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Distortion and overdrive are "gain" effects used in amplified music, originally derived from the sound of a saturated vacuum-tube guitar amplifier, though they are produced in a variety of ways in the 2010s. The effects add harmonic and inharmonic overtones to a signal leading to a compressed sound that is often described as "warm" and "dirty" depending on the type and intensity of distortion used. The effects are notably popular with electric guitar players in the blues, rock, heavy metal and punk rock genres. The terms distortion and overdrive are often used interchangeably: where a distinction is made, "distortion" is used to denote a more extreme version of the effect than "overdrive". Fuzz is a term used to describe a particular form of distortion, originally created by guitarists using faulty equipment (such as a misaligned valve tube, see below), which has since been emulated by a number of "Fuzzbox" effects pedals. Distortion, overdrive, and fuzz, can be produced by effects pedals, rackmounts, pre-amplifiers, power amplifiers, speakers and more recently, digital amplifier modeling devices.〔Aikin, Jim (2004). (''Power Tools for Synthesizer Programming'' ), Hal Leonard. p. 171.〕 These effects are used with electric guitars, electric basses (fuzz bass), electronic keyboards, and more rarely, as a special effect, with vocals. While almost all of this article deals with the use of intentional distortion created for a musical effect, a section below describes some musical applications where musicians and sound engineers usually take steps to ''avoid'' distortion (e.g., with PA system vocals and the playback of prerecorded music). ==History== The first amplifiers built for electric guitar were relatively low-fidelity, and would often produce distortion when their volume (gain) was increased beyond their design limit or if they sustained minor damage. Around 1945 Western-swing guitarist Junior Barnard began experimenting with a rudimentary humbucker pick-up and a small amplifier to obtain his signature "low-down and dirty" bluesy sound. Many electric blues guitarists, including Chicago bluesmen such as Elmore James and Buddy Guy, experimented in order to get a guitar sound that paralleled the rawness of blues singers such as Muddy Waters and Howlin' Wolf,〔Michael Campbell & James Brody, (Rock and Roll: An Introduction ), pages 80-81〕 replacing often their originals with the powerful Valco "Chicagoan" pick-ups, originally created for lap-steel, to obtain a louder and fatter tone. In early rock music, Goree Carter's "Rock Awhile" (1949) featured an over-driven electric guitar style similar to that of Chuck Berry several years later,〔Robert Palmer, "Church of the Sonic Guitar", pp. 13-38 in Anthony DeCurtis, ''Present Tense'', Duke University Press, 1992, p. 19. ISBN 0-8223-1265-4.〕 as well as Joe Hill Louis' "Boogie in the Park" (1950). In the early 1950s, pioneering rock guitarist Willie Johnson of Howlin' Wolf′s band began deliberately increasing gain beyond its intended levels to produce "warm" distorted sounds.〔 Guitar Slim also experimented with distorted overtones, which can be heard in his hit electric blues song "The Things That I Used to Do" (1953). Chuck Berry's 1955 classic "Maybellene" features a guitar solo with warm overtones created by his small valve amplifier. Pat Hare produced heavily distorted power chords on his electric guitar for records such as James Cotton's "Cotton Crop Blues" (1954) as well as his own "I'm Gonna Murder My Baby" (1954), creating "a grittier, nastier, more ferocious electric guitar sound,"〔Robert Palmer, "Church of the Sonic Guitar", pp. 13-38 in Anthony DeCurtis, ''Present Tense'', Duke University Press, 1992, pp. 24-27. ISBN 0-8223-1265-4.〕 accomplished by turning the volume knob on his amplifier "all the way to the right until the speaker was screaming." In the mid-1950s, guitar distortion sounds started to evolves based on sounds created earlier in the decade by accidental damage to amps, such as in the popular early recording of the 1951 Ike Turner and the Kings of Rhythm song "Rocket 88", where guitarist Willie Kizart used an amplifier that had been slightly damaged in transport. Rock guitarists began intentionally "doctoring" amplifiers and speakers in order to emulate this form of distortion.〔 〕 In 1956, guitarist Paul Burlison of the Johnny Burnette Trio deliberately dislodged a vacuum tube in his amplifier to record "The Train Kept A-Rollin” after a reviewer raved about the sound Burlison's damaged amplifier produced during a live performance. According to other sources Burlison's amp had a partially broken loudspeaker cone. Pop-oriented producers were horrified by that eerie "two-tone" sound, quite clean on trebles but strongly distorted on basses, but Burnette insisted to publish the sessions, arguing that "that guitar sounds like a nice horn section".〔 〕 In the late 1950s, Guitarist Link Wray began intentionally manipulating his amplifiers' vacuum tubes to create a "noisy" and "dirty” sound for his solos after a similarly accidental discovery. Wray also poked holes in his speaker cones with pencils to further distort his tone, used electronic echo chambers (then usually employed by singers), the recent powerful and "fat" Gibson humbucker pickups, and controlled "feedback" (Larsen effect). The resultant sound can be heard on his highly influential 1958 instrumental, "Rumble" and Rawhide. In 1961, Grady Martin scored a hit with a fuzzy tone caused by a faulty preamplifier that distorted his guitar playing on the Marty Robbins song "Don't Worry"; that same year he also recorded an instrumental under his own name that utilized the same faulty pre-amplifier; the song, on the Decca label, was called "The Fuzz." Martin is generally credited as the discoverer of the "fuzz effect." Shortly thereafter, the American instrumental rock band The Ventures asked their friend session musician and electronics enthusiast Orville "Red" Rhodes for help recreating the Grady Martin "fuzz” sound.〔 Rhodes offered The Ventures a fuzzbox he had made, which they used to record "2000 Pound Bee" in 1962. The best-known early commercial distortion circuit was the Maestro FZ-1 Fuzz-Tone, manufactured by Gibson, released in 1962. Also in the early 1960s, surf rock guitarist Dick Dale, who produced hits such as "Let's Go Trippin'" (1961) and "Misirlou" (1962), worked closely with Fender to push the limits of electric amplification technology, producing the first 100-watt guitar amplifier.〔(History ), Dick Dale official website〕 In 1964, a fuzzy and somewhat distorted sound gained widespread popularity after guitarist Dave Davies of The Kinks used a razor blade to slash his speaker cones the band's single "You Really Got Me".〔Walser 1993, p. 9〕 In May 1965 Keith Richards used a Gibson Maestro FZ-1 Fuzz-Tone to record "(I Can't Get No) Satisfaction". The song's success greatly boosted sales of the device, and all available stock sold out by the end of 1965.〔(【引用サイトリンク】publisher=BBC )〕 Other early fuzzboxes include the Mosrite FuzzRITE and Arbiter Group Fuzz Face used by Jimi Hendrix, the Electro-Harmonix Big Muff Pi used by Hendrix and Carlos Santana, and the Vox Tone Bender used by Paul McCartney on to play fuzz bass on "Think for Yourself" and other Beatles recordings. In 1966, Jim Marshall of the British company Marshall Amplification began modifying the electronic circuitry of his amplifiers so as to achieve a "brighter, louder" sound and fuller distortion capabilities. In the late 1960s and early 1970s hard rock bands such as Deep Purple, Led Zeppelin and Black Sabbath forged what would eventually become the heavy metal sound through a combined use of high volumes and heavy distortion. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Distortion (music)」の詳細全文を読む スポンサード リンク
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