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I borrowed a JC-120 from FM L\_dopa a few years ago that had a fucked up chorus/vibrato setting that was way more interesting than either intentional effect. It was like a dying pitch warble. If either of us played Deathrock one of us would have kept it I'm sure..I heard that Ronnie Wood used to put worn down tubes in his amps for an intentionally saggy sound.

FM Ben Adrian s Kowloon Walled Bunny pedal was begotten of a borken Distortion+, yes?

Neil's Tweed Deluxe small, 15-watt unit, with just two volume knobs and a shared tone control, this amp, says Cragg, œmakes all the sound. Onstage, as loud as everything gets, that s what you hear. And it s totally stock except for two 6L6 s in place of the original tubes. That boosts the output from 15 to 19 watts, and it kills. An added consequence of this rebiasing is that the amp runs extremely hot; Cragg has high-powered fans trained on the back of the Deluxe to œkeep it from blowing up. "Neil's got four hundred and fifty-six identical Deluxes. They sound nothing like this one."

J Mascis' Rams Head Big Muff.http://www.kitrae.net/music/J\_Mascis\_Big\_Muff.htmlit just had really odd components values, very different from anything he had seen in a vintage Big Muff before. He mentioned to J that maybe EHX had made a mistake with the value of the components they used.

Borken is a relatively accurate description of the majority of my gear. I like ugly beat up guitars that have œwrong parts or have been œdevalued by things like new frets and headstock repairs. Invariably I find these types of guitars to be more pleasing to play and better tools for the job than œcollectors grade instruments.

Thymme Jones posted this little anecdote about the recording session for Dumb Ask in December's Cheer-Accident subscription email:We were about a third of the way through our first take of "Everyone's Ugly Up Close," when we all stopped playing, because Jeff's guitar had suddenly turned into a dying raccoon. After it had become apparent that we had given up on that take, we all heard Albini's voice in our headphones, ecstatically proclaiming, "Gentlemen, I'm now of the opinion that that is the greatest guitar sound I have ever heard." Needless to say, we elected to not change the batteries in Jeff's distortion pedal, and that's the sound you hear on the recording.https://cheer-accident.bandcamp.com/tra ... y-up-closeYou can really hear it shine around 30 seconds in. What a beautifully gross guitar sound.

Dub techno producer Stefan Betke, aka Pole, initially made a career and signature sound out of a borken filter.

Christopher wrote:Thymme Jones posted this little anecdote about the recording session for Dumb Ask in December's Cheer-Accident subscription email:We were about a third of the way through our first take of "Everyone's Ugly Up Close," when we all stopped playing, because Jeff's guitar had suddenly turned into a dying raccoon. After it had become apparent that we had given up on that take, we all heard Albini's voice in our headphones, ecstatically proclaiming, "Gentlemen, I'm now of the opinion that that is the greatest guitar sound I have ever heard." Needless to say, we elected to not change the batteries in Jeff's distortion pedal, and that's the sound you hear on the recording.https://cheer-accident.bandcamp.com/tra ... y-up-closeYou can really hear it shine around 30 seconds in. What a beautifully gross guitar sound.If anybody wants to approximate this sound experiment with a Zvex Machine. It ll get you closeyard barf wrote:I've always heard that part of the wonderful sound of Marshall amps came from a miscalculation for the appropriate output transformer and that the wrong transformer was used. I don't know if this is just lore or the real story.Supposedly part of the 3x10 Bandmasters special sound was the weird speaker load

Teacher's Pet wrote:The guitar amp heard on Jackie Brenston's 'Rocket 88' was borken when it either fell off the roof of the car or got rain damage in the trunk. Sam Phillips was able to recognize the improvement, the fuzzy-sounding guitar became legend, and rock and roll was thus invented.Along similar lines, Dave Davies and his slashed speaker cone that gave us the sound of "You Really Got Me" (and other early Kinks songs):http://www.woodytone.com/2011/04/14/you ... d-speaker/Dave Davies played lead on a Harmony Meteor guitar that was hooked up to an Elpico amp and slaved to a Vox AC30. Furthermore, its distortion was largely the result of him having already used a razor blade to slice the speaker cone of the Elpico ” affectionately referred to as his œfart box ” and puncturing it with knitting needles so that the fabric contributed to the sound as it vibrated.

Strictly in terms of "Not Operating At Spec...", Duane Allman apparently used to favor the sound of nine volts that were on the verge of going dead in a Fuzz Face.No telling just how true that might have been.