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I dont know, what are you trying to accomplish? What tone are hearing that you like? We all have many pedals we like, they all work great, but they accomplish a purpose in our playing. I’ve never heard of the one you listed…new pedals come out almost every day it seems….If you can be more specific…I have one or 2 of each type from different manufacturers.
Roberto
Roberto
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Fuzz is typically the Satifaction sound. It’s fairly extreme, and thus kind of limited. The distinction between distortion and overdrive is harder to get a grasp on. Basically, I think they add gain and thus will break up the signal. The one you are missing is compressor, which I would get before any of these.
But actually, I would get a cheap multi effects pedal before any single function pedal. Something like the zoom G3n will effectively give you three pedals for $150 new, and about 100 used. It will give you a good idea of what sorts of pedals you like, and then you can start chasing the ‘best’ of the ones you like.
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I really love Elctro-Harmonix pedals, so, I have a bias towards their stuff. I used to have the Big Muff PI a long time ago. I loved that pedal and used it in live shows.
Currently, I have four of their pedals and in that category I have the Hot Tubes pedal. It actually serves me with a dual purpose. I can use it for boosted distortion, or a clean boosted signal to use with my B9 or Mel9 pedal. I also use it with my Luna electric-acoustic to boost the signal as well.
I guess it goes with out saying, shop around and take advantage of the tons of reviews on YouTube..
Don't practice till you get it right, practice till you can't get it wrong.
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I am a bedroom player living in an apratment where I have to be more or less quite… so honestly I have a “religious fear” from fuzz and distortion and I cannot tell much, except that they sound great…
Therefore I have two overdrive pedals: a cheap copy of OCD Fulltone and a Boss Blues Driver 2. Additionally I have a built in overdrive channel into my Blackstar 1W tube amp…
I need overdrive when I want to create a bluesy a bit more overdriven sound, but to keep it quite… so let’s say I need them as some sort of attenuator.Based on this, I may say that the built in Blackstar overdrive is really great, but have to use headphones to avoid noise complains. The OCD copy pedal has also a very good sound (if its volume and gain are high), but is not so precise when it comes to overdrive sound and keep it quite.. the knobs just lacks precision in turning it quiter and I cannot find easily a sweet spot that suits my ears. May be this is because it is just a copy…
In this line, Boss BD-2 is absolute the winner. The knobs allows me to be very precise on the sound level. The gain is just sweet and you can get a very nice overdriven bluesy sound and attenuate it over the volume. Needless to say it is more than great if you want to use it as it is actually supposed to be used…
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@Telemaster
Why do you have the things? The overloading of old amps (here the output stage) led to a clipping. Some hated it, the others invented a new sound. Some wanted this “distorted” sound. That was probably the birthdays of today’s equipment. Now you always put it before the preamp of the amp. So between guitar and the amp. That means you got a mix from the gain of the amp and the (for example) fuzz. And now it is again a matter of personal taste. The sound, which then emerges at the end, thus depends not insignificantly on your used amp. The question is definitely what you want for a sound.
Fuzz:
Stones (Satisfactio / Jumping` Jack Flash) or Santana
Overdrive:
Here is a bit more transparency in the sound. So not as sharp as it is with the fuzz.
Distortion:
Hardrock and MetalAll three are justified.
I hope it helps.
Good luck with your choice!
rgds WilfriedPlay guitar just like you live; don't get bogged down in theory, it's just a tool without feeling.
Wilfried
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Wilfred is right, with one slight correction. Jumpin Jack Flash did not use a Fuzz pedal. Satisfaction did. Keith was messing around with some riffs in a hotel room playing his acoustic guitar into a cheap Japanese cassette player. The player had no limiter on the microphone, so it got a very clipped, distorted sound. Keith decided he liked the sound, so he brought the recorder into the studio with him, and they recorded Jumpin Jack Flash and Street Fighting Man using acoustic guitars recorded by a very cheap cassette player, then playing it back into the multi-million dollar studio recording equipment.
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