact tabletop unit). However, considering these are unremarkably placed before the pre-amplifier in the signal chain, they contribute to the overall tone in a different way. Power amplifier baloney may impairment speakers.

A Direct Inject indicate can capture the ability-tube baloney audio without the directly coloration of a guitar speaker and microphone. This DI signal can exist blended with a miked guitar speaker, with the DI providing a more nowadays, firsthand, brilliant sound, and the miked guitar speaker providing a colored, remote, darker sound. The DI signal can be obtained from a DI jack on the guitar amp, or from the Line Out jack of a ability attenuator.

Output transformer distortion [edit]

The output transformer sits between the power valves and the speaker, serving to lucifer impedance. When a transformer's ferromagnetic core becomes electromagnetically saturated a loss of inductance takes place, since the dorsum E.Thou.F. is reliant on a change in flux in the core. Equally the core reaches saturation, the flux levels off and cannot increment any further. With no alter in flux in that location is no dorsum E.M.F. and hence no reflected impedance. The transformer and valve combination then generate large third order harmonics. So long as the cadre does not go into saturation, the valves volition clip naturally equally they drop the bachelor voltage beyond them. In single ended systems the output harmonics volition be largely even ordered due to the valve'south relatively non linear characteristics at large signal swings. This is merely true however if the magnetic core does Non saturate.^[47]

Ability supply "sag" [edit]

Early on valve amplifiers used unregulated power supplies. This was due to the high price associated with high-quality high-voltage power supplies. The typical anode (plate) supply was simply a rectifier, an inductor and a capacitor. When the valve amplifier was operated at high volume, the power supply voltage would dip, reducing power output and causing signal attenuation and pinch. This dipping effect is known equally "sag", and is sought-later by some electric guitarists.^[48] Sag only occurs in class-AB amplifiers. This is because, technically, sag results from more current existence drawn from the power supply, causing a greater voltage driblet over the rectifier valve. Class AB amplifiers draw the most power at both the maximum and minimum signal of the signal, putting more stress on the ability supply than class A, which simply draws maximum power at the superlative of the indicate.

Equally this issue is more pronounced with higher input signals, the harder "attack" of a note will be compressed more heavily than the lower-voltage "decay", making the latter seem louder and thereby improving sustain. Additionally, because the level of pinch is affected by input volume, the actor can control it via their playing intensity: playing harder results in more compression or "sag". In contrast, modern amplifiers often use loftier-quality, well-regulated power supplies.

Speaker distortion [edit]

Guitar loudspeakers are designed differently from high fidelity stereo speakers or public address organisation speakers. While how-do-you-do-fi and public address speakers are designed to reproduce the sound with every bit little distortion equally possible, guitar speakers are usually designed so that they will shape or colour the tone of the guitar, either past enhancing some frequencies or attenuating unwanted frequencies.^[49]

When the power delivered to a guitar speaker approaches its maximum rated ability, the speaker'south operation degrades, causing the speaker to "break up", adding further distortion and colouration to the bespeak. Some speakers are designed to accept much clean headroom, while others are designed to interruption up early to deliver dust and growl.

Amp modeling for distortion emulation [edit]

A Line 6 modeling amplifier shown from above. Note the diverse amplifier and speaker emulations selectable via the rotary knob on the left.

Guitar amp modeling devices and software tin can reproduce various guitar-specific distortion qualities that are associated with a range of popular "stomp box" pedals and amplifiers. Amp modeling devices typically apply digital signal processing to recreate the sound of plugging into analogue pedals and overdriven valve amplifiers. The near sophisticated devices let the user to customize the imitation results of using different preamp, power-tube, speaker distortion, speaker chiffonier, and microphone placement combinations. For example, a guitarist using a small amp modeling pedal could simulate the sound of plugging their electric guitar into a heavy vintage valve amplifier and a stack of 8 X x" speaker cabinets.

Voicing with equalization [edit]

Guitar distortion is obtained and shaped at various points in the signal processing chain, including multiple stages of preamp distortion, power valve distortion, output and power transformer baloney, and guitar speaker baloney. Much of the distortion character or voicing is controlled by the frequency response earlier and afterward each distortion stage. This dependency of baloney voicing on frequency response tin can be heard in the effect that a wah pedal has on the subsequent baloney stage, or by using tone controls congenital into the guitar, the preamp or an EQ pedal to favor the bass or treble components of the guitar pickup indicate prior to the first distortion stage. Some guitarists identify an equalizer pedal subsequently the distortion outcome, to emphasize or de-emphasize different frequencies in the distorted signal.

Increasing the bass and treble while reducing or eliminating the center midrange (750 Hz) results in what is popularly known every bit a "scooped" sound (since the midrange frequencies are "scooped" out). Conversely, decreasing the bass while increasing the midrange and treble creates a punchy, harsher sound. Rolling off all of the treble produces a night, heavy sound.

Avoiding distortion [edit]

While musicians intentionally create or add distortion to electric instrument signals or vocals to create a musical result, there are some musical styles and musical applications where as fiddling baloney as possible is sought. When DJs are playing recorded music in a nightclub, they typically seek to reproduce the recordings with footling or no distortion. In many musical styles, including popular music, country music and even genres where the electric guitars are almost always distorted, such as heavy metal, punk and hard rock, audio engineers usually have a number of steps to ensure that the vocals sounding through the sound reinforcement system are undistorted (the exception is the rare cases where distortion is purposely added to vocals in a song as a special effect).

Audio engineers foreclose unwanted, unintended distortion and clipping using a number of methods. They may reduce the gain on microphone preamplifiers on the audio console; apply attenuation "pads" (a button on sound console channel strips, DI unit and some bass amplifiers); and use electronic audio compressor effects and limiters to prevent sudden volume peaks from vocal mics from causing unwanted baloney.

Though some bass guitar players in metal and punk bands intentionally use fuzz bass to distort their bass sound, in other genres of music, such as pop, big ring jazz and traditional country music, bass players typically seek an undistorted bass sound. To obtain a clear, undistorted bass sound, professional person bass players in these genres utilize high-powered amplifiers with a lot of "headroom" and they may also use sound compressors to prevent sudden volume peaks from causing distortion. In many cases, musicians playing stage pianos or synthesizers utilize keyboard amplifiers that are designed to reproduce the audio bespeak with as piffling distortion as possible. The exceptions with keyboards are the Hammond organ as used in blues and the Fender Rhodes as used in rock music; with these instruments and genres, keyboardists oft purposely overdrive a tube amplifier to become a natural overdrive sound. Another example of instrument amplification where as little distortion equally possible is sought is with audio-visual musical instrument amplifiers, designed for musicians playing instruments such as the mandolin or fiddle in a folk or bluegrass fashion.

Run across also [edit]

• Distortion meter
• Guitar pedalboard
• Tube sound/Valve sound

References [edit]

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External links [edit]

• A Musical Distortion Primer (R.Grand. Cracking) Article on the physics of distortion and electronic techniques
• Distortion 101 (Jon Blackstone) Article on the physics of baloney, with interactive demonstrations
• Amptone.com Website on overdriven guitar amplifier and effects, covering: tone settings, distortion voicing, simulation and modeling, processors, speakers, power-supply modifications, switching and signal routing gear, software and recording, and DIY projects.
• AX84 Cooperative, non-profit website offer free schematics and plans for building guitar amps.
• Fuzz Cardinal Many schematics and DIY fuzz pedal projects
• Tons of Tones Technical website with information on multiFX pedals

How Does Increasing Voltage Affect Distortion In Speaker,

Source: https://en.wikipedia.org/wiki/Distortion_(music)

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