ROB WARMOWSKI: All right everybody. Here we are at day four of NAMM in sunny Anaheim, California. Everybody's a little green behind the gills and stumbling over their works just like me because it is day four.

BOB SEEDROW: That it is. We feel every bit of it too.

ROB WARMOWSKI: Bob Seedrow from Dunlop is here and we're in the Dunlop booth. We want to check out the Distortion III, which is the latest kin the family of distortion pedals or the Distortion name pedals that come from the MXR line. I've had a Distortion Plus for many years, and I'm interested to hear the III. Bob, tell us a little bit about the history of the pedals.

BOB SEEDROW: Well, first off, let's just take everything, you know. Distortions are like ice cream; there's flavors that kind of try to fit everybody's palate and throughout the years, there's distortions, there's overdrives and what's the difference, and essentially what I like to say is that a distortion will add many harmonics and an overdrive will be more of a tighter controlled environment as far as the richness of the harmonics, but it's actually they kind of cross over and lap over and this is what the Distortion III will kind of laps over. It laps over between like the Zakk Wylde overdrive and then it goes into like the Distortion Plus area where there's more harmonics present in the signal. And what I mean by harmonics is basically, if I can -- I don't know if how you're going to hear this and in any integrity but

[BOB SEEDROW PLAYS GUITAR WITH THE DUNLOP DISTORTION III ENGAGED]

What happens there versus an overdrive...

[BOB SEEDROW PLAYS GUITAR WITH THE DUNLOP DISTORTION III ENGAGED]

...more the guitar signal is heard...

[BOB SEEDROW PLAYS GUITAR WITH THE DUNLOP DISTORTION III ENGAGED]

...whereas distortion...

[BOB SEEDROW PLAYS GUITAR WITH THE DUNLOP DISTORTION III ENGAGED]

...so there's more harmonics to play with. The Distortion III again is like the marrying of the distortion plus type of sound and circuitry and then the Zakk Wylde voicing for nice mid range pump, and a lot of guitar players forget that not only turning up your guitar to be heard, you have to turn up the right frequencies. The mid range is very important to cut through a lot of the low end bass and the high end cymbals and whatever else all of the instruments. You have to find your niche within the spectrum of your band. Sounding good in the bedroom is one thing, in a band environment's another. Anyway, it can also get a bluesy sound by let me sync here. I'll turn the distortion down.

[BOB SEEDROW AUDITIONS GUITAR GUITAR WITH THE DUNLOP DISTORTION III ENGAGED FOR A BLUES SOUND]

So now I've taken a lot -- some of the harmonic content off by lowing the distortion...,

[BOB SEEDROW PLAYS GUITAR WITH THE DUNLOP DISTORTION III ENGAGED]

...and it just gives you that little pop.

[BOB SEEDROW PLAYS GUITAR WITH THE DUNLOP DISTORTION III ENGAGED]

It has it's own control, very simple.

[BOB SEEDROW STRUMS THE GUITAR WITH THE DUNLOP DISTORTION III ENGAGED]

It's murky...,

[BOB SEEDROW PLAYS GUITAR WITH THE DUNLOP DISTORTION III ENGAGED]

it's very bright...,

[BOB SEEDROW PLAYS GUITAR WITH THE DUNLOP DISTORTION III ENGAGED]

...and then when you add the distortion and that brightness will increase the harmonic content.

So basically, what we've got here is kind of a cross between overdrive and distortion, and that's our Distortion III, a new first for 2007 Winter NAMM. Thank you. Bob Seedrow from Dunlop Manufacturing.