Distortion

Distortion, also sometimes referred to as “drive,” “overdrive,” “saturation,” or “fuzz,” is a tone-based plug-in, typically used in the sweetening phase of a mix. Many guitarists and bassists will already be familiar with distortion due to its incorporation into many electric guitar and bass amplifiers, but it can be used in plug-in form on any track in your DAW.

Distortion plug-ins affect the tone of a track by adding what are known as harmonics, which are a specific type of overtone. Remember, “overtones” are frequencies that comprise a particular sound above the pitch, or fundamental frequency, of that sound. “Harmonics” are overtones that vibrate at frequencies equal to integer multiples of the pitch. For instance, if the pitch of a sound is 100 Hz, overtones could be found at any frequency higher than 100 Hz, while harmonics would be overtones found at 200 Hz, 300 Hz, 400 Hz, and so on.

Harmonics tend to support and strengthen the pitch of a sound, while other overtones tend to make a sound more tonally ambiguous.

Distortion plug-ins will always have at least a “drive” parameter. Many will also have tone-based parameters and “make-up gain” or “output” parameters, since distortion plug-ins have the potential to add quite a bit of volume to a track.

The drive parameter of a distortion plug-in will add harmonics to the tone of the track, simulating an effect that has traditionally been achieved by overloading a piece of analog hardware, like a tape machine or a tube amp.

The purpose of adding harmonics to the tone of a track is to change the timbre, but unlike an EQ, which changes the timbre of a track only by manipulating the relative levels of each band of existing tonal information, a distortion plug-in actually introduces new tonal information, based on the track’s original content.

If harmonics are added to the low end, for instance, the track might sound “warmer.” If harmonics are added to the high end, it might sound more “present” or “airier.”

Sometimes, a producer simply wants to add “edge” to the tone of a track. This is usually achieved by pushing the “drive” parameter particularly hard, so that the track “breaks up,” much like the crunchy, overdriven guitars you’ll hear in many rock songs.

Distortion can also be used to add cohesion to a group of tracks. For instance, you might be working with a drum kit that has been recorded with multiple microphones. The levels might be set properly, and each individual track might sound great on its own, but because each microphone has its own unique character, the kit as a whole might sound awkwardly diverse.

Adding a touch of distortion (usually referred to as “saturation” in small amounts) might improve the mix by giving all of those unique, individual drum tracks something subtle in common. It's a great side effect that it can simultaneously add some pleasant character to the tone!

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Distortion, as simple a tool as it is, has a wide array of uses in a mix. Just remember, a little can go a long way!