De grote online raadgever van Thomann: Distortion Effect Pedals

2. History

1960

There was a time, of course, when a distorted guitar sound was the curse of professional sound engineers - and indeed, guitarists. The earliest valve amps, many of which are highly prized now for their ability to be overdriven, were designed solely to make guitars audible above the sounds of the other instruments in the ensemble – typically a big-band or small jazz group in the early days. It seems incredible now, but the original Gibson Les Paul series was taken out of production in 1960 because its humbucker pickups delivered too much signal for the amps of the day. People just didn’t want that noisy, crunchy sound...

1965

That was until Messrs Clapton, Beck, Page, Townsend and others (including The Kinks’ Dave Davies and Jimi Hendrix, of course) started emulating the overdriven sounds of the Chicago blues players of the 50s. They heard Hubert Sumlin, Pat Hare and Elmore James - whose sounds were forged with cheap equipment in the noisy South Side clubs - and went in search of their own versions of those hair-raising, spine-tingling tones. With the appearance of John Mayall’s immortal Beano album - properly entitled ‘Bluesbreakers’ and credited to John Mayall with Eric Clapton - the Les Paul was suddenly back in fashion.

Meanwhile, Jim Marshall had introduced his now legendary range of amps and speaker cabinets. As rock music rocketed in popularity and arenas grew larger, so the demand for powerful amplification increased. But with more power, the volumes required to achieve the required crunch became ear-splittingly high, especially for guitars with single-coil pickups.

It was this new challenge that led engineers like Roger Mayer to experiment with devices that could recreate the sounds of overdriven amps, even at low volumes. The first boosters and distortion pedals began to appear, often affectionately known as ‘fuzz boxes’. By the late 60s, the combination of valve amplifiers, humbucked guitars and an increasing armoury of stomp boxes had given rise to the sounds of Cream, Led Zeppelin, and Black Sabbath. Rock music had come of age, and ‘heavy metal’ was born.

1970s

Technology advanced rapidly in the 70s with the introduction of boxes like the Ibanez Tubescreamer and Boss overdrive pedals. Guitarists were finding new ways to work with overdriven signals and high quality valve amplifiers, creating sweet, sustaining tones, as well as the hard and dirty sounds associated with distortion pedals. In the hands of David Gilmour or Carlos Santana, overdrive boxes became sources of rich, warm sounds with near-infinite sustain.

1980s

With the arrival of the new decade, amplifier technology had advanced to the stage where master volume controllers and gain controls could be used to achieve distorted, sustaining sounds without the need for pedals. You can read more about this in our Amplifier Online Advisor. It was a time when those guitarists who could afford them were hauling vast, refrigerator-like stacks around with them, complete with a rack of studio effects modules. The boom days of overdrive and distortion boxes seemed to have passed.

1990s

For many guitarists, the clinical, digitised sounds of the late 80s and early 90s were characterless and bland. They began to rediscover the joys of a simple guitar and amp combination, and quaint old pedals that were so much fun to play with. Vintage stomp boxes soared in value, and new retro-styled ranges began to appear, often using digital modelling technology to recreate the sounds and functions of the classic pedals.

2000

And so we entered the new millennium with a greater choice of high quality pedals than ever before, and at more affordable prices. Today, guitarists have never had it so good - once they can work out which of the huge range of boxes out there is right for them...

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in de ‹berblick

Arturia DrumBrute Impact Daslight Light Rider Wifi DMX Interface Boss WL-50 Wireless System Sennheiser Memory Mic Rode VideoMic Me-L Vertex Ultraphonix OD Harley Benton Baritone CLG-414BCE NT Gator iMac 27" Tote Bag Arturia KeyLab MkII 61 Black Korg D1 the t.bone freeU Twin HT 863 Dübreq Stylophone Gen-X1
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Arturia DrumBrute Impact

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Daslight Light Rider Wifi DMX Interface

Daslight Light Rider Wifi DMX Interface, Tablet-based DMX control, intuitive operating concept allows quick access to all functions and simplifies use, free App "Light Rider" for iOS, Android and Amazon Fire Tablet, perfect for DJs thanks to beat synchronization via...

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Boss WL-50 Wireless System

Plug-and-Play Radio System In pedal format for use in pedalboards, Automatic determination of the optimal wireless connection, Without complicated setup, Newly developed BOSS technology for premium sound without interference, Low latency (2.3 ms) and a range of up to...

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Sennheiser Memory Mic

Sennheiser HSP Essential Omni-Beige EW, professional condenser headset microphone, omni-directional, 20 - 20.000 Hz, headband size adjustable, microphone boom can be switched from left to right, 2,5 mV/Pa ± 3,5 dB, 148 dB SPL max., 1000 Ohms, EW connector, cable...

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Rode VideoMic Me-L

Directional Microphone for iPhone and iPad Suitable for all iOS devices with Lightning connector for direct plugging, 1/2" Condenser capsule, Directivity: Cardioid, Built-in preamp with D / A converter (24-bit / 48 kHz), Transmission range: 20 - 20,000 Hz,...

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Vertex Ultraphonix OD

Effect Pedal for Electric Guitar Overdrive, Reproduces the sound of an overdriven Dumble Overdrive Special amplifier, Controllers: Volume - Filter - Gain, LED: Effect On, Foot switch: Effect bypass, True bypass, Connections: Input (6.3 mm jack) - output (6.3...

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Harley Benton Baritone CLG-414BCE NT

Steel-String Guitar Baritone, Grand Auditorium Cutaway Electric Style, Selected solid spruce top, Walnut body, Mahogany neck, Scalloped X-Bracing, Ovangkol fretboard, 685.70 mm Scale length, Nut Width: 45mm, 20 Frets, Dot inlay, Ovangkol bridge, Black bindings, Chrome diecast machine heads,...

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Gator iMac 27" Tote Bag

Nylon bag for 27" Apple iMac Good hold and protection with adjustable foam blocks and hard-panel reinforcement in the front cover, Foldable sun and dust protection, Double zipper, Cable bag inside, Outer accessory pocket for keyboard, mouse, SD cards...

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Arturia KeyLab MkII 61 Black

Arturia KeyLab MkII 61 Black; USB Midi-Keyboard with 61 Keys; velocity and Aftertouch; 16 RGB-backlit performance pads; 9 fader, 9 rotary knobs, LCD-Display; Category Function; Pitch- and Modulation-Wheel; Chord and Transpose Function; Transport Buttons; Connections: 5 Expression Control Inputs; 4x...

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Korg D1

Digitale piano 88 toetsen met gewogen RH-3 keys (Real Weighted Hammer Action 3), Stereo PCM klank, 120 stemmige polyfonie, 30 klanken, 30 demo nummers, Key-off simulatie, Demperresonantie, 3 effecten, Metronoom, 2x Line uitgang 6.3 mm jack (L/R), Stereo hoofdtelefoonuitgang,...

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the t.bone freeU Twin HT 863

2-Channel UHF wireless system with handheld transmitter Dynamic capsule, Directional characteristic: supercardioid, Frequency range: 50 - 16,000 Hz, 10 Pre-programmed frequency groups with 10 available channels each, Auto squelch, Frequency scan in the receiver, Adjustable AF output, Transmission power:...

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€ 199
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Dübreq Stylophone Gen-X1

Synthesizer in Mini Format With built-in speaker, stylus keyboard and separate sound strip, LFO square and triangle wave, Low pass filter cutoff/resonance, Envelope attack/decay, Delay time/feedback, X-key pulse width modulation, Battery operation (4x AA), Connections: AUX 3.5 mm mini...

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