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→Pre-EQ
== Pre-EQ ==
The simplest way to experience the different types of distortion mentioned above is to take a relatively balanced sounding distortion from a tube pre-amp that has a bit of all the aspects described above, then use a parametric or graphic EQ in front the amp to boost a hump in the frequency spectrum. Sweep the center frequency of the boost - as you sweep from low to high, you'll hear the distortion turn from fuzzy to crunchy to metallic. Pre-EQ can be used to crudely change the overall nature of the distortion as such. This is exactly what most of the more-famous "boost" pedals do.
I find EQ gives you more control, though. Rather than aim for a general distortion type, I like to use EQ to fine-tune the distortion tone, focusing in not only the sweet spot of the spectrum but also trimming frequencies here and there to avoid any nastiness. For a metal tone, I will find the exact spot in the low end where the bass gets farty and dial it back just enough to clean it up. If there's some raspy noisiness in the high end, I'll trim or dial it back so it blends into the rest of the tone. I may dial down some mids to make the tone more djenty and less percussive, or the opposite to sweeten it up.
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For Pre-EQ, usually there's no need to make largehigh-amplitude, narrow -width cuts/boosts - they tend to sound bad. I like larger wider, somewhat-subtle cuts/boosts. The first thing I'll adjust is bass. If the distortion is a bit too rough and has a muddy, low-end breakup, I like to reduce bass. I like to use a low sheft, with about -2 db and start with frequency around 300 HZ. This should mildly clean up the low end. Then I reduce the gain further and try to notice when the bass gets totally clear and tight. You don't want to cut too much or you lose tone. Then I start to reduce the frequency, trying to see where I get the most punch without losing tightness. Usually this is around 150 HZ, but it depends.
You can do the same thing for the highs but in reverse. Do a high shelf +4 db boost and slowly move the frequency downwards from 5 kHZ to around 1 kHZ. You should find a sweet spot that adds extra harmonic richness to the tone but isn't too sharp and harsh.