Nearly each electrical guitarist owns a distortion pedal of some description or, failing that, a switchable high-gain channel on their amplifier. Distorted guitar tones have come to characterize the sound of rock music ever because the early days of overdriven tube amp tones, which had been first utilized by blues gamers of the Forties and ’50s. This was adopted by the transistor-based fuzz pedals of the Nineteen Sixties, as utilized by Keith Richards on the seminal hit “Satisfaction,” which developed into the heavy, saturated stompbox sounds we all know at present.
Distortion pedals present extra aggressive distortion than overdrive and are perfect for heavier rhythm elements and leads. From Kurt Cobain’s well-used Boss DS-1 unit that was used on each Nirvana file and offered at public sale for $75,000, to David Gilmour’s Electro-Harmonix Huge Muff Pi, as heard on “Comfortably Numb,” we’re acquainted with the sounds of varied distortion pedals, even when we’re unaware of their actual make and mannequin.
The Professional Co RAT is one such distortion pedal that helped form the sound of contemporary rock. It has been championed by James Hetfield of Metallica and Nuno Bettencourt of Excessive for its versatility of tones, which vary from smooth-as-silk to chainsawing-sheet-steel. Just like the Tube Screamer, it options three controls, particularly “Distortion,” “Filter,” and “Quantity,” which carry out a lot the identical duties, though Filter blends along with your guitar’s pure tone when rolled again. The newest model, the RAT 2, is phenomenal worth at $100 for such a rugged piece of important gear that won’t allow you to down.