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The DS-1 was the first ever distortion guitar effect pedal manufactured by Boss An auditory example of the distortion effect with the clean signal shown first.. Distortion and overdrive are forms of audio signal processing used to alter the sound of amplified electric musical instruments, usually by increasing their gain, producing a "fuzzy", "growling", or "gritty" tone.
In signal processing, distortion is the alteration of the original shape (or other characteristic) of a signal.In communications and electronics it means the alteration of the waveform of an information-bearing signal, such as an audio signal representing sound or a video signal representing images, in an electronic device or communication channel.
Many electric guitar players intentionally overdrive their amplifiers (or insert a "fuzz box") to cause clipping in order to get a desired sound (see guitar distortion).. Some audiophiles believe that the clipping behavior of vacuum tubes with little or no negative feedback is superior to that of transistors, in that vacuum tubes clip more gradually than transistors (i.e. soft clipping, and ...
A Bitcrusher is an audio effect that produces distortion by reducing the resolution or bandwidth of digital audio data. The resulting quantization noise may produce a "warmer" sound impression, or a harsh one, depending on the amount of reduction.
The assertion is that the "analog sound" is more a product of analog format inaccuracies than anything else. One of the first and largest supporters of digital audio was the classical conductor Herbert von Karajan , who said that digital recording was "definitely superior to any other form of recording we know".
Distortion synthesis is a group of sound synthesis techniques which modify existing sounds to produce more complex sounds (or timbres), usually by using non-linear circuits or mathematics. [ 1 ] While some synthesis methods achieve sonic complexity by using many oscillators , distortion methods create a frequency spectrum which has many more ...
The sound produced by digital waveshapers tends to be harsh and unattractive, because of problems with aliasing. Waveshaping is a non-linear operation, so it's hard to generalize about the effect of a waveshaping function on an input signal. The mathematics of non-linear operations on audio signals is difficult, and not well understood.
How, exactly, does noise syntactically function in avant-garde music is an emerging field of study for musicologists and music theorists. Edgard Varèse challenged traditional conceptions of musical and non-musical sound and instead incorporated noise based sonorities into his compositional work, what he referred to as "organised sound."
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