For many guitarists, overdrive or distortion pedals are not just effects introduced for coloration or sound enhancement. The tones reproduced by these pedals are part of their fundamental sound. In rock music, it is rare to hear a completely clean guitar sound—even sounds that initially seem natural and pristine usually have a bit more depth with a touch of distortion. Of course, we are talking about quite distinct types of effects when using the term “distortion.” Boosters, overdrives, and distortion pedals perform truly different functions, although the ultimate result is always a distorted sound, whether it’s a subtle or “angry” tone, or fluid and lyrical like Gary Moore or Steve Vai. For simplicity, we will use distortion as a general term and be more specific when discussing particular types of pedals.

These pedals increase the signal strength of the guitar, causing the tubes in the preamp stage to overdrive, thus increasing the final output sound of the amplifier. Some amplifiers simply increase the volume, so many guitarists prefer overdrive-type distortion pedals, which provide greater control over signal input levels and intensity.

In the ’60s and ’70s, treble boosters were particularly popular, and modern versions of these classic boxes are widely used. Besides boosting the volume, treble boosters add additional distortion by amplifying high frequencies within the signal. Among many virtuosos of the electric guitar who used booster-type pedals are Brian May, Rory Gallagher, Tony Iommi, and Ritchie Blackmore during the classic period of Deep Purple. They all used these pedals to achieve very distinctive sounds.

Overdrive pedals are the true successors of early fuzz boxes. These pedals were designed to recreate the sound of an overdriven tube amplifier without the need for high volume levels.

Notable examples include the MXR Distortion pedal, a favorite of the late Randy Rhoads from Ozzy Osbourne’s band, and the Electro Harmonix Big Muff. The Boss company made its mark with the OD-1, and, of course, the Ibanez Tubescreamer (TS808) established a standard that many guitarists believe has yet to be surpassed. Often, guitarists like Stevie Ray Vaughan and Gary Moore would keep the distortion level low, allowing for an increase in real intensity. The result is a rich, warm sound that adds greater depth to the amplifier’s tone.

Like the Tubescreamer, today’s pedals provide high levels of signal control, allowing you to boost midrange frequencies and simultaneously reduce lower frequencies. With this level of control, you can create exceptional penetrating sounds in lead tones without the harsh sharpness of a thin, high-pitched sound—unless, of course, that is precisely what you desire.

Today’s distortion pedals provide almost unlimited power without sacrificing the warmth and tone reminiscent of the tubes in vintage fuzz boxes. There is a wide variety of options available for the guitarist seeking an exceptional and distinctive sound. In many cases, these pedals offer tube simulation functions, blurring the lines between overdrive and distortion, making the distinction increasingly ambiguous. Unlike overdrive pedals, distortions are not always suitable in situations where the amplifier is already overloaded. If you desire that characteristic distorted sound, you may need to adjust the amplifier settings to avoid an overly harsh tone.

Delay simulates the often-occurring natural phenomenon of echo and, besides reverb, is probably the most widely used among all effects pedals. Delay technology has progressed significantly over time, creating various types and pedals. With the ability to adjust the delay time, the tonality of the signal is also tuned. A delay pedal may also feature settings for frequency, the rate at which the oscillator modifies the delay time, as well as the depth percentage affecting the signal. Sometimes, there may be a control for the waveform shape on the oscillator.

Chorus is an effect that delays the incoming sound for a short period and modifies the length of this delay with a Low-Frequency Oscillator (LFO). It creates a “wider” doubled sound compared to a simple delay, as the continuously changing small variations in pitch and time resemble two instruments playing simultaneously. The chorus pedal can work seamlessly with vocals, guitar, and even bass.

Flanger is very similar to chorus but uses a shorter delay time in combination with an LFO. The resulting sound can be quite metallic, but it works well on guitars and keyboards with the right settings.

Phaser modulates the signal much like chorus and flanger, but here with an extremely short delay time, causing the result to be slightly out of phase with the incoming signal. With the right parameters, this can create a very unusual and psychedelic sonic effect.

It’s quite possible to create all these effects with a simple delay pedal, but remember that you might need two or more pedals simultaneously, so special devices or alternatively a multi-effects unit might be necessary. Additionally, dedicated phaser, flanger, and chorus pedals usually offer much more detailed control over the respective parameters than a basic delay pedal. It’s all about experimenting and searching for the sound that each guitarist has in mind and is trying to reproduce.

Loopers are pedals with extremely long delay times, allowing you to record a segment of a performance and create a loop. By using a looper pedal, you can record riffs or patterns and then play solos or other sections over them. This can be extremely useful for practice, especially for musicians playing alone. Some more advanced models allow you to store multiple loops in different layers.

One of the most famous songs featuring the wah-wah as a prominent element is Jimi Hendrix’s “Voodoo Child.” The guitar immediately starts “talking” in the introduction, a term that perfectly describes the wah-wah effect. Since the guitarist’s hands are occupied with playing the instrument, the effect is controlled with the foot. That’s why you often hear about the wah-wah pedal and how it operates. If you move your foot up and down with a steady motion, you’ll hear a sound resembling the pronounced “wah-wah,” giving the effect its name.

As impressive as the wah-wah effect may be, achieving it is not technically challenging. Internally, there is a limited-frequency filter controlled by a potentiometer that sweeps through a specific frequency range (continuously) depending on the pedal’s position. If the pedal is in the heel-down position, low-mid frequencies increase, resulting in a rather muted sound. On the other hand, if fully pressed forward (toe-down position), the result is an extremely bright and vibrant sound. The successive transition between these positions shapes the unique sound of the wah-wah effect.

There are no limitations to playing with a wah pedal, and essentially, you can do whatever you desire. The classic wah effect is produced simply by moving the pedal up and down in a steady rhythmic motion, often in quarter or eighth note rhythms during playing. Another way to use the pedal is to leave it in a specific position to emphasize a particular frequency range. You can hear this effect being used to accentuate mid frequencies by Mark Knopfler in the mellow sound of “Money For Nothing.” For the opposite version of the effect, engage and press the pedal during playing, leading to a sharp, aggressive sound, as heard in the solo of Led Zeppelin’s “Whole Lotta Love.”

Most manufacturers of guitar effects pedals do not include a power supply in the pedal’s packaging. Properly powering a pedal with electricity is crucial as it eliminates any unwanted noise, commonly associated with cheap power supplies, and ensures the safe operation of the pedal. However, you don’t need to worry because at our online store www.musicpower.gr, you will find everything you need.

From power adapters for a single pedal to multi-power supplies allowing you to power more than one pedal simultaneously without any issues. Most multi-power supplies have specially isolated outputs to provide the correct voltage to each pedal separately. Many even come with outputs offering different voltages so that you can power pedals with higher requirements (12V-16V) than those typically powered with 9V. All multi-power supplies include all the necessary connection cables for the number of power outputs they support. This way, you can easily use multiple pedals simultaneously with safety and without unwanted noise issues, all from a single power outlet!

All these choices in pedals and their combinations create the need for a clean setup, a clear workspace, free of scattered cables that can be neatly organized and easily transported to live performances or the studio. This is where pedal boards come into play. Available in different sizes depending on the number and size of pedals you want to place on them, they usually come with a case with padding, a carrying handle, and a shoulder strap, allowing you to safely transport your precious pedals. The pedals are attached to the surface of the pedal board using special Velcro tape to ensure stability and prevent movement during use.

In our online store www.musicpower.gr, you will also find short-length patch cables with angled plugs, suitable for the close connections of pedals. Most pedalboards also have a dedicated space on their underside for comfortably placing a power supply to provide power to all the pedals on the pedal board. For the guitarist who values their equipment and space, a pedalboard is always essential.

There are truly many options in guitar pedals today, and combining them allows each guitarist to accurately reproduce the sound and distortion type they have in their mind. Experimentation is a crucial part of the selection process, so it would be beneficial if you have the opportunity to try various pedals at a store with a large stock, such as our store at 41 Terzopoulou Street in Katerini. We always maintain a wide range of pedals for you to try and find what suits your needs. We look forward to being your companions on this beautiful musical journey.

Some may argue that the only distortion worth having comes from the pure, overloaded tubes of amplifiers, but most guitarists recognize the power and flexibility offered by pedals today. You can use them to create a dynamic lead sound through a single-channel amp, where the unprocessed signal is good enough for a characteristic rhythm guitar sound. Or they can add additional dimensions to the sound of a two-channel amp, which has its own sounds for lead and rhythm guitar—the possibilities are almost limitless. The key is to experiment with different pedals and their settings. Even the more affordable models can offer you great control over the sounds they create, allowing you to find your own impressive tone with a tap of your foot.

We hope you found this guide useful and informative. Thank you for taking the time to read it—now connect your guitar, choose your favorite pedal, and get ready to rock as if there’s no tomorrow.