Using Distortion Effect

 

Distortion is a gain effect used in amplified music achieved by overloading the input. The result is a compressed sound – often described as warm and dirty. The character depends upon the type and intensity of distortion. Technically, any added content to a signal is considered distortion. However, in audio production, it usually refers to some type of overload.  It was originally derived from the sound of a saturated vacuum-tube amplifier. The effect adds harmonic and/or in-harmonic overtones to the output. Distortion – in many ways – has strongly influenced modern music, starting with the “electric guitar revolution” of the 1950’s.

 

TYPES OF DISTORTION

 

Out of the the many implementations of distortion, I will exemplify those most responsible for shaping the sound of guitar and electronic music today.

 

Saturation & Clipping 

 

Most VSTs that feature this type of distortion imitate tape machine analog effects – known to provide a certain sense of warmth to the sound. In addition,  there is a hint of compression or narrowing of the dynamic range.

 

Tube distortion 

 

An effect of medium-strength, emulating a vaccum tube or solid state transistor amp circuit. It produces a slightly heavier amount of saturation compared to Clipping. 

 

Overdrive & Fuzz

 

These are quite desirable implementations of distortion. Overdrive is just a little less extreme than Fuzz. Both are predominantly applied to guitar but they may be used on any type of instrument. Additionally, Fuzz generates a more self-evident, “screaming” effect than overdrive.

 

Bit crushers

 

This type of distortion – unlike the previous types – exists solely in the digital realm. It results from periodic quantization error and/or aliasing. This means the computer does not have a great enough bit depth and/or sample rate to rectify the signal, so it rounds off samples to the nearest value determined by the resolution parameters on the bit crusher. This process causes a low-fi, sometimes robotic sound that is quite desirable in modern electronic music. It is the audio equivalent of what would happen if you were to play a 1080P video on a monitor that only supports up to 720P.

I usually use a bit crusher on drum loops because it really accentuates the distorted high frequency content.

 

TECHNIQUES & TIPS

 

Using harmonic distortion to make something more clear (although it sounds contradictory) is an awesome approach. Believe it or not, small amounts of harmonic distortion can make harmonics more evident. For example, this trumpet sounds more like a real trumpet after emphasizing it’s upper partials.

 

Another great way to use distortion is on vocals.A good option is  is to duplicate the original vocal track and add distortion to the duplicate (in parallel). This way, the original vocal characteristics remain pure, yet, the sum contains some interesting added harmonic content. Accompanied by a bit of reverb, EQ, and compression, the end result sounds AWESOME.

 

In conclusion, from extremes like Fuzz & Bit crushing to more subtle options like tape-saturation, distortion is effective. You can apply it to just about any audio source and it can really morph your sound into something truly amazing.