Definition
Distortion alters the waveform in a non-linear way, adding harmonics (and, with two or more notes, intermodulation frequencies). In the mix it provides warmth and presence; in sound design it is a timbre generator: a distorted sine bass becomes a growl, a clean pad becomes a wall of sound. The mix lesson on saturation (in the mixing guides) covers corrective use; here we cover the types and the creative chains.
Types of distortion
| Type | Harmonics | Character | Tools |
|---|---|---|---|
| Soft clip / tube | low even and odd | warm, round | Decapitator, Saturn 2, Fruity Soft Clipper |
| Hard clip | strong odd | aggressive, “square” | clipper, Fruity Fast Dist |
| Tape | low even, compression | soft, glue | tape emulator (Kramer, J37, RC-20) |
| Transistor / fuzz | odd, very rich | rough, buzzy | fuzz, Distructor, Saturn |
| Wavefolder | many harmonics that “fold over” | metallic, timbre that changes with level | Buchla/Serge, Vital, Pigments |
| Bitcrusher | aliasing and quantization noise | lo-fi, digital | Fruity Squeeze, Decimort, iZotope Trash |
| Downsampling | harmonic/inharmonic aliasing | metallic, “chip” | Fruity Squeeze, Lo-Fi |
| Rectification | octave above (rectifier) | octave fuzz | waveshaper with absolute-value curve |
| Free waveshaper | depends on the drawn curve | anything | Fruity WaveShaper |
Order in the chain
- Before the filter: generates harmonics that the filter then sculpts; typical of analog synths (drive at the filter input).
- After the filter: distorts the result of the filter, including the resonance; more aggressive.
- Distortion → EQ → distortion: the “multistage” chain of dubstep/neuro basses: each stage adds harmonics in different zones, and the EQ in between decides which ones.
- Multiband: distorting only the mids (300 Hz–3 kHz) leaves the sub clean and the highs under control.
- Parallel: mix 20–50% of a heavily distorted signal with the clean one: aggression without losing body.
Handling low frequencies
Distortion on the sub creates intermodulation and “mud”: split off the sub (below 100–120 Hz, clean or only lightly saturated) and distort the rest. On 808 basses, light saturation creates harmonics at 110–220–330 Hz that make the bass audible even on small speakers (missing fundamental, see “Psychoacoustics in mixing”).
Distortion and chords
With complex chords, intermodulation generates non-harmonic frequencies: this is why in rock distorted guitars play power chords (root and fifth, 3:2 ratio, whose intermodulation frequencies stay harmonic). On a heavily distorted Am9 chord, keep the notes in the mid-high register or distort the individual voices before summing them.
Recipes
- Basic growl: sine wave + LFO on a wavefolder or a formant, then soft clip, EQ (cut 200–300 Hz), hard clip, OTT, final EQ.
- Distorted hard techno kick: synthetic kick → overdrive → LP filter at 6–8 kHz → short reverb → reverb distortion (rumble).
- “Dirty” pad: tape saturation + bitcrusher at 10% wet.
- Lo-fi drums: bitcrusher at 12 bits and about 26 kHz (SP-1200 style), LP filter at 10 kHz.
In FL Studio
Fruity Blood Overdrive, Fruity Fast Dist, Fruity Soft Clipper, Fruity Squeeze (bitcrush and more), Fruity WaveShaper, Distructor (several models), Hardcore (guitar multi-effect), Multiband Compressor as a base for multiband distortion via Patcher. External: FabFilter Saturn 2, Soundtoys Decapitator, iZotope Trash, Kilohearts.
Example in A minor
Midtempo bass at 100 BPM: line A1 – A1 – C2 – G1. Chain: sine wave with pitch envelope → Fruity WaveShaper (soft curve) → EQ (−4 dB at 250 Hz, +3 dB at 1 kHz) → Saturn 2 in “heavy” mode with 40% mix → split: below 100 Hz clean, above 100 Hz with OTT at 30%. Sidechain from the kick on the whole bus.
Common mistakes
- Higher volume after the distortion: always compare at equal loudness.
- Distorting the sub: you lose definition and headroom.
- Too many harmonics at 2–5 kHz: fatiguing sound; use a dynamic EQ or soothe afterwards.
Exercise
Take the same note (A1 sine) and run it through each type of distortion in the table at equal level; analyze the spectrum with Fruity Parametric EQ 2 and describe the harmonics generated.
Related topics
“Designing 808s and basses”, “Reese basses and wobble”, “Filters”, “Psychoacoustics in mixing”, “Layering sounds”.