Overdrive, distortion and fuzz: what’s the difference?

overdrive, distortion en fuzz

Who doesn’t love a guitar with overdrive, distortion and fuzz? It is for many guitarists the reason that they started playing the guitar.

Whether it’s the subtly distorted guitar of John Mayer, more ‘gainy’ rock sounds of Angus Young or a nice fat distortion by Kirk Hammett, distortion makes a guitarist’s life that little bit more interesting. Guitar is an expressive instrument anyway, and overdrive makes it even more expressive and personal. Not everyone knows exactly what distortion is, what shapes there are and how it is created. Below I discuss the different types of distortion and the similarities and differences between overdrive, distortion and fuzz.

What is gain, volume, headroom and clipping?

Gain is the amount of amplification of a signal in a system. That’s different from volume, that’s the level of the system’s output. Every system/amplifier has a certain headroom, a bandwidth of volume in which it operates and does not distort the signal. If the signal rises above the headroom it will start to distort. We also call this clipping of the signal. The peaks of the signal are smoothed out, creating extra overtones. The way in which the clipping takes place determines the sound of the overdrive, distortion and fuzz.

Symmetrical en a-symmetrical clipping

There are two types of clipping: symmetrical and asymmetrical. With symmetrical clipping, the signal is smoothed on both sides, i.e. both the top and bottom of the signal. This form of clipping mainly produces odd overtones. Those are overtones that are less pleasant to the ear. Asymmetric clipping occurs when the signal is smoothed on one side. This shape produces especially even overtones. Those are harmonic overtones with frequencies that are a multiple of the note you play. For example, if you play an A at 440 Hz, an 880 Hz is an even overtone.

Soft and hard clipping

There are also differences between soft and hard clipping. This mainly relates to the way in which the signal is smoothed. With soft clipping, the signal gradually flattens and the shape of the top is more or less intact. This shape sounds smoother and less abrupt. You often see soft clipping with overdrives. With hard clipping, the top is cut off, as it were, and there is nothing left of the original signal. You often see this shape with distortion and fuzz pedals.

headroom and clipping
Headroom, clipping, hard and soft clipping and a-symmetrical clipping

Overdrive, distortion and fuzz in 40s and 50s

The first guitarists to experiment with distortion were Elmore James and Buddy Guy. They tried to copy the rawness of Blues singers like Muddy Waters and Howlin Wolf on their guitars. In the 1940s and 1950s, overdrive was mainly achieved by replacing guitar pickups with pickups with a higher output. This gave the tube amplifier more signal to process, causing it to overload. Other guitarists (consciously or not) damaged their loudspeakers and thus got an ‘overdriven sound’. Willy Kizart (Ike Turner and the Kings of Rhythm), for example, distorted his guitar’s signal by (accidentally) damaging his speaker cone.

The 60s: introduction of fuzz

Fuzz originated in 1961 with the song ‘Don’t Worry’ by Marty Robbins where a mixer with a broken channel strip was used to record a bass guitar. Sound engineer Glen Snoddy was smart enough to later turn it into a commercial product and named it Maestro Fuzz-Tone. The pedal came on the market in 1962. However, the pedal did not kick in at all at the time.

Fuzz only became popular in 1965, partly due to the intro to Satisfaction by the Rolling Stones. This gave rise to some very famous fuzz pedals, namely the Tone Bender (1965) and the Dallas Arbiter Fuzz Face (1966). The Fuzz Face is best known for Jimi Hendrix. Another famous fuzz is the Big Muff by Electro Harmonix. Strictly speaking, this pedal is only 50% fuzz. The other half of the circuit consists of a distortion. The original triangle Muff came out in 1969 and is still being made.

overdrive, distortion and fuzz pedals
Maestro Fuzz Tone, Tone Bender MKII, Big Muff Pi and Dallas Arbiter Fuzz Face

How does a fuzz pedal work?

Almost all fuzz pedals use transistors. A transistor ensures that the signal is amplified. Transistors are actually mini amplifiers. Furthermore, transistors share an important property with tubes, namely that they slowly start to distort if the signal is amplified too much. By putting several transistors in succession, the fuzz effect.

Germanium and silicon fuzz

The first fuzz pedals used germanium transistors. These had relatively little gain and a smooth, woolly and vintage character. However, Germanium transistors are also sensitive to heat. When they get hot, the frequency range decreases and the higher frequencies disappear from your sound. Partly for this reason, silicon transistors were introduced. These are more stable, have more gain and a more modern and aggressive character. In the video below you can hear the difference between germanium and silicon. Tip: put on your headphones, otherwise you probably won’t hear the difference.

Current range of fuzz pedals

Many of the current offerings fuzz pedals is based on one or more classic circuits. Some pedals copy the original as exactly as possible, others take it more as a basis and continue to embroider on it.

For example, the Catalinbread Katzenkönig based on the circuit of a Tone Bender MK2. The pedal combines this circuit with that of a Rat distortion. Fulltone has a number of fuzz pedals based on classics. The Fulltone 70 BC-108C is based on a 70’s Fuzz Face. It has a warm and quirky sound with unique mids. The Fulltone 69 MKII is also based on the Fuzz Face, but as it was made in 1969. The pedal has two Germanium transistors which create a very fat and rich fuzz.

Modern, classic fuzz pedals

The Fulltone Soulbender SB-2 is based on a three-knob Tone Bender. JHS Pedals has a number of fuzz pedals based on classic effects. The JHS Crayon is based on the fuzz that occurs when you transfer a Neve 1073 channel strip. And furthermore, the JHS Cheeseball based on a Lovetone Big Cheese pedal. The Kangra Fuzz Filter from Walrus Audio has taken a Kay Fuzz Tone as a starting point and added an envelope filter according to Jared Scharff’s wishes.

Oliver Ackermann, the founder of Death by Audio is so impressed by the sound possibilities of the fuzz pedal that almost the entire range consists of it. The famous fuzz circuit of these makers can be found in the Death by Audio Evil Fuzz (limited edition of 200 pieces). Furthermore, Walrus Audio has created a pedal that is a combination of fuzz & tremolo and it is also operated with two joysticks  Walrus Audio Janus.

Keeley has the Fuzz Bender in the range, a hybrid fuzz with silicon and germanium transistors and an active EQ. In addition, Keeley has the Retro Super Germanium Phat Mod in the range. That is an overdrive/fuzz based on germanium transistors. Electro Harmonix should not be missing from this list, they are responsible for the Big Muff. There are now many variants of the Big Muff. Earthquaker Devices has a pedal based on the Muff called Main. It is a hybrid fuzz with both germanium and silicon transistors.

Spitty fuzz and plasma discharges

The Japanese Vemuram has, among other things, the Myriad Fuzz, guitarist Josh Smith’s signature pedal. It is a hybrid fuzz with both silicon and vintage germanium transistors. It has a very wide range of different tones and it also has a lot of headroom. This pedal goes from a smooth overdrive all the way to a spitty fuzz. Finally, Gamechanger Audio has the Plasma Pedal in the range. This pedal creates fuzz by converting the signal into so-called high-voltage plasma discharges. Not only in terms of sound but also visually very attractive!

How does a distortion pedal work?

One of the differences between overdrive, distortion and fuzz is the way the distortion is created. Most distortion pedals do not use transistors but diodes. These are often used in conjunction with an op-amp to distort the signal. An op-amp amplifies the signal just like a transistor does. Unlike a transistor, an op-amp does not overdrive the signal. In addition, op-amps amplify the signal much more than transistors do. In combination with one or more diodes, which cut the sound, a distortion is created. Distortions often use hard clipping. Distortion is a (small) step back in gain compared to fuzz. With a distortion pedal you have a little more control over your sound, especially the low end.

The first distortion pedals of the 70s

The first distortion pedals appeared on the market in the early 1970s. In 1973, MXR released the Distortion+ pedal, about the same time as Dan Armstrong’s Blue Clipper. Not long after, iconic pedals such as the Boss Distortion DS-1 (1978) and the ProCo Rat (1978) followed. Other famous (and by some also maligned) pedals from this period are the Heavy Metal HM-2 and Metal Zone MT-2 from Boss.

iconic distortion pedals
Blue Clipper from Dan Armstrong, Boss DS-1, MXR distortion +, ProCo Rat, and JHS PG-14

Current range of distortion pedals

Almost all brands have one or more distortion pedals in the range. I limit myself here to five pedals that offer just that little bit more than many other distortion pedals. Walrus Audio has the Iron Horse V2, a classic distortion pedal that sounds thick, punchy, coarse and rusty. Wampler has the Dracarys which is mainly intended for metal heads. With the Neuron Gain Intelligence a pedal with which you can store up to 24 presets, of which 6 you can control directly with the foot switch. Pettyjohn Fuze is a studio-quality distortion/fuzz that (also) operates on 18 volts for even more headroom. Finally, Chase Bliss Audio has the Brothers pedal in the range that allows you to create overdrive, distortion and fuzz. It is arguably the most versatile overdrive/distortion pedal.

Introducing overdrive pedals

About the same period as distortion came the overdrive pedal on the market. The first pedal to call itself overdrive, the Colorsound Overdriver, came out in 1969. The name is somewhat misleading as this is actually a boost pedal with three silicon transistors and no master volume. Ibanez released the OD-850 in 1974. However, the circuit of this pedal was based on that of the Big Muff fuzz. Many consider the Maxon OD-880 from 1976 as the first overdrive. Not long after, Boss released the famous OD-1. This pedal introduced soft-clipping by inserting diodes into the op-amp feedback circuit. Many pedal makers will later use this circuit as the basis for their own overdrive pedal.

iconic overdrive pedals
Colorsound Overdriver, Ibanez OD-850, Maxon OD-880, Boss OD-1, and Ibanez TS 808 Tube Screamer

Ibanez Tubescreamer

An iconic overdrive, which should certainly not go unmentioned, is the Ibanez Tube Screamer. Ibanez introduced the first version of the pedal, TS 808 in 1979. By many this first version is still considered the best Tube Screamer. The Tube Screamer is a so-called transparent overdrive in which the middle area of the signal is emphasized. The transparency in the overdrive is achieved by adding a small amount of clean signal into the circuit during clipping. This creates a dynamic and transparent overdrive that has since been taken as a basis by many other pedal makers when developing their own version.

Pedals based on a Tube Screamer

Ibanez has released a number of variants of the Tube Screamer and many manufacturers have their own version of the pedal. Often the circuit is copied from the original and (slightly) improved by better components or slight changes to the circuit. Other pedal makers take the pedal circuit as a starting point and add elements to it, such as an extensive EQ section. In the overview below are 6 pedals that are interesting for lovers of the green pedal.

JHS Pedals has two pedals based on the Tube Screamer: JHS Moonshine V2 and the JHS Bonsai. The Bonsai stands out in particular because it is an exact replica of a number of different Tube Screamers, namely the TS-808, TS-9, TS-10 and TS-7. In addition, you also get the Boss OD-1, Ibanez Metal Screamer, the Exar OD-1, the Keeley Mod Plus, and the JHS Strong Mod. Recommended! John Petrucci’s favorite pedal is the Keeley Red Dirt Overdrive. It’s based on the Tube Screamer circuitry and has more bass and more gain added to it.

Seymour Duncan 805 is based on a TS-808 with the addition of a three-band equalizer giving more options to color the effect as desired. Wampler Clarksdale is not an exact copy of the green pedal but it is true to the sound and feel of the original. It has a wider range and a 3-band EQ that allows you to adjust the highs, mids and lows. Earthquaker Devices Palisades is also based on a TS-808, but with much more features. It has 2 channels, 6 different volicings that allow you to set the way the signal clips and it has 5 bandwidths.

Klon Centaur Boost Overdrive

Then we arrive at the Klon Centaur, perhaps the most legendary boost/overdrive of the moment. The pedal was released in 1994 and was made by Bill Finnegan. The Klon’s circuitry has some unique features, it has a fluid EQ that responds to the amount of gain. Furthermore, another feature of the pedal is that more clean signal is added when you turn up the gain. The Klon was one of the first pedals to run at a higher voltage internally, giving it more headroom than other pedals. Meanwhile, an original Klon is no longer accessible to mere mortals. Original copies cost thousands of euros. Fortunately, there are plenty of Clone clone pedals that imitate the original.

Pedals based on a Klon Centaur

Because an original Klon Centaur is not affordable and is no longer made, many manufacturers have made their own version. The KTR should not go unmentioned, that is the successor of the Klon and it has the approval of Bill. In addition, there are many pedals that are inspired by the original. These often have some extra features and/or other components. Whichever you choose, they are certainly a lot cheaper than an original Klon.

Both Wampler and J Rockett have two versions of the Klon. Wampler has both an extended deluxe version the Wampler Tumnus Deluxe as a mini version the Wampler Tumnus. The Deluxe version has an extensive tone control and a hot switch, the mini version only has a Treble knob. J Rockett has two different Klon versions, the J Rockett Archer and a gold version the J Rockett Archer Ikon. The differences between the two are minimal, the Ikon has (according to some) slightly more compression than the silver version. And further (seems) the Ikon is made with the Germanium diodes and the silver version with Silicon Schottky diodes.

Electro Harmonix has the very affordable Soul Food pedal in the range and Keeley has the Oxblood. The Oxblood has two nice features: a That and a Clipping switch. With the Phat switch you can create classic Tube Screamer sounds and with the Clipping switch you can choose a different gain/sustain level.

Other overdrive pedals

The range of overdrive pedals is really overwhelming at the moment. In addition to overdrive pedals that are based on other (iconic pedals) there are currently many overdrives based on a certain type of amplifier. Think of Marshall, Fender, Vox, Dumble, etc. In addition, there are pedals that are loosely based on a certain type of distortion and may or may not be referred to as ‘transparent’.

A recent overdrive pedal that is fast becoming a classic is the Fulltone’s Obsessive Compulsive Drive. Although it is an overdrive it uses transistors that clip the signal hard. With this OCD you can create both a subtle overdrive and different colors of distortion.

Pedals based on a Marshall

In an earlier overview there are 10 pedals based on a Marshall amp. As far as I’m concerned, the six pedals below stand out in terms of sound and ease of use.

The Japanese EWS has the Little Brute Drive II, a compact pedal with a big sound. Xotic has the SL Drive based on Marshall Super Lead and Super Bass amps from 1959. These tube amps were known for a woody, organic and saturated sound. JHS Pedals in collaboration with Andy Timmons The At+ developed. The pedal consists of both a drive and a boost. As for the overdrive, you can choose from a 25-watt, 50-watt, or 100-watt Marshall amp. Furthermore, JHS Pedals also has the Charlie Brown, a pedal based on a Marshal JTM 45. It produces a warm sound rich in overtones.

Keeley Marshall 1962x is a pedal based on a 1962 Marshall Bluesbraker and Catalinbread Dirty Little Secret gives you a classic British plexi sound and response like we had from the 70’s have known Marshall Super Lead and Super Bass for years.

Pedals based on other amps

In addition to Marshalls, other amps are also often a source of imitation. I gave an overview of Fender in a box pedals. In my opinion, the overview below contains 9 pedals that absolutely rise above average and are more than worth a try.

With the Jan Ray a pedal based on Blackface Fenders from the 1960s. Catalinbread 5F6 pedal is based on a Fender Tweed Bassman. JHS Pedals has the Twin Twelve V2 in the range, the first analog effects pedal to accurately replicate the classic preamp/overdrive sound of a Silvertone 1484 Twin Twelve amplifier. JHS Super Bolt V2 is a 2012 overdrive pedal and one of JHS’s best-selling pedals. The pedal recreates the sound and character of a sixties Supro amp.

For all Brian May fans there is the Catalinbread Galileo, a pedal based on the combination of a treble booster and a Vox AC30. For Beatles fans there is now Aclam Dr. Robert. It’s an Amp in a Box based on the legendary VOX UL730, an amp widely used by the Beatles. J Rockett has a trio of pedals based on Dumbles and a Naylor RD 60. J Rockett The Dude is based on a  Dumble Overdrive Special. Lenny by J Rockett is based on a Dumble String Singer. Tim Pierce’s signature pedal, finally, J Rockett Tim Pierce Boost/OD imitates the sound and feel of his favorite amp the Naylor SD 60.

I hope this has provided some insight into the similarities and differences between overdrive, distortion and fuzz pedals. If I missed something, let me know below!

1 thought on “Overdrive, distortion and fuzz: what’s the difference?

  1. You say: “the Big Muff by Electro Harmonix. Strictly speaking, this pedal is only 50% fuzz. The other half of the circuit consists of a distortion.”
    Are you sure you know what you’re talking about?
    Have you even looked at the Big Muff schematics?
    It actually consists in two identical distorsion stages between the input buffer and the tone stack.

Leave a Reply

Your email address will not be published. Required fields are marked *

This site uses Akismet to reduce spam. Learn how your comment data is processed.