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Post by sbgodofmetal on Apr 19, 2012 19:54:08 GMT -5
I've read that adding a chorus pedal with a distortion pedal will affect the overall distortion of the output sound, described as "thickening the wall of distortion". And I got to thinking what would it sound like to combine an onboard guitar passive overdrive with let's say the DOD death metal distortion pedal? Has anyone tried this with this pedal or one similar? And how does the chorus/distortion combo actually work?
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Post by flateric on Apr 20, 2012 2:18:40 GMT -5
i think o/d and distortion in line is a waste, you're just over-saturating the input stage of the next pedal, getting muddy and squashy tone, which you can get anyway just by putting gain on max. With a single pedal at least you have more chance of preserving some of the original tone characteristics of the guitar.
Chorus and overdrive is always a great combo, I prefer chorus after the overdrive (or distortion) stage, but try both way rounds to see what you prefer. Chorus of course is a general thickener since its taking the original signal, splitting it in half, delaying one path a tiny bit then feeding it in again. So it thickens clean, crunchy and high gain. Because high gain tends to richen the harmonics in an overdriven tone, this can then sound a lot richer when the signal is then fed thru a chorus.
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Post by ashcatlt on Apr 20, 2012 10:21:06 GMT -5
Chorus is modulated pitch shift mixed with the original signal. Put it before the distortion and it's almost like playing a couple of slightly out of tune guitars through the same distortion. Harmonics are generated off of more frequencies. Put it after the distortion and you get modulated pitch shifted copies of all of the harmonics generated by the distortion. I prefer chorus before distortion. Post distortion modulation effects sound like the 80s to me.  The DOD Death Metal pedal doesn't have a gain knob. It's all the way on all the time. The thing seriously just mantles the signal, and I honestly don't believe you'd ever hear a noticeable difference if there was a bit of overdrive before it. That slight squaring of the signal will be completely lost in the severe hacking that it gets inside the pedal. There is something to be said for cascading multiple stages of light to moderate overdrive, maybe with tone shaping in between. This can allow you to build up a harmonic profile and still maintain some of the character of the instrument better than just cranking up the gain knob. RG Keene is often babbling about this kind of thing where if you can keep the signal in the "knee" region of the clipper - as opposed to slamming it up into the flat-topped square wave region - you can get more "natural" or "transparent" overdrive. Its an interesting idea anyway... |
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Post by JohnH on Apr 20, 2012 16:30:28 GMT -5
There is something to be said for cascading multiple stages of light to moderate overdrive, maybe with tone shaping in between. This can allow you to build up a harmonic profile and still maintain some of the character of the instrument better than just cranking up the gain knob. RG Keene is often babbling about this kind of thing where if you can keep the signal in the "knee" region of the clipper - as opposed to slamming it up into the flat-topped square wave region - you can get more "natural" or "transparent" overdrive. Its an interesting idea anyway... Definately! I like to set my amp clean channel with a slight breakup with the pure guitar signal, then I feed in an overdrive box with a small amount of its own breakup, and an overall small volume increase to push the amp a bit more. Then both systems are contributing to the extra harmonics in the sound, but it is still dynamic and responsive. J |
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