“Recognizing When the Signal Becomes Too Intense: Understanding Distortion vs. Saturation for Achieving a Raw Sound”]

The very term ‘saturation’ sometimes feels like it has a negative value attached to it. Throughout recording history, technology has sought to deliver the cleanest signal possible, so why for the love of Joe Meek would you want to turn a clean signal into a distorted one?

It turns out, the answer is relatively simple. As human beings living in an organic world, we quite like impurity and a measure of chaos – and that’s where sensible use of saturation can bring an awful lot to the musical table, whether it’s individual instrumentation, as well as an entire mix.

The term distortion is very closely linked to saturation, but while they are subtly different, one could not have existed without the other.

If we go back around 100 years, the predominant music of the era was jazz, and particularly big bands. Electric guitar amplification was not particularly advanced, and would now be probably described as ‘lo-fi’.

Guitarists would often turn up their equipment as high as they could go (we don’t think ’11’ was a thing back then), in an attempt to compete with the loud acoustics of a large band. This would lead to equipment overdriving or speaker cones failing, with the resulting sound being something close to the guitar distortion that we know today.

With the advance of electronics, distortion pedals began appearing in 1962, and by the 70s, they were both commonplace and an essential part of a guitarist’s rig. This gave guitarists ultimate control over their distorted sound, without the need to destroy an amplifier on a weekly basis!

But why should guitarists have all the fun? With the rise of synthesisers in the 70s and 80s, synthesists and producers realised that they could get some pretty gnarly tones by attaching the same distortion pedals to synthesizers.