Difference between revisions of "Overdrive"
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== Amps known for Overdrive == | == Amps known for Overdrive == | ||
* Fender 5E3 Tweed "Deluxe" | * Fender 5E3 Tweed "Deluxe" | ||
| − | * Fender 5F1 "Champ" | + | * Fender 5F1 Tweed "Champ" |
| + | * Fender 5F6A Tweed "Bassman" | ||
* Marshall JTM-45 | * Marshall JTM-45 | ||
* Marshall JTM-45/100 | * Marshall JTM-45/100 | ||
Revision as of 10:29, 6 October 2017
There's no hard line that separates overdrive from distortion from fuzz. They all kind of hang out in this nebulous world of spillover from a auditory standpoint. If looking at the manner in which the signal is manipulated to get the "clipped signal", it might be easier to arrive at a place where the distinction between the terms makes a difference.
Overdrive, as we understand the definition, is a clipped instrument signal, typically with only one half (the bottom half) of the waveform of the music signal being clipped. This results in only even-order harmonics being generated. Also characterized by a "soft" type of clipping applied to sine wave with the edges of the clipped signal being rounded as opposed to hard-angled (when viewed in an oscilloscope).
Overdrive Pedals
- Maxon OD-9
- Ibanez TS-9
- Boss BD-2 Blues Driver
- Boss SD-1 Super Overdrive
Amps known for Overdrive
- Fender 5E3 Tweed "Deluxe"
- Fender 5F1 Tweed "Champ"
- Fender 5F6A Tweed "Bassman"
- Marshall JTM-45
- Marshall JTM-45/100
