Most distortion pedals will use a variety of transistors and diodes to both boosts the guitar’s signal, and also change the shape of the signal’s waveform. The boosting of the signal is fairly simple to understand, but the clipping is less straightforward, but is very important, because it is what creates that distinctive sound. The eye-catching orange chassis is now iconic and can be spotted on a pedalboard from a mile off, which makes it extremely cool in our eyes. Everything is screwed together solidly, and the trademark Boxx footswitch is so nice we wish it was on most other pedals. So to conclude, there are so many different types of metal, with varying sounds, that it just isn’t possible to say there’s one single greatest pedal for metal. If you pushed us for a choice from this list, however, we’d recommend the Boss DS-1 for its flexibility, and potential for proper distortion. It’s a good starting point for most types of metal, but if you wanted something for 80s shred, then you might go for the Distortion+ or RAT 2. Alternatively, stoner metal might call for the Acapulco Gold. What is the best high gain Distortion Pedal? When anyone comes looking for a distortion pedal, the first thing they have in mind is the type of music that they play. And often, that’s metal, because pretty much every single guitar in metal music is distorted. Did a bit of you-tubing and decided this might be an option. Plugging into the M75 for the first time is a great deal of fun. No fizz, just fat distortion all the way through the dial. Output is huge, and my only beef is that unity is so low. Its loud.

OK, so the SF300 distortion pedal is unashamedly inspired by offerings from Boss, but that’s not necessarily a bad thing, and it certainly isn’t when you get this much pedal for such a tiny price. This thing is basically a catch-all for fuzzy distortion. It can do light 60s fuzz, from the time when overdrive was still seen as a bad thing by a lot of guitarists, to meaty, stoner fuzz that is super distorted. Once overdrive had become popular, however, guitarists wanted more. They wanted distortion. So they took overdrive methods and made them more aggressive. This was done by clipping the sine waves more aggressively using effects, and ultimately pedals. Overdrive pedals will clip softly, or smoothly. This is visualized as a narrowed wave that is still curved at the top. Distortion, however, will simply shear off the top of the curve into a (mostly) flat shape. As you'd expect, there are several different flavors of distortion out there. From transparent gain pedals that retain the guitar and amp characteristics to pedals that will transform your rig into something completely unrecognizable, there's a wide range of distortion pedals on the market for everyone. ProCo’s RAT 2 could in all honestly come very close to being our top choice, but it’s such an incredibly good distortion pedal for an incredibly good price, that it has to be our great value selection. It’s really not that often that you can say this about such a famous pedal either. There’s usually a premium to pay for a name, but there isn’t here.Typically you’ll be using a distortion pedal for heavier styles of music, and it’s a common question to ask which is best for metal. We’d say it all depends on your particular genre of metal. There are a lot of different styles of metal and thus, a lot of different tones. So have a look at your favorite guitarist's pedalboard and see what they’re using for more inspiration. For a fat, warm tone that pairs perfectly with the sound of a quality British valve amp, this is the distortion pedal for you. Of all the pedals on our list, it’s probably this one that gives the most uniquely distorted tone, and we love it. It sounds so very Marshall, and indeed you could probably replicate the sound of an overdriven Marshall without the right amp - it’s that good. A distortion pedal is therefore set up to artificially clip the signal wave in a similar way to what would happen if the amplifier or speaker was overdriven but in a much starker and more significant way. We’ll cover the main differences between overdrive and distortion in the next section. We also love the crunch button, which unlike a lot of pedal buttons, does exactly what you’d hope it does, and more, to the point that the first time you try it out, you won’t want to switch it off. Ideal if you want a few more lows and highs to build out your sound. The M75 Super Badass Distortion from MXR is a great choice in terms of value, features, build, and sound quality for a distortion stompbox. The MXR Super Badass pedal sounds great and delivers a wide range of tones with its versatile control panel including a 3-band EQ, which will be discussed further on in this review. MXR did a great job with this pedal and is a great go-to pedal if you can't decide which stompbox to get for your rig. The manufacturer has other similar products such as Distortion+ and Distortion III - but in terms of versatility of an MXR distortion, Super Badass wins the comparison.

Design wise, this pedal clearly has its target market in mind with its vintage cream facing and funky typography - it looks great. The switches don’t feel quite as robust as some competitors, but overall build quality is superb, and there’s no reason to doubt Electro-Harmonix quality. This obviously gets its name from the Vintage 1978 Marshall JMP Super Lead 100w Amp - also known as the Marshall Plexi. It's one of the great takes on that genre - while it does seem to slip under the radar every now and again.If you have a favorite artist, then it may well be useful to see what they use, rather than hoping to find the holy grail of distortion. A really great sounding extended range fuzz with extra texture and character aboard that few fuzzes make use of. I mentioned in the intro that this was one of two MXR fuzzes I still had me eye on along with the La Machine octave fuzz. I just have so many priorities to juggle at one time that I've never hit those two at there right time. What steals the spotlight in terms of features is the MXR Super Badass Distortion's 3-band EQ. I've always wanted this feature on my other stompboxes as it allows for more flexibility in shaping the tone that comes out of the pedal. Instead of just being equipped with a treble adjustment knob, the pedal also has knobs for bass and mid, allowing you to get a tighter low end if you want, or punchier mids if you want to cut through the band's mix when you engage the pedal for a solo. So what exactly does a distortion pedal do when you hit that footswitch? How do distortion pedals work?

I included it in my sizeable Brown Sound alternatives article from a couple of years ago - while it didn't end up as one of the most wanted - on account of others have more extended feature sets - including 3-Band EQ - which for me is almost essential for Marshall style pedals as the mids are so critical to the nature of that chewy crunchy output. Quality overall is very good, from the all-analog components inside, to the super solid casing on the outside, which incidentally looks very cool in an almost glittery finish. It’s not too much, but just gives the thing a little bit of character to separate it from your typical straight-laced technical pedal. It is reasonably versatile too - if you really crank it up, you end up with some real fuzz that sustains well, but on the lower end, it can sound like a quality overdriven tube amp. Just a very nice sound all-round. The output control provides significant amounts of boost, while the distortion control offers a range of textures, including clean boost, tubey blues-style overdrive and sizzling saturation.On our list, we’d recommend the MXR Super Custom 78, MXR Super Badass, and MXR Distortion +, along with the Boss DS-1 and ProCo RAT 2 as being the pedals that offer the biggest chance for some really high gain sounds. That’s not to say this list is exhaustive of course - you’ll find plenty of other high gain pedals on the market.

Would be cool if anyone can explain to me the distinction between Custom and Super and whether this is actually a proper subset of MXR or simply a marketing vehicle! What is not in dispute though is that these are some truly great sounding Overdrives, Distortions and Fuzz. And I’ve seen many a player cite the Modified Overdrive especially as one of their favourites of all tine. A distortion pedal can be used anywhere in your effects chain to really give your tone an entirely new sound, and they’re really very easy to use. Unlike some effects pedals and other guitar peripherals, there really isn’t much difficulty to using one. There is a reason that the MXR Super Badass Distortion is hailed as one of the best choices out there in the market - it just sounds really good and badass. As mentioned earlier in this review, the tones you can get out of the Super Badass are very impressive due to the built-in equalizer. This MXR pedal can do anything from making your guitar produce that powerful heavy riff to making your guitar's tone scream through the mix with a smooth distorted crunch. What can we say? The DS-1 has been designed from the outset as the everyman’s distortion pedal. It’s versatile enough to be used for a very wide range of music styles, it’s not hard to get it to elicit some great sounds, and it’s priced very attractively indeed. We can easily get everything from a bit of light distortion to some serious growls from the responsive dials, which is great if you’re new to this kind of effect. One of the most frequently asked questions when it comes to effects pedals, is “what is the difference between overdrive and distortion?”. In truth, they are quite similar, and the line is often blurred when people are describing the sound that they hear. Lots of guitarists themselves won’t even be able to distinguish between them in the middle of the mix, but that doesn’t mean there aren’t differences.At the start of this rundown it’s probably the two former Super Badass editions that I’m most likely to acquire next - but we’ll see where I stand once I’ve completed the sweep-through. The latest to carry the name is a cool touch-sensitive MOSFET-based Dynamic Overdrive - with 3 classic controls and a Boost / Cut Mids EQ toggle. That in itself is fairly unusual for MXR as they typically prefer to use those push-button controls - as can be viewed on the Modified OD and ’78 Distortion above. One of the things people need to understand about this pedal is the sensitivity of the distortion knob. When most people describe their pedal knob settings, they think in terms of 9:00, 10:00, 11:00, etc. With the M75 distortion knob, you need to think in terms of 9:30, 10:00, 10:30, etc. because it is very easy to blow by your desired distortion sound by making too big of a distortion knob adjustment. The 3 EQ knobs are also key to this pedal's sonic versatility. Once you get in the sonic ballpark in terms of distortion, the 3 band EQ allows you to fine tune the character of your distortion. It's the combination of the distortion with the EQ that allows this pedal to do so much. This pedal even helps my retubed Peavey Valve King 112 6L6 amp sound Marshall-esque when needed!