beyler acil bakinnnnnnnnnnnnnnnn neler olmus neler

In the early days of guitar amplification, amplifiers were primitive and low-fidelity, and distortion was inherent in the signal chain. Most amplifiers were all-purpose, designed for use with multiple instruments with different output levels, and guitar pickups were often clip-on types that had weak output levels and microphonic properties. The guitars were typically hollow-body instruments, which would resonate sympathetically with the amplified signal, causing unwanted feedback and an excessive resonant sustain in the bass frequencies. Though electric guitars had been around since 1928 and played popularly by Les Paul and Charlie Christian in the 1930s and 1940s, it was not until the early 1950s that they became commercially successful. It was during this period that the first solid-bodied electric guitars became widely available; they did not suffer as badly from feedback as earlier models, hence they could be played at higher output levels.

The idea of intentionally using distortion to improve the amplified tone had not occurred to early amplifier makers. Early examples of distortion were often the result of accidents in which the guitar amplifier was in some way damaged, but the player or producer decided they liked it and recorded it that way. During the recording of "Rocket 88", one of the early rock and roll songs, Ike Turner and the Kings of Rhythm guitarist Willie Kizart used an amplifier that had been damaged in transit, resulting in an early recorded example of guitar distortion. For the recording of "The Train Kept A-Rollin'" by the Johnny Burnette Trio, a valve fell out of the amplifier during a live performance. When a reviewer then raved about the crazy new sound, Burnette used the same tone in the recording studio.

Willie Johnson's playing on Howlin' Wolf's Memphis recordings of 1951-2 is marked by a consistent use of deliberate distortion, creating a raucous, menacing sound that complements Howlin' Wolf's singing.

An early user of valve overdrive was Chuck Berry, who at the start of his career played through small valve amplifiers, the only ones he could afford. Because of their low output, they were easy to overdrive, giving Chuck's guitar tone a warm overdriven sound, which can be heard on his recording of his first hit "Maybellene". On later recordings he was able to afford better and larger amps and consequently his tone became cleaner. The earliest uses of intentional distortion that have been recorded were achieved through "doctoring" amplifiers and speakers. Guitarists would use a razor blade, screwdriver or pencil to poke holes into their speaker cones to create a distorted sound.[4]

Leo Fender of Fender guitars and amplifiers observed these trends and engineered many of his amplifiers to "compress" and/or "overdrive" slightly without drastically distorting the signal. The early Fender "Tweed" and "Blackface" amplifiers are considered a good example of clean electric guitar tone. Many later amplifiers are based on these designs. Significantly, Jim Marshall of Marshall Amplifiers copied the Fender Bassman using parts available in the United Kingdom, creating an amplifier with significant overdrive that quickly caught on in the local music scene and laid the foundation for the powerful, thick "Marshall Sound" that can be heard on so many early Hard Rock albums. Later, distortion and fuzz effects were achieved through electronics. Jimi Hendrix was one of the first guitarists to use outboard effects, many designed or modified by guitar tech Roger Mayer.

Literally, the word distortion refers to any aberration of the waveform of an electronic circuit's output signal from its input signal. In the context of musical instrument amplification, it refers to various forms of clipping, which is the truncation of the part of an input signal that exceeds certain voltage limits. Because both valves and transistors behave linearly within a certain voltage region, distortion circuits are finely tuned so that the average signal peak just barely pushes the circuit into the clipping region, resulting in the softest clip and the least harsh distortion. Because of this, as the guitar strings are plucked harder, the amount of distortion and the resulting volume both increase, and lighter plucking cleans-up the sound.

Before the widespread adoption of the transistor, the traditional way to create gain (amplification) and distortion was through vacuum valves (called "tubes" in North America). A vacuum valve has a maximum input voltage determined by its bias and a minimum input voltage determined by its supply voltage. When any part of the input waveform approaches these limits, the valve's amplification becomes less linear, meaning that smaller voltages get amplified more than the large ones. This causes the peaks of the output waveform to be compressed, resulting in a waveform that looks "squashed". This is known as "soft clipping", and generates even-order harmonics that add to the warmth and richness of the guitar's tone. If the valve is driven harder, the compression becomes more extreme and the peaks of the waveforms are clipped. This adds additional odd-order harmonics, creating a "dirty" or "gritty" tone.[5]

Valve distortion is commonly referred to as overdrive, as it is attained by driving the valves in an amplifier at a higher level than can be handled cleanly. Multiple stages of valve gain/clipping can be "cascaded" to produce a thicker and more complex distortion sound. In some modern valve effects, the "dirty" or "gritty" tone is actually achieved not by high voltage, but by running the circuit at voltages that are too low for the circuit components, resulting in greater non-linearity and distortion. These designs are referred to as "starved plate" configurations, and result in an "amp death" sound.