. . "Distorsi (musik)"@in . . . . . . "Distorsi adalah perangkat elektronik yang mengubah bagaimana sebuah alat musik atau sumber audio lainnya ( efek ) yang digunakan pada gitar listrik, bass listrik, dan instrumen yang diamplifikasi lainnya seperti organ Hammond, synthesizer, harmonika, dan bahkan vokal yang menggunakan kliping elektronik sinyal. Jenis yang paling halus adalah distorsi yang menambahkan \u201Dkehangatan\u201D pada nada asli, biasanya digunakan di blues elektrik. Sementara untuk tipe yang lebih ekstrem, suara bising dari fuzzbox tahun 1960 menampilkan suara yang \u201Dmenjerit\u201D, \u201Dmenggigit\u201D dan \u201Dmenggeretak\u201D juga distorsi pedal trash-style dan distorsi hard-edged pada musik cadas seperti hardcore, punk, grunge dan metal pada akhir 1980-an. Sebuah fuzzbox mampu meningkatkan dan mengklip sinyal untuk mengubah gelombang sinus standar menjadi gelombang yang lebih dekat dengan gelombang persegi. Hal ini menyebabkan fuzzbox memberikan suara yang lebih terdistorsi dari distorstion atau overdrive. Fuzzbox juga cenderung memiliki frekuensi menengah-kebawah dibanding jenis distorsi lainnya. Distorsi dapat diproduksi dengan banyak komponen jalur sinyal instrumen, termasuk pedal efek, pra-amplifier, power amplifier, speaker atau software dan perangkat amplifier digital yang baru-baru ini muncul. Banyak musisi yang mengkombinasikan distorsi efek pedal gitar untuk mendapatkan \u201Dciri khas\u201D mereka."@in . . . . . . . . . "Distorsion (teleteknik)"@sv . . . . . . "Ein Verzerrer ist ein Ger\u00E4t oder eine Software zur Deformation eines Audiosignals mit einem Begrenzer oder anderen Formen der Kennliniendeformation, wobei letztlich harmonische Obert\u00F6ne erzeugt werden. Die Deformation kann dabei (nicht)linear und eine symmetrische beziehungsweise asymmetrische Ver\u00E4nderung sein."@de . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "La distorsion est un effet utilis\u00E9 dans la cr\u00E9ation de sons satur\u00E9s, distordus et \u00AB fuzzy \u00BB, en compressant les pics du signal audio d'un instrument de musique \u00E9lectronique et en y ajoutant des partiels acoustiques. Un effet par distorsion est \u00E9galement appel\u00E9 \u00AB gain \u00BB, et s'applique principalement aux guitares \u00E9lectriques, mais peut \u00E9galement s'appliquer aux instruments de nombreux genres de musiques \u00E9lectroniques et \u00E0 la voix avec les voicetones."@fr . . . . . . . . . . . . . . . . "Overdrive (potocznie \u201Eprzester\u201D) \u2013 efekt gitarowy, kt\u00F3rego dzia\u0142anie polega na \u015Bcinaniu wierzcho\u0142k\u00F3w sygna\u0142u elektrycznego z gitary, dzi\u0119ki czemu w obwiedni sygna\u0142u pojawia si\u0119 p\u0142aski poziomy odcinek o sta\u0142ej amplitudzie, czyli tzw. faza podtrzymania w sensie ADSR (od ang. wyraz\u00F3w: attack \u2013 narastanie, decay \u2013 opadanie, sustain \u2013 podtrzymanie, release \u2013 zwolnienie). Poniewa\u017C charakterystyki wi\u0119kszo\u015Bci ogranicznik\u00F3w amplitudy s\u0105 asymptotyczne, wi\u0119c formalnie faza podtrzymania jest pocz\u0105tkowo bardzo p\u0142ask\u0105 faz\u0105 opadania, ale ludzkie ucho nie jest w stanie wychwyci\u0107 tak powolnego ubytku poziomu d\u017Awi\u0119ku."@pl . . . . . . . . . . . . . . . "\u0414\u0438\u0441\u0442\u043E\u0301\u0440\u0448\u043D (\u0442\u0430\u043A\u0436\u0435 \u00AB\u0434\u0438\u0441\u0442\u043E\u0448\u043D\u00BB, \u00AB\u0434\u0438\u0441\u0442\u043E\u0440\u0446\u0438\u044F\u00BB; \u0430\u043D\u0433\u043B. distortion \u2014 \u0438\u0441\u043A\u0430\u0436\u0435\u043D\u0438\u0435) \u2014 \u0437\u0432\u0443\u043A\u043E\u0432\u043E\u0439 \u044D\u0444\u0444\u0435\u043A\u0442, \u0434\u043E\u0441\u0442\u0438\u0433\u0430\u0435\u043C\u044B\u0439 \u0438\u0441\u043A\u0430\u0436\u0435\u043D\u0438\u0435\u043C \u0441\u0438\u0433\u043D\u0430\u043B\u0430 \u043F\u0443\u0442\u0451\u043C \u0435\u0433\u043E \u00AB\u0436\u0451\u0441\u0442\u043A\u043E\u0433\u043E\u00BB \u043E\u0433\u0440\u0430\u043D\u0438\u0447\u0435\u043D\u0438\u044F \u043F\u043E \u0430\u043C\u043F\u043B\u0438\u0442\u0443\u0434\u0435, \u0438\u043B\u0438 \u0443\u0441\u0442\u0440\u043E\u0439\u0441\u0442\u0432\u043E, \u043E\u0431\u0435\u0441\u043F\u0435\u0447\u0438\u0432\u0430\u044E\u0449\u0435\u0435 \u0442\u0430\u043A\u043E\u0439 \u044D\u0444\u0444\u0435\u043A\u0442. \u041D\u0430\u0438\u0431\u043E\u043B\u0435\u0435 \u0447\u0430\u0441\u0442\u043E \u043F\u0440\u0438\u043C\u0435\u043D\u044F\u0435\u0442\u0441\u044F \u0432 \u0442\u0430\u043A\u0438\u0445 \u043C\u0443\u0437\u044B\u043A\u0430\u043B\u044C\u043D\u044B\u0445 \u0436\u0430\u043D\u0440\u0430\u0445, \u043A\u0430\u043A \u0445\u0430\u0440\u0434-\u0440\u043E\u043A, \u043C\u0435\u0442\u0430\u043B \u0438 \u043F\u0430\u043D\u043A-\u0440\u043E\u043A \u0432 \u0441\u043E\u0447\u0435\u0442\u0430\u043D\u0438\u0438 \u0441 \u044D\u043B\u0435\u043A\u0442\u0440\u043E\u0433\u0438\u0442\u0430\u0440\u043E\u0439, \u0430 \u0442\u0430\u043A\u0436\u0435 \u0432 \u0445\u0430\u0440\u0434\u043A\u043E\u0440-\u0442\u0435\u0445\u043D\u043E \u0438 \u043E\u0441\u043E\u0431\u0435\u043D\u043D\u043E \u0432 \u0441\u043F\u0438\u0434\u043A\u043E\u0440\u0435 \u0438 \u0431\u0440\u0435\u0439\u043A\u043A\u043E\u0440\u0435 \u0441 \u0434\u0440\u0430\u043C-\u043C\u0430\u0448\u0438\u043D\u043E\u0439. \u0418\u043D\u043E\u0433\u0434\u0430 \u044D\u0442\u0438\u043C \u0442\u0435\u0440\u043C\u0438\u043D\u043E\u043C \u043E\u0431\u043E\u0437\u043D\u0430\u0447\u0430\u044E\u0442 \u0433\u0440\u0443\u043F\u043F\u0443 \u043E\u0434\u043D\u043E\u0442\u0438\u043F\u043D\u044B\u0445 \u0437\u0432\u0443\u043A\u043E\u0432\u044B\u0445 \u044D\u0444\u0444\u0435\u043A\u0442\u043E\u0432 (\u043E\u0432\u0435\u0440\u0434\u0440\u0430\u0439\u0432, \u0444\u0443\u0437\u0437 \u0438 \u043F\u0440\u043E\u0447\u0438\u0435), \u0440\u0435\u0430\u043B\u0438\u0437\u0443\u044E\u0449\u0438\u0445 \u043D\u0435\u043B\u0438\u043D\u0435\u0439\u043D\u043E\u0435 \u0438\u0441\u043A\u0430\u0436\u0435\u043D\u0438\u0435 \u0441\u0438\u0433\u043D\u0430\u043B\u0430. \u0418\u0445 \u0442\u0430\u043A\u0436\u0435 \u043D\u0430\u0437\u044B\u0432\u0430\u044E\u0442 \u044D\u0444\u0444\u0435\u043A\u0442\u0430\u043C\u0438 \u00AB\u043F\u0435\u0440\u0435\u0433\u0440\u0443\u0437\u0430\u00BB, \u0430 \u0441\u043E\u043E\u0442\u0432\u0435\u0442\u0441\u0442\u0432\u0443\u044E\u0449\u0438\u0435 \u0443\u0441\u0442\u0440\u043E\u0439\u0441\u0442\u0432\u0430 \u2014 \u00AB\u0438\u0441\u043A\u0430\u0436\u0430\u0442\u0435\u043B\u044F\u043C\u0438\u00BB. \u041A\u0440\u043E\u043C\u0435 \u044D\u043B\u0435\u043A\u0442\u0440\u043E\u0433\u0438\u0442\u0430\u0440\u044B \u044D\u0444\u0444\u0435\u043A\u0442 \u043F\u0440\u0438\u043C\u0435\u043D\u044F\u044E\u0442 \u0438 \u0441 \u0434\u0440\u0443\u0433\u0438\u043C\u0438 \u0438\u043D\u0441\u0442\u0440\u0443\u043C\u0435\u043D\u0442\u0430\u043C\u0438, \u043D\u0430\u043F\u0440\u0438\u043C\u0435\u0440 \u0441 \u0431\u0430\u0441-\u0433\u0438\u0442\u0430\u0440\u043E\u0439. \u0414\u043B\u044F \u0431\u0430\u0441-\u0433\u0438\u0442\u0430\u0440 \u043F\u0440\u0438\u043C\u0435\u043D\u044F\u044E\u0442\u0441\u044F \u043E\u0441\u043E\u0431\u044B\u0435 \u00AB\u0438\u0441\u043A\u0430\u0436\u0430\u0442\u0435\u043B\u0438\u00BB, \u043F\u043E\u0441\u043A\u043E\u043B\u044C\u043A\u0443 \u00AB\u0438\u0441\u043A\u0430\u0436\u0430\u0442\u0435\u043B\u0438\u00BB \u0434\u043B\u044F \u0433\u0438\u0442\u0430\u0440, \u0432 \u0431\u043E\u043B\u044C\u0448\u0438\u043D\u0441\u0442\u0432\u0435 \u0441\u043B\u0443\u0447\u0430\u0435\u0432, \u043F\u043E\u0440\u0442\u044F\u0442 \u0431\u0430\u0441\u043E\u0432\u044B\u0439 \u0437\u0432\u0443\u043A, \u0441\u0440\u0435\u0437\u0430\u044F \u0437\u043D\u0430\u0447\u0438\u0442\u0435\u043B\u044C\u043D\u0443\u044E \u0447\u0430\u0441\u0442\u044C \u0432\u0430\u0436\u043D\u044B\u0445 \u0434\u043B\u044F \u043D\u0435\u0433\u043E \u043D\u0438\u0437\u043A\u0438\u0445 \u0447\u0430\u0441\u0442\u043E\u0442. \u0410\u043B\u044C\u0442\u0435\u0440\u043D\u0430\u0442\u0438\u0432\u043D\u044B\u0439 \u0432\u0430\u0440\u0438\u0430\u043D\u0442 \u043E\u0431\u0440\u0430\u0431\u043E\u0442\u043A\u0438 \u0431\u0430\u0441-\u0433\u0438\u0442\u0430\u0440\u044B \u0437\u0430\u043A\u043B\u044E\u0447\u0430\u0435\u0442\u0441\u044F \u0432 \u0438\u0441\u043F\u043E\u043B\u044C\u0437\u043E\u0432\u0430\u043D\u0438\u0438 \u043E\u0431\u044B\u0447\u043D\u043E\u0433\u043E \u00AB\u0438\u0441\u043A\u0430\u0436\u0430\u0442\u0435\u043B\u044F\u00BB \u0438 \u0441\u043C\u0435\u0448\u0435\u043D\u0438\u0438 \u0447\u0438\u0441\u0442\u043E\u0433\u043E \u0438 \u043E\u0431\u0440\u0430\u0431\u043E\u0442\u0430\u043D\u043D\u043E\u0433\u043E \u0441\u0438\u0433\u043D\u0430\u043B\u043E\u0432 \u0432 \u0440\u0430\u0432\u043D\u043E\u0439 \u043F\u0440\u043E\u043F\u043E\u0440\u0446\u0438\u0438. \u00AB\u0418\u0441\u043A\u0430\u0436\u0430\u0442\u0435\u043B\u0438\u00BB \u043F\u0440\u0438\u043C\u0435\u043D\u044F\u044E\u0442 \u0442\u0430\u043A\u0436\u0435 \u0434\u043B\u044F \u043E\u0431\u0440\u0430\u0431\u043E\u0442\u043A\u0438 \u0432\u043E\u043A\u0430\u043B\u0430 \u0438 \u0441\u043C\u044B\u0447\u043A\u043E\u0432\u044B\u0445 \u0438\u043D\u0441\u0442\u0440\u0443\u043C\u0435\u043D\u0442\u043E\u0432. \u042D\u0444\u0444\u0435\u043A\u0442 \u0434\u0438\u0441\u0442\u043E\u0440\u0448\u043D \u043A\u0430\u043A \u043A\u043E\u043C\u043F\u043E\u043D\u0435\u043D\u0442 \u043F\u0440\u0438\u0441\u0443\u0442\u0441\u0442\u0432\u0443\u0435\u0442 \u0432 \u0441\u0438\u043D\u0442\u0435\u0437\u0430\u0442\u043E\u0440\u0430\u0445, \u044D\u0444\u0444\u0435\u043A\u0442-\u043F\u0440\u043E\u0446\u0435\u0441\u0441\u043E\u0440\u0430\u0445 \u0438 \u043A\u043E\u043C\u043F\u044C\u044E\u0442\u0435\u0440\u043D\u044B\u0445 \u043F\u0440\u043E\u0433\u0440\u0430\u043C\u043C\u0430\u0445 \u0434\u043B\u044F \u043E\u0431\u0440\u0430\u0431\u043E\u0442\u043A\u0438 \u0437\u0432\u0443\u043A\u0430."@ru . . . . . . . . . "Saturaci\u00F3n es un t\u00E9rmino utilizado en el campo de la m\u00FAsica rock para designar el sonido en el cual la distorsi\u00F3n de la se\u00F1al sonora se hace claramente audible. Esta distorsi\u00F3n puede abarcar desde algo muy ligero, hasta un sonido denso y borroso a la vez, cuya tonalidad se hace casi irreconocible en comparaci\u00F3n con la se\u00F1al original. En t\u00E9rminos musicales suele diferenciarse en distorsi\u00F3n referido al efecto producido por la fuerte y m\u00E1s tosca saturaci\u00F3n producida por los transistores y saturaci\u00F3n a la m\u00E1s suave y c\u00E1lida de los tubos de vac\u00EDo."@es . . . . . . . . . . . . . . . . "Distortion (music)"@en . . . . . . . . . . . . . . . "Saturaci\u00F3n es un t\u00E9rmino utilizado en el campo de la m\u00FAsica rock para designar el sonido en el cual la distorsi\u00F3n de la se\u00F1al sonora se hace claramente audible. Esta distorsi\u00F3n puede abarcar desde algo muy ligero, hasta un sonido denso y borroso a la vez, cuya tonalidad se hace casi irreconocible en comparaci\u00F3n con la se\u00F1al original. La mayor\u00EDa de los amplificadores de guitarra modernos tienen un preamplificador que puede utilizarse para generar distorsi\u00F3n y al mismo tiempo controlar el volumen la se\u00F1al de salida mediante la ganancia en etapas posteriores de amplificaci\u00F3n. El sonido distorsionado obtenido de una guitarra el\u00E9ctrica saturada se considera generalmente m\u00E1s aceptable al o\u00EDdo que la distorsi\u00F3n que otros amplificadores de audio podr\u00EDan crear. En t\u00E9rminos musicales suele diferenciarse en distorsi\u00F3n referido al efecto producido por la fuerte y m\u00E1s tosca saturaci\u00F3n producida por los transistores y saturaci\u00F3n a la m\u00E1s suave y c\u00E1lida de los tubos de vac\u00EDo."@es . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "\u0414\u0438\u0441\u0442\u043E\u0301\u0440\u0448\u043D (\u0430\u043D\u0433\u043B. distortion \u2014 \u0441\u043F\u043E\u0442\u0432\u043E\u0440\u0435\u043D\u043D\u044F, \u0432\u0438\u043A\u0440\u0438\u0432\u043B\u0435\u043D\u043D\u044F) \u2014 \u0435\u0444\u0435\u043A\u0442 \u043F\u0435\u0440\u0435\u0432\u0430\u043D\u0442\u0430\u0436\u0435\u043D\u043D\u044F, \u044F\u043A\u0438\u0439 \u043D\u0430\u0439\u0447\u0430\u0441\u0442\u0456\u0448\u0435 \u0432\u0438\u043A\u043E\u0440\u0438\u0441\u0442\u043E\u0432\u0443\u0454\u0442\u044C\u0441\u044F \u0443 \u0442\u0430\u043A\u0438\u0445 \u043C\u0443\u0437\u0438\u0447\u043D\u0438\u0445 \u0441\u0442\u0438\u043B\u044F\u0445, \u044F\u043A \u0440\u043E\u043A, \u043C\u0435\u0442\u0430\u043B \u0442\u0430 \u0456\u043D\u0448\u0438\u0445."@uk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "\u30C7\u30A3\u30B9\u30C8\u30FC\u30B7\u30E7\u30F3 (\u97F3\u97FF\u6A5F\u5668)"@ja . . . . . . . . . . . . . "\u0414\u0438\u0441\u0442\u043E\u0301\u0440\u0448\u043D (\u0430\u043D\u0433\u043B. distortion \u2014 \u0441\u043F\u043E\u0442\u0432\u043E\u0440\u0435\u043D\u043D\u044F, \u0432\u0438\u043A\u0440\u0438\u0432\u043B\u0435\u043D\u043D\u044F) \u2014 \u0435\u0444\u0435\u043A\u0442 \u043F\u0435\u0440\u0435\u0432\u0430\u043D\u0442\u0430\u0436\u0435\u043D\u043D\u044F, \u044F\u043A\u0438\u0439 \u043D\u0430\u0439\u0447\u0430\u0441\u0442\u0456\u0448\u0435 \u0432\u0438\u043A\u043E\u0440\u0438\u0441\u0442\u043E\u0432\u0443\u0454\u0442\u044C\u0441\u044F \u0443 \u0442\u0430\u043A\u0438\u0445 \u043C\u0443\u0437\u0438\u0447\u043D\u0438\u0445 \u0441\u0442\u0438\u043B\u044F\u0445, \u044F\u043A \u0440\u043E\u043A, \u043C\u0435\u0442\u0430\u043B \u0442\u0430 \u0456\u043D\u0448\u0438\u0445."@uk . "6325194"^^ . . . . "Overdrive (potocznie \u201Eprzester\u201D) \u2013 efekt gitarowy, kt\u00F3rego dzia\u0142anie polega na \u015Bcinaniu wierzcho\u0142k\u00F3w sygna\u0142u elektrycznego z gitary, dzi\u0119ki czemu w obwiedni sygna\u0142u pojawia si\u0119 p\u0142aski poziomy odcinek o sta\u0142ej amplitudzie, czyli tzw. faza podtrzymania w sensie ADSR (od ang. wyraz\u00F3w: attack \u2013 narastanie, decay \u2013 opadanie, sustain \u2013 podtrzymanie, release \u2013 zwolnienie). Poniewa\u017C charakterystyki wi\u0119kszo\u015Bci ogranicznik\u00F3w amplitudy s\u0105 asymptotyczne, wi\u0119c formalnie faza podtrzymania jest pocz\u0105tkowo bardzo p\u0142ask\u0105 faz\u0105 opadania, ale ludzkie ucho nie jest w stanie wychwyci\u0107 tak powolnego ubytku poziomu d\u017Awi\u0119ku. Obwiednia czystego sygna\u0142u gitary sk\u0142ada si\u0119 tylko z dw\u00F3ch odcink\u00F3w, kt\u00F3re mo\u017Cna zawrze\u0107 w tzw. schemacie AR (attack-release \u2013 narastanie i zwolnienie). Overdrive zmienia ten schemat na ASR (attack-sustain-release \u2013 narastanie, podtrzymanie i zwolnienie). Czas trwania fazy podtrzymania zale\u017Cy od stopnia przesterowania: jest on tym d\u0142u\u017Cszy, im ni\u017Cszy jest poziom \u015Bcinania i im wi\u0119kszy jest poziom sygna\u0142u przed \u015Bcinaniem. Niekt\u00F3re efekty typu overdrive daj\u0105 gitarzy\u015Bcie mo\u017Cliwo\u015B\u0107 dodania do sygna\u0142u wyj\u015Bciowego pewnej ilo\u015Bci czystego, nieprzesterowanego sygna\u0142u z gitary \u2013 w\u00F3wczas w obwiedni sygna\u0142u wyj\u015Bciowego wyst\u0105pi\u0105 wszystkie cztery fazy ADSR. Overdrive jest jednym z najbardziej znanych i najcz\u0119\u015Bciej u\u017Cywanych efekt\u00F3w. Zazwyczaj wykonuje si\u0119 na nim sol\u00F3wki, ale w hard rocku i metalu stosowany jest te\u017C do gitary rytmicznej."@pl . . . . . . . . . . . . . . . . . "\u0414\u0438\u0441\u0442\u043E\u0440\u0448\u043D"@ru . . . . . . . . . . . . "45944"^^ . "La distorsi\u00F3, (englobant tamb\u00E9 el fuzz i l'overdrive), \u00E9s una de les bases dels efectes sonors de la m\u00FAsica actual. Es basa en l'alteraci\u00F3 de les ones de so rebudes per un instrument amplificat i transformats llavors en una senyal m\u00E9s saturada. En sobrepassar un l\u00EDmit de saturaci\u00F3 per part de l'element de reproducci\u00F3 (normalment un amplificador) el so produ\u00EFt ens arriba una senyal compresa o \"clipped\" que controlen els peaks de volum. Per tant podem entendre la distorsi\u00F3 com a la difer\u00E8ncia de senyal entre que entra i surt. El so caracter\u00EDstic ens ve donat per la suma de sobretons tant harm\u00F2nics (que guarden relaci\u00F3 tonal amb les notes que es toquen) com inharm\u00F2nics, causant un so brut i poc prec\u00EDs, alhora molt potent. \u00C9s molt comunament emprat en la guitarra el\u00E8ctrica en g\u00E8neres com el ro"@ca . . . . . . . . . . . . . . . . . . . . . . . . . . . . "Overdrive by se dalo p\u0159elo\u017Eit jako p\u0159ebuzen\u00FD. \u00DAkolem tohoto efektu je co mo\u017En\u00E1 nejrealisti\u010Dt\u011Bji simulovat p\u0159ebuzen\u00ED lampov\u00E9ho zesilova\u010De. Krabi\u010Dka b\u00FDv\u00E1 tvo\u0159ena v\u011Bt\u0161inou polovodi\u010Di, u dra\u017E\u0161\u00EDch model\u016F jsou pou\u017Eit\u00E9 i elektronky. Nejslavn\u011Bj\u0161\u00ED a nejv\u00EDce pou\u017E\u00EDvan\u00FD obvod v historii byl japonsk\u00FD integrovan\u00FD obvod JRC 4558D. Dnes jde v\u0161ak o nedostupn\u00FD kousek, jeho\u017E cena na bazarech roste neust\u00E1le nahoru d\u00EDky d\u00E1vn\u00E9mu ukon\u010Den\u00ED v\u00FDroby. Nov\u00FDm n\u00E1stupcem je mutace s n\u00E1zvem RC 4558.Samotn\u00E9 zkreslen\u00ED zaji\u0161\u0165uje zp\u016Fsob zpracov\u00E1n\u00ED sign\u00E1lu naz\u00FDvan\u00E9 Soft clipping. Funguje na principu m\u011Bkk\u00E9 limitace sign\u00E1lu, kter\u00E1 pouze zmen\u0161\u00ED (zv\u011Bt\u0161\u00ED) ob\u00E1lku sign\u00E1lu na p\u0159edem nastavenou \u00FArove\u0148, av\u0161ak neo\u0159\u00EDzne tvrd\u011B sign\u00E1l jako tomu doch\u00E1z\u00ED u distortion. Tradi\u010Dn\u00ED modely: Ibanez TS9/808, Boss Overdrive OD1 a Super Overdrive SD1."@cs . . . . . . . . . . . . . . . . . . "Distortion"@en . . . . . . . . "Verzerrer"@de . . . . . . . "Distortion (lett. vervorming) is een geluidseffect dat voornamelijk wordt gebruikt voor de elektrische gitaar en de elektrische basgitaar. Jon Lord liet het geluid van zijn Hammondorgel-B3 graag vervormd door een gitaarversterker weergeven. Vintage elektrische piano\u2019s zoals Fender Rhodes en Wurlitzers worden vaak door licht overstuurde buizen-gitaarversterkers versterkt. Ook voor zang gebruikt men vaak overdrive en distortion om het stemgeluid te verrijken of om een radiostem na te bootsen. Het woord komt uit het Engels, maar omdat het een zeer bekend woord is onder gitaristen, wordt het tegenwoordig ook wel als een term beschouwd. Distortion wordt voornamelijk gebruikt door muzikanten uit de rock, punk en metal."@nl . . . . . . . . . . . . . . . . . . . . . . . . . . . "\u0414\u0438\u0441\u0442\u043E\u0301\u0440\u0448\u043D (\u0442\u0430\u043A\u0436\u0435 \u00AB\u0434\u0438\u0441\u0442\u043E\u0448\u043D\u00BB, \u00AB\u0434\u0438\u0441\u0442\u043E\u0440\u0446\u0438\u044F\u00BB; \u0430\u043D\u0433\u043B. distortion \u2014 \u0438\u0441\u043A\u0430\u0436\u0435\u043D\u0438\u0435) \u2014 \u0437\u0432\u0443\u043A\u043E\u0432\u043E\u0439 \u044D\u0444\u0444\u0435\u043A\u0442, \u0434\u043E\u0441\u0442\u0438\u0433\u0430\u0435\u043C\u044B\u0439 \u0438\u0441\u043A\u0430\u0436\u0435\u043D\u0438\u0435\u043C \u0441\u0438\u0433\u043D\u0430\u043B\u0430 \u043F\u0443\u0442\u0451\u043C \u0435\u0433\u043E \u00AB\u0436\u0451\u0441\u0442\u043A\u043E\u0433\u043E\u00BB \u043E\u0433\u0440\u0430\u043D\u0438\u0447\u0435\u043D\u0438\u044F \u043F\u043E \u0430\u043C\u043F\u043B\u0438\u0442\u0443\u0434\u0435, \u0438\u043B\u0438 \u0443\u0441\u0442\u0440\u043E\u0439\u0441\u0442\u0432\u043E, \u043E\u0431\u0435\u0441\u043F\u0435\u0447\u0438\u0432\u0430\u044E\u0449\u0435\u0435 \u0442\u0430\u043A\u043E\u0439 \u044D\u0444\u0444\u0435\u043A\u0442. \u041D\u0430\u0438\u0431\u043E\u043B\u0435\u0435 \u0447\u0430\u0441\u0442\u043E \u043F\u0440\u0438\u043C\u0435\u043D\u044F\u0435\u0442\u0441\u044F \u0432 \u0442\u0430\u043A\u0438\u0445 \u043C\u0443\u0437\u044B\u043A\u0430\u043B\u044C\u043D\u044B\u0445 \u0436\u0430\u043D\u0440\u0430\u0445, \u043A\u0430\u043A \u0445\u0430\u0440\u0434-\u0440\u043E\u043A, \u043C\u0435\u0442\u0430\u043B \u0438 \u043F\u0430\u043D\u043A-\u0440\u043E\u043A \u0432 \u0441\u043E\u0447\u0435\u0442\u0430\u043D\u0438\u0438 \u0441 \u044D\u043B\u0435\u043A\u0442\u0440\u043E\u0433\u0438\u0442\u0430\u0440\u043E\u0439, \u0430 \u0442\u0430\u043A\u0436\u0435 \u0432 \u0445\u0430\u0440\u0434\u043A\u043E\u0440-\u0442\u0435\u0445\u043D\u043E \u0438 \u043E\u0441\u043E\u0431\u0435\u043D\u043D\u043E \u0432 \u0441\u043F\u0438\u0434\u043A\u043E\u0440\u0435 \u0438 \u0431\u0440\u0435\u0439\u043A\u043A\u043E\u0440\u0435 \u0441 \u0434\u0440\u0430\u043C-\u043C\u0430\u0448\u0438\u043D\u043E\u0439. \u0418\u043D\u043E\u0433\u0434\u0430 \u044D\u0442\u0438\u043C \u0442\u0435\u0440\u043C\u0438\u043D\u043E\u043C \u043E\u0431\u043E\u0437\u043D\u0430\u0447\u0430\u044E\u0442 \u0433\u0440\u0443\u043F\u043F\u0443 \u043E\u0434\u043D\u043E\u0442\u0438\u043F\u043D\u044B\u0445 \u0437\u0432\u0443\u043A\u043E\u0432\u044B\u0445 \u044D\u0444\u0444\u0435\u043A\u0442\u043E\u0432 (\u043E\u0432\u0435\u0440\u0434\u0440\u0430\u0439\u0432, \u0444\u0443\u0437\u0437 \u0438 \u043F\u0440\u043E\u0447\u0438\u0435), \u0440\u0435\u0430\u043B\u0438\u0437\u0443\u044E\u0449\u0438\u0445 \u043D\u0435\u043B\u0438\u043D\u0435\u0439\u043D\u043E\u0435 \u0438\u0441\u043A\u0430\u0436\u0435\u043D\u0438\u0435 \u0441\u0438\u0433\u043D\u0430\u043B\u0430. \u0418\u0445 \u0442\u0430\u043A\u0436\u0435 \u043D\u0430\u0437\u044B\u0432\u0430\u044E\u0442 \u044D\u0444\u0444\u0435\u043A\u0442\u0430\u043C\u0438 \u00AB\u043F\u0435\u0440\u0435\u0433\u0440\u0443\u0437\u0430\u00BB, \u0430 \u0441\u043E\u043E\u0442\u0432\u0435\u0442\u0441\u0442\u0432\u0443\u044E\u0449\u0438\u0435 \u0443\u0441\u0442\u0440\u043E\u0439\u0441\u0442\u0432\u0430 \u2014 \u00AB\u0438\u0441\u043A\u0430\u0436\u0430\u0442\u0435\u043B\u044F\u043C\u0438\u00BB."@ru . . . . . . . . . . . "Overdrive"@pl . . . . . . . . . . . . . . . . . "Overdrive (musica)"@it . . . . . "Overdrive (vocabolo inglese, che significa \"portare oltre i limiti\") \u00E8 un termine utilizzato in ambito musicale che indica l'avvenuta saturazione del segnale di un amplificatore. L'effetto ottenuto \u00E8 una distorsione del suono dello strumento collegato all'amplificatore, chiamato crunch."@it . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "Distor\u00E7\u00E3o (\u00E1udio)"@pt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "1123101165"^^ . . . . . . . . . . . . . . . . . . . . . . . . . "Distorsi\u00F3 (m\u00FAsica)"@ca . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "La distorsi\u00F3, (englobant tamb\u00E9 el fuzz i l'overdrive), \u00E9s una de les bases dels efectes sonors de la m\u00FAsica actual. Es basa en l'alteraci\u00F3 de les ones de so rebudes per un instrument amplificat i transformats llavors en una senyal m\u00E9s saturada. En sobrepassar un l\u00EDmit de saturaci\u00F3 per part de l'element de reproducci\u00F3 (normalment un amplificador) el so produ\u00EFt ens arriba una senyal compresa o \"clipped\" que controlen els peaks de volum. Per tant podem entendre la distorsi\u00F3 com a la difer\u00E8ncia de senyal entre que entra i surt. El so caracter\u00EDstic ens ve donat per la suma de sobretons tant harm\u00F2nics (que guarden relaci\u00F3 tonal amb les notes que es toquen) com inharm\u00F2nics, causant un so brut i poc prec\u00EDs, alhora molt potent. \u00C9s molt comunament emprat en la guitarra el\u00E8ctrica en g\u00E8neres com el rock, el metal i les seves branques, per\u00F2 es pot aplicar a qualsevol instrument, amb major o menor efic\u00E0cia."@ca . . . . . . . . "Deforma\u0135o (sona efekto)"@eo . . . . . . . . . . . "Distorsion (musique)"@fr . . . "A \"Turbo Distortion\" guitar effect pedal manufactured by Boss"@en . . . . . . . . . . . "Distorsion \u00E4r inom telekommunikation en typ av f\u00F6rvanskning av telesignalen. Distorsion definieras som: \n* I en apparat eller enhet, f\u00F6rvr\u00E4ngning av en signal d\u00E5 den passerar systemet; avvikelsen p\u00E5 utsignalens v\u00E5gform i j\u00E4mf\u00F6relse med v\u00E5gform n\u00E4r den har \u00F6verf\u00F6rts av apparatens \u00F6verf\u00F6ringsfunktion. Distorsion kan vara av linj\u00E4r eller olinj\u00E4r typ och i f\u00F6rekommande fall inkluderar man \u00E4ven st\u00F6rningar i distorsionsbegreppet. Den distorsion som f\u00F6rorsakas av linj\u00E4ra \u00F6verf\u00F6ringsfunktioner \u00E4r exempelvis tonkurvefel (frekvensberoende amplitud) och fasvridning (frekvensberoende fas). Den icke-linj\u00E4ra distorsionen beror p\u00E5 olinj\u00E4ra \u00F6verf\u00F6ringsfunktioner, allts\u00E5 amplitudberoende beteenden. Ofta hittar man dessa i aktiva komponenter som exempelvis elektronr\u00F6r, transistorer, operationsf\u00F6rst\u00E4rkare. Distorsionsm\u00E5ttOlinj\u00E4r distorsion (t.ex. harmonisk distorsion eller intermodulationsdistorsion) anges i enheten dB eller i procent (vanligast). 1 % distorsion motsvarar -40 dB, 0,01 % motsvarar -80 dB. Linj\u00E4r distorsion anges oftast i termer av tonkurveavvikelser, i dB. Harmonisk distorsion: D\u00E4r u1 \u00E4r amplituden p\u00E5 grundtonen och u2, u3 etc amplituden p\u00E5 respektive \u00F6verton."@sv . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "2011-08-31"^^ . . . . . . . . . . . . . . . . . "Overdrive by se dalo p\u0159elo\u017Eit jako p\u0159ebuzen\u00FD. \u00DAkolem tohoto efektu je co mo\u017En\u00E1 nejrealisti\u010Dt\u011Bji simulovat p\u0159ebuzen\u00ED lampov\u00E9ho zesilova\u010De. Krabi\u010Dka b\u00FDv\u00E1 tvo\u0159ena v\u011Bt\u0161inou polovodi\u010Di, u dra\u017E\u0161\u00EDch model\u016F jsou pou\u017Eit\u00E9 i elektronky. Nejslavn\u011Bj\u0161\u00ED a nejv\u00EDce pou\u017E\u00EDvan\u00FD obvod v historii byl japonsk\u00FD integrovan\u00FD obvod JRC 4558D. Dnes jde v\u0161ak o nedostupn\u00FD kousek, jeho\u017E cena na bazarech roste neust\u00E1le nahoru d\u00EDky d\u00E1vn\u00E9mu ukon\u010Den\u00ED v\u00FDroby. Nov\u00FDm n\u00E1stupcem je mutace s n\u00E1zvem RC 4558.Samotn\u00E9 zkreslen\u00ED zaji\u0161\u0165uje zp\u016Fsob zpracov\u00E1n\u00ED sign\u00E1lu naz\u00FDvan\u00E9 Soft clipping. Funguje na principu m\u011Bkk\u00E9 limitace sign\u00E1lu, kter\u00E1 pouze zmen\u0161\u00ED (zv\u011Bt\u0161\u00ED) ob\u00E1lku sign\u00E1lu na p\u0159edem nastavenou \u00FArove\u0148, av\u0161ak neo\u0159\u00EDzne tvrd\u011B sign\u00E1l jako tomu doch\u00E1z\u00ED u distortion. Tradi\u010Dn\u00ED modely: Ibanez TS9/808, Boss Overdrive OD1 a Super Overdrive SD1."@cs . . "Distor\u00E7\u00E3o e overdrive s\u00E3o formas de processamento de sinal de \u00E1udio usadas para alterar o som de instrumentos musicais el\u00E9tricos amplificados, geralmente aumentando seu ganho, produzindo um tom \"fuzzy\", \"growling\", ou \"gritty\". A distor\u00E7\u00E3o \u00E9 mais comumente usada com a guitarra el\u00E9trica, mas tamb\u00E9m pode ser usada com outros instrumentos el\u00E9tricos, como baixo, piano el\u00E9trico e \u00F3rg\u00E3o Hammond. Os guitarristas que tocavam blues el\u00E9trico obtiveram um som excedente ao aumentar seus amplificadores de guitarra movidos a v\u00E1lvulas termi\u00F4nica em altos volumes, o que causou a distor\u00E7\u00E3o do sinal. Enquanto os amplificadores valvulados ainda s\u00E3o usados \u200B\u200Bpara obter overdrive nos anos 2010, especialmente em g\u00EAneros como blues e rockabilly, v\u00E1rias outras maneiras de produzir distor\u00E7\u00E3o foram desenvolvidas desde a d\u00E9cada de 1960, como pedais de efeito de distor\u00E7\u00E3o. O tom rosnante da guitarra el\u00E9trica distorcida \u00E9 uma parte essencial de muitos g\u00EAneros, incluindo blues e muitos estilos de rock, notadamente hard rock, punk rock, hardcore punk, acid rock e heavy metal, enquanto o uso de baixo distorcido tamb\u00E9m \u00E9 essencial em um g\u00EAnero de hip hop e hip hop alternativo conhecido como \"SoundCloud rap\". Os efeitos alteram o som do instrumento cortando o sinal (empurrando-o al\u00E9m do m\u00E1ximo, o que diminui os picos e vales das ondas de sinal), adicionando tons sustentados e harm\u00F4nicos e inarm\u00F4nicos e levando a um som comprimido que \u00E9 frequentemente descrito como \"quente\". \"e\" sujo \", dependendo do tipo e intensidade da distor\u00E7\u00E3o usada. Os termos distor\u00E7\u00E3o e overdrive s\u00E3o frequentemente usados \u200B\u200Bde forma intercambi\u00E1vel; onde \u00E9 feita uma distin\u00E7\u00E3o, a distor\u00E7\u00E3o \u00E9 uma vers\u00E3o mais extrema do efeito do que a ultrapassagem. O Fuzz \u00E9 uma forma espec\u00EDfica de distor\u00E7\u00E3o extrema criada originalmente por guitarristas que usam equipamentos defeituosos (como um tubo de v\u00E1lvula desalinhado, veja abaixo), que \u00E9 emulado desde os anos 1960 por v\u00E1rios pedais de efeitos \"fuzzbox\". Distor\u00E7\u00E3o, overdrive e fuzz podem ser produzidos por pedais de efeitos, montagens em rack, pr\u00E9-amplificadores, amplificadores de pot\u00EAncia (uma abordagem potencialmente tocante), alto-falantes e (desde os anos 2000) por dispositivos de modelagem de amplificadores digitais e software de \u00E1udio. Esses efeitos s\u00E3o usados \u200B\u200Bcom guitarras el\u00E9tricas, baixos el\u00E9tricos (fuzz bass), teclados eletr\u00F4nicos e, mais raramente, como um efeito especial nos vocais. Embora a distor\u00E7\u00E3o seja criada intencionalmente como um efeito musical, m\u00FAsicos e engenheiros de som \u00E0s vezes tomam medidas para evitar distor\u00E7\u00F5es, principalmente ao usar sistemas de PA para amplificar vocais ou ao reproduzir m\u00FAsicas pr\u00E9-gravadas."@pt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "Deforma\u0135o (angle overdrive) estas , kiun oni atingas per akra limigo la\u016D amplitudo. Rilata aparato por produkti deformitan sonon nomi\u011Das deformilo."@eo . . . . . . . . . . . . . . . . . . . . . . . . "\u97F3\u97FF\u6A5F\u5668\u306B\u304A\u3051\u308B\u30C7\u30A3\u30B9\u30C8\u30FC\u30B7\u30E7\u30F3\uFF08\u82F1: distortion\uFF09\u3068\u306F\u3001\u5E83\u7FA9\u306B\u306F\u97F3\u50CF\u306E\u6B6A\uFF08\u3072\u305A\uFF09\u307F\u3001\u307E\u305F\u305D\u306E\u6B6A\u3093\u3060\u97F3\u8272\u305D\u306E\u3082\u306E\u3092\u6307\u3059\u3002\u72ED\u7FA9\u3067\u306F\u610F\u56F3\u7684\u306B\u305D\u306E\u97F3\u8272\u3092\u5F97\u308B\u305F\u3081\u306E\u30A8\u30D5\u30A7\u30AF\u30BF\u30FC\u3084\u6A5F\u5668\u306E\u3046\u3061\u306E\u4E00\u5206\u985E\u3092\u6307\u3059\u3002\u72ED\u7FA9\u306E\u30C7\u30A3\u30B9\u30C8\u30FC\u30B7\u30E7\u30F3\u306F\u30A8\u30EC\u30AD\u30AE\u30BF\u30FC\u3067\u6700\u3082\u591A\u7528\u3055\u308C\u308B\u304C\u3001\u30A8\u30EC\u30AD\u30D9\u30FC\u30B9\u3001\u96FB\u5B50\u30AA\u30EB\u30AC\u30F3\u7B49\u306B\u3082\u5229\u7528\u3055\u308C\u308B\u4ED6\u3001\u30DC\u30FC\u30AB\u30EB\u306E\u30A8\u30D5\u30A7\u30AF\u30C8\u3068\u3057\u3066\u7528\u3044\u3089\u308C\u308B\u5834\u5408\u3082\u3042\u308B\u3002"@ja . . . . "\u97F3\u97FF\u6A5F\u5668\u306B\u304A\u3051\u308B\u30C7\u30A3\u30B9\u30C8\u30FC\u30B7\u30E7\u30F3\uFF08\u82F1: distortion\uFF09\u3068\u306F\u3001\u5E83\u7FA9\u306B\u306F\u97F3\u50CF\u306E\u6B6A\uFF08\u3072\u305A\uFF09\u307F\u3001\u307E\u305F\u305D\u306E\u6B6A\u3093\u3060\u97F3\u8272\u305D\u306E\u3082\u306E\u3092\u6307\u3059\u3002\u72ED\u7FA9\u3067\u306F\u610F\u56F3\u7684\u306B\u305D\u306E\u97F3\u8272\u3092\u5F97\u308B\u305F\u3081\u306E\u30A8\u30D5\u30A7\u30AF\u30BF\u30FC\u3084\u6A5F\u5668\u306E\u3046\u3061\u306E\u4E00\u5206\u985E\u3092\u6307\u3059\u3002\u72ED\u7FA9\u306E\u30C7\u30A3\u30B9\u30C8\u30FC\u30B7\u30E7\u30F3\u306F\u30A8\u30EC\u30AD\u30AE\u30BF\u30FC\u3067\u6700\u3082\u591A\u7528\u3055\u308C\u308B\u304C\u3001\u30A8\u30EC\u30AD\u30D9\u30FC\u30B9\u3001\u96FB\u5B50\u30AA\u30EB\u30AC\u30F3\u7B49\u306B\u3082\u5229\u7528\u3055\u308C\u308B\u4ED6\u3001\u30DC\u30FC\u30AB\u30EB\u306E\u30A8\u30D5\u30A7\u30AF\u30C8\u3068\u3057\u3066\u7528\u3044\u3089\u308C\u308B\u5834\u5408\u3082\u3042\u308B\u3002"@ja . . . . . . . . . . . . . . . . . . . . . "Distortion (lett. vervorming) is een geluidseffect dat voornamelijk wordt gebruikt voor de elektrische gitaar en de elektrische basgitaar. Jon Lord liet het geluid van zijn Hammondorgel-B3 graag vervormd door een gitaarversterker weergeven. Vintage elektrische piano\u2019s zoals Fender Rhodes en Wurlitzers worden vaak door licht overstuurde buizen-gitaarversterkers versterkt. Ook voor zang gebruikt men vaak overdrive en distortion om het stemgeluid te verrijken of om een radiostem na te bootsen. Het woord komt uit het Engels, maar omdat het een zeer bekend woord is onder gitaristen, wordt het tegenwoordig ook wel als een term beschouwd. Distortion wordt voornamelijk gebruikt door muzikanten uit de rock, punk en metal."@nl . . . . . . . . . . . . . . . . . . . . . . . . "Distor\u00E7\u00E3o e overdrive s\u00E3o formas de processamento de sinal de \u00E1udio usadas para alterar o som de instrumentos musicais el\u00E9tricos amplificados, geralmente aumentando seu ganho, produzindo um tom \"fuzzy\", \"growling\", ou \"gritty\". A distor\u00E7\u00E3o \u00E9 mais comumente usada com a guitarra el\u00E9trica, mas tamb\u00E9m pode ser usada com outros instrumentos el\u00E9tricos, como baixo, piano el\u00E9trico e \u00F3rg\u00E3o Hammond. Os guitarristas que tocavam blues el\u00E9trico obtiveram um som excedente ao aumentar seus amplificadores de guitarra movidos a v\u00E1lvulas termi\u00F4nica em altos volumes, o que causou a distor\u00E7\u00E3o do sinal. Enquanto os amplificadores valvulados ainda s\u00E3o usados \u200B\u200Bpara obter overdrive nos anos 2010, especialmente em g\u00EAneros como blues e rockabilly, v\u00E1rias outras maneiras de produzir distor\u00E7\u00E3o foram desenvolvidas de"@pt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "Deforma\u0135o (angle overdrive) estas , kiun oni atingas per akra limigo la\u016D amplitudo. Rilata aparato por produkti deformitan sonon nomi\u011Das deformilo."@eo . . . . . . . . . "\u0414\u0438\u0441\u0442\u043E\u0440\u0448\u043D"@uk . . . . . . . . . . "La distorsion est un effet utilis\u00E9 dans la cr\u00E9ation de sons satur\u00E9s, distordus et \u00AB fuzzy \u00BB, en compressant les pics du signal audio d'un instrument de musique \u00E9lectronique et en y ajoutant des partiels acoustiques. Un effet par distorsion est \u00E9galement appel\u00E9 \u00AB gain \u00BB, et s'applique principalement aux guitares \u00E9lectriques, mais peut \u00E9galement s'appliquer aux instruments de nombreux genres de musiques \u00E9lectroniques et \u00E0 la voix avec les voicetones."@fr . . . . . . . . . . . . . . . . . . . . . . "Distorsi adalah perangkat elektronik yang mengubah bagaimana sebuah alat musik atau sumber audio lainnya ( efek ) yang digunakan pada gitar listrik, bass listrik, dan instrumen yang diamplifikasi lainnya seperti organ Hammond, synthesizer, harmonika, dan bahkan vokal yang menggunakan kliping elektronik sinyal."@in . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "Distortion and overdrive are forms of audio signal processing used to alter the sound of amplified electric musical instruments, usually by increasing their gain, producing a \"fuzzy\", \"growling\", or \"gritty\" tone. Distortion is most commonly used with the electric guitar, but may also be used with other electric instruments such as electric bass, electric piano, synthesizer and Hammond organ. Guitarists playing electric blues originally obtained an overdriven sound by turning up their vacuum tube-powered guitar amplifiers to high volumes, which caused the signal to distort. While overdriven tube amps are still used to obtain overdrive, especially in genres like blues and rockabilly, a number of other ways to produce distortion have been developed since the 1960s, such as distortion effect "@en . . . . . . . . . . . . . . . . . . . . . . . . "Distorsion \u00E4r inom telekommunikation en typ av f\u00F6rvanskning av telesignalen. Distorsion definieras som: \n* I en apparat eller enhet, f\u00F6rvr\u00E4ngning av en signal d\u00E5 den passerar systemet; avvikelsen p\u00E5 utsignalens v\u00E5gform i j\u00E4mf\u00F6relse med v\u00E5gform n\u00E4r den har \u00F6verf\u00F6rts av apparatens \u00F6verf\u00F6ringsfunktion. Distorsionsm\u00E5ttOlinj\u00E4r distorsion (t.ex. harmonisk distorsion eller intermodulationsdistorsion) anges i enheten dB eller i procent (vanligast). 1 % distorsion motsvarar -40 dB, 0,01 % motsvarar -80 dB. Linj\u00E4r distorsion anges oftast i termer av tonkurveavvikelser, i dB. Harmonisk distorsion:"@sv . . . . . . . . . . . . . . "Overdrive"@cs . . . . . . . . . . . "Saturaci\u00F3n (m\u00FAsica)"@es . . . . . . . . . . . . . . . . . . . . . . . . . . . . "Distortion"@nl . . . "Overdrive (vocabolo inglese, che significa \"portare oltre i limiti\") \u00E8 un termine utilizzato in ambito musicale che indica l'avvenuta saturazione del segnale di un amplificatore. L'effetto ottenuto \u00E8 una distorsione del suono dello strumento collegato all'amplificatore, chiamato crunch."@it . . . . . . . . . . . . . . . . . . . . . . "Distortion and overdrive are forms of audio signal processing used to alter the sound of amplified electric musical instruments, usually by increasing their gain, producing a \"fuzzy\", \"growling\", or \"gritty\" tone. Distortion is most commonly used with the electric guitar, but may also be used with other electric instruments such as electric bass, electric piano, synthesizer and Hammond organ. Guitarists playing electric blues originally obtained an overdriven sound by turning up their vacuum tube-powered guitar amplifiers to high volumes, which caused the signal to distort. While overdriven tube amps are still used to obtain overdrive, especially in genres like blues and rockabilly, a number of other ways to produce distortion have been developed since the 1960s, such as distortion effect pedals. The growling tone of a distorted electric guitar is a key part of many genres, including blues and many rock music genres, notably hard rock, punk rock, hardcore punk, acid rock, and heavy metal music, while the use of distorted bass has been essential in a genre of hip hop music and alternative hip hop known as \"SoundCloud rap\". The effects alter the instrument sound by clipping the signal (pushing it past its maximum, which shears off the peaks and troughs of the signal waves), adding sustain and harmonic and inharmonic overtones and leading to a compressed sound that is often described as \"warm\" and \"dirty\", depending on the type and intensity of distortion used. The terms distortion and overdrive are often used interchangeably; where a distinction is made, distortion is a more extreme version of the effect than overdrive. Fuzz is a particular form of extreme distortion originally created by guitarists using faulty equipment (such as a misaligned valve (tube); see below), which has been emulated since the 1960s by a number of \"fuzzbox\" effects pedals. Distortion, overdrive, and fuzz can be produced by effects pedals, rackmounts, pre-amplifiers, power amplifiers (a potentially speaker-blowing approach), speakers and (since the 2000s) by digital amplifier modeling devices and audio software. These effects are used with electric guitars, electric basses (fuzz bass), electronic keyboards, and more rarely as a special effect with vocals. While distortion is often created intentionally as a musical effect, musicians and sound engineers sometimes take steps to , particularly when using PA systems to amplify vocals or when playing back prerecorded music."@en . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "Ein Verzerrer ist ein Ger\u00E4t oder eine Software zur Deformation eines Audiosignals mit einem Begrenzer oder anderen Formen der Kennliniendeformation, wobei letztlich harmonische Obert\u00F6ne erzeugt werden. Die Deformation kann dabei (nicht)linear und eine symmetrische beziehungsweise asymmetrische Ver\u00E4nderung sein. Bei modernen Gitarren- oder Bassverst\u00E4rkern gibt es verschiedene Einstellungsm\u00F6glichkeiten, wie einzelne Komponenten des Signals verzerrt werden k\u00F6nnen. Effektger\u00E4te erm\u00F6glichen die Verzerrung vor dem Verst\u00E4rker; Software die nachtr\u00E4gliche Verzerrung. Bei Musikinstrumenten lassen sich damit Spieltechniken wie Flageolettt\u00F6ne betonen."@de . .