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Best 3 Distortion Pedals for Modern Metal

This one could get contentious as there are so many amazing distortion pedals out there!



So, I'm going to start by saying that these are distortion pedals only, that could work into a clean amp, or into a DAW for example as a preamp stage, and not boost pedals like a Fortin 33 or the standard Tube Screamer into the front of an already distorting amp, like a Mesa Boogie, to tighten it up.


I've gone pretty in depth here, and if you want to go further down the rabbit hole, I've also added lots of links for you to follow - from reviews to manuals to videos.


Right at the end there is also information that I hope is useful about pedals for classic metal sounds. So check out those too:)


So, that being said, let's crack on with our choice of the best distortion pedals!!


1 - FORTIN


Obviously there has to be at least one Fortin pedal in this list, and we could have gone for the Natas, or the Kali, as they are all that good. BUT, it's the Meshuggah that makes this list.


Why?


It's BRUTAL, it's got two amazing sounding channels, it's got a lower and higher gain switch, and it's got a built in Zuul noise gate!!! I mean WTF? One of the best noise gates around build right in - just incredible.

Details:


Fortin Meshuggah Preamp/Distortion

Fortin Meshuggah Pedal

Key Features & Specs


  • It’s built as a preamp / high-gain distortion pedal, not a simple “distortion stompbox” — i.e. your pedal becomes your preamp stage. So keep this in mind whilst considering buying it - it excels used into a poweramp or into a DAW for example, and whilst it still sounds great into the front of your amp, this isn't the best placement for it.


  • Controls / switches:


Why it’s on the list for the best distortion pedals for modern metal -


  • The Meshuggah pedal is literally designed to emulate the Fortin Meshuggah tube amp head in pedal form. Fortin claims that when you run it into the power section of a Meshuggah head or run it into IRs from their “Nameless X” plugin suite, the tonal difference is extremely hard to hear. Gearnews.com+4Fortin Amps+4MusicRadar+4


  • It’s excellent for low-tuned, palm-muted, percussive rhythm tones because the gate is tight, the feel is very responsive, and the voicings preserve clarity even in saturated distortion. Guitar World calls it “some of the tightest, most vicious modern metal tones you’ll find anywhere.” Guitar World


  • The dual-channel and Lo/Hi modes let you shift between slightly less saturated tone (for interplay or cleans) and full beast mode. That flexibility is a big plus in a pedal. Guitar World+1


  • Because the EQ is active and responsive, you can really sculpt the mids / scooped / presence zones critical for modern mix presence.


  • It’s a premium pedal, but for those chasing modern metal (especially djent / progressive tones), it nails a lot of the “holy grail” tone in a pedalboard format.


Potential drawbacks / things to be cautious about:

  • High current draw means your power supply needs to be up to the task (many standard “low current” pedal supplies may struggle).

  • The number of interactive knobs means it can take some time to dial in — it’s not always instant.

  • The price is steep — it's a high-end boutique pedal.


Given that, I’d certainly use it as one of the top choices when you want a high-end, modern, high-gain pedal for serious rigs.


Here's some basic suggestions for a starting point for the knobbies:


Fortin Meshuggah — Rhythm / Chug tone (Drop C / 7-string)


  • CH1 (Red) mode

  • Gain1: ~ 9 o’clock

  • Gain2: ~ 11 o’clock

  • Lo/Hi switch: Hi

  • Bass: ~ 12 o’clock

  • Mid: ~ 11 o’clock

  • Treble: ~ 1:30

  • MVC (master): Adjust to unity / ~ 10–11 o’clock (match volume)

  • Zuul gate: Set threshold so that muting strings is silent, but doesn’t cut sustain too aggressively

  • Channel footswitch: use CH1 for heavier rhythm; CH2 (Green) could serve for slightly cleaner lead or alternate tone



This patch yields a tight, cutting rhythm tone with control and clarity in palm-muted chugs. In live demos (e.g. by Ola Englund) the pedal is extremely articulate even in fast rhythms.



If you want slightly less saturation, try CH2 (Green) mode: only Gain2 controls apply, and Lo/Hi switch still helps shape voicing.





2 - Empress Heavy or Heavy Menace


I know, it's a little bit of a cheat having these both under the one heading, but they are obviously very similar and I couldn't choose between them. So let's lay out the main strengths of these pedals and the differences:

Empress Heavy Menace

Why they’re good for modern metal -


Empress Heavy & Heavy Menace – shared strong points:


Both of these pedals are very well suited to modern-metal applications (drop tunings, tight rhythm, clear articulation, high gain) because of the following features:


  • High-gain distortion circuits optimised for clarity and saturation: The original Heavy was described by Empress as having “seven stages where we intentionally clip components, and ten stages of filtering to precisely shape the signal between clipping stages”. Empress Effects Inc.+1 This means it is designed for aggressive distortion rather than subtle overdrive.


  • Robust tone-shaping: Both include a 3-band EQ (Low, Mid, High) plus a “Weight” or similar control to sculpt the low end. These controls are crucial for modern metal because you often need to dial tight bottom end (for palm-mutes, chugs) and clarity in the mids so riffs cut through the mix. For example, the Heavy Menace’s “Weight” control adjusts a high-pass filter in the distortion circuit to vary bottom-end character. synthesizer.gr+1


  • Adaptive noise-gate functionality: In high-gain, low-tuned environments (e.g., 7-string B, Drop C, etc) you’re going to get string hiss, amplifier noise and spill from stops. Having a good gate means you can get tight silence during fast stop-chugs. For example, users praise the Heavy’s gate for its responsiveness: > “It chugs like nobody’s business … the noise gate … so smooth and responsive without messing with your signal too much.” Reddit


  • Designed for heavy usage: These pedals are built with modern metal in mind. For instance, the Heavy Menace explicitly says it covers “any high-gain sound from classic hard rock to searing modern metal.” Sweetwater+1


  • Fully analog signal path: That’s helpful for dynamics and feel, which matter a lot when you want the pedal to behave like a preamp into a clean power amp (or pedal→clean amp) rather than sounding “toyish”.


So in short: for modern metal you want tight low end, articulate mids, high gain, and minimal unwanted noise — both of these deliver that, with somewhat different flavours and control.


Main features of each pedal


Empress Heavy


  • Two channels: “Heavy” and “Heavier”. You switch between them via the Channel switch. According to Empress, the Heavy channel “quickly starts to sear” and the Heavier channel “goes over the top with even more gain and a more brilliant high-end”. Empress Effects Inc.+1


  • 3-band EQ with a 3-position mid-frequency switch per channel (so you can pick among preset mid centre frequencies). The 3 band EQ offers 3 selectable midrange frequencies per channel to dial in the sweet spot. Empress Effects Inc.+1


  • Weight knob (in each channel) to control low-end character (tight vs thick) — The Weight knob controls a high-pass filter in the distortion circuit to sculpt the low frequency response for tight, percussive riffs. Empress Effects Inc.


  • Adaptive noise gate per channel: The Heavy has a side-mounted threshold pot plus switch options (Off/Natural/Aggressive) per channel. Empress Effects Inc.


  • Full size housing: Larger pedal footprint compared to some more compact options.


  • Strong focus on extreme gain / modern use.


Empress Heavy Menace


This is effectively an evolution of the Heavy, with enhancements and more flexibility packaged in a (slightly) smaller form. Key features:


  • Three modes: “Lite(ish)”, “Heavy” and “Heavier” via a 3-position toggle. The “Lite(ish)” mode gives you a more moderate gain option (for crunch/hard-rock) in addition to the two higher-gain modes.


  • 3-band EQ again, but the mid control is sweepable from 200 Hz to 2.5 kHz (rather than fixed three-position preset). This gives much more precision for modern metal rigs (especially when dialing for extended-range guitars).


  • Weight control (same concept) to sculpt the low end.


  • Foot-switchable noise gate: On the Heavy Menace the gate is now foot-switchable (you can stomp it) and can be linked or independent of the distortion. Also there’s a “Gate Key Input” so you can trigger the gate via an external signal (useful if you have other pedals before it) so the gate remains consistent when stacking. Empress Effects Inc.+1


  • True-bypass or buffered bypass selectable: The Heavy Menace gives you the option for buffered bypass (better for pedalboard setups with long cable runs) which the Heavy lacks in as flexible form. synthesizer.gr


  • Slightly more compact footprint (per specification) and somewhat optimized board-friendly.


  • Covers a broader range of distortion tones due to the added 'Lite(ish)' channel.


Key differences between Heavy vs Heavy Menace

Here’s a side-by-side of the main differences relevant to modern metal use:

Feature

Heavy

Heavy Menace

Channels / Modes

2 channels (Heavy & Heavier) with separate knobs per channel. Empress Effects Inc.

3 modes via toggle: Lite(ish) + Heavy + Heavier. Premier Guitar+1

Mid-Frequency Control

3-position switch (preset mid centre frequencies per channel) Empress Effects Inc.

Fully sweepable mid freq from ~200 Hz to 2.5 kHz. More precision. Empress Effects Inc.+1

Noise Gate Flexibility

Gate per channel with Off/Natural/Aggressive settings (but gate is not foot-switchable) Empress Effects Inc.

Gate is foot-switchable; can operate independently of distortion; has “Gate Key Input” to trigger externally; switchable true/buffer bypass. Premier Guitar

Low-End Sculpting / Weight Control

Weight knob present. Good for modern metal. Empress Effects Inc.

Weight control present with same purpose; emphasis on extended-range guitars and tight palm-mute response. synthesizer.gr

Size / Enclosure / Board-Friendliness

Larger footprint

More compact, board-friendly, more versatile modes

Primary Focus

Extreme modern high-gain, two voicings, maybe less ‘mid-gain’ flexibility

Broader range (from moderate gain to extreme), more precise EQ & gating control — perhaps better for stacking rigs / extended tunings

Bypass / Buffer Options

Basic true bypass (no selectable buffer option)

True bypass or buffered bypass selectable — beneficial when you have long cable runs or many pedals ahead. synthesizer.gr

Which should you pick (in the context of modern metal) and why

If your focus is pure heavy modern metal rhythm + extended range


  • The Heavy Menace is arguably the better pick. The reasons: its sweepable mid allows you to dial in the specific “cut frequency” for your tuning (for example 7-string in B or Drop A). The foot-switchable gate and external key input mean it plays better in complex pedalboard setups (where you might stack low-gain cleans, boosts, etc.). The “Weight” control helps manage bottom end so your palm-mutes stay tight and defined.


  • If you use a lot of stacking, switching, or you have long cable lengths, the buffered bypass option of the Menace can help preserve tone.


  • If you sometimes play less extreme stuff (hard-rock, mid-gain) as well as full-on modern metal, the “Lite(ish)” mode gives you flexibility beyond just extreme gain.


If you already have other gain pedals, or you want a dedicated two-voiced monster for extreme gain


  • The original Heavy is still very strong. If your board space isn’t constrained, you like the idea of two independent channels (Heavy & Heavier) with separate knobs, and you mainly play full-on high gain metal (rather than needing mid-gain flexibility), the Heavy gives you a slightly more “classic” layout and maybe a slightly purer path.


  • If you don’t need the external gate-key or buffered bypass and your board is simpler, the Heavy may be more straightforward.


  • Can be picked up used cheaper due to the Menace being seen as the new kid on the block.


My summary recommendation


If I were picking one for a modern metal rig (e.g., 7-string, drop tuning, palm-mute chugs + lead), I’d go with the Heavy Menace, simply because its extra flexibility (sweepable mids, three modes, gate improvements) gives you more control in the modern metal space. Then keep the original Heavy in mind if you ever want a simpler dual-channel, high-gain-only pedal and you’re not as concerned about pedalboard complexity.

If your rig is simpler (single channel amp, one distortion pedal, limited board space), the original Heavy is still fantastic — you won’t be sacrificing essential tone, and it remains one of the top high-gain pedals for metal.

In either case: pair with a clean tube amp (or clean power amp + FRFR) so the pedal is your main gain engine, and give the mid control some serious time — the secret to modern metal tone is finding the right mid frequency that cuts through the mix while still letting the bottom end punch.






3 - Sola CHUG


What is the CHUG Pedal?

Solar Chug

  • The CHUG is Solar Guitars’ (Ola Englund’s brand) first high-gain preamp / distortion pedal, designed to act as a “preamp in a box” optimized for metal and “chuggy” rhythm tones. Given Ola's pedigree, this thing should really be up there in your considerations.


  • It includes an integrated noise gate, full EQ section, and input filtering (LF / HF gain) intended for shaping before the distortion stage. Check out the Manual Here: images.equipboard.com+2Solar Guitars- Website+2


  • It is aimed at replacing the high gain preamp stage of an amp (i.e. you can put it into the front of a clean amp or into a power amp / effects return).


  • Specs: draws ~85 mA @ 9 VDC, uses center-negative barrel connector, no battery option, input impedance ~1 MΩ, output impedance ~260 Ω.


  • The bypass is buffered bypass (not true bypass) according to Solar’s spec page. S By Solar - Website


Thus, the CHUG is in the same class as pedals like Empress Heavy, Fortin Meshuggah, etc. — high-gain preamp / distortion pedals intended to be the “first gain stage” in your signal chain.


Controls & Signal Flow


Here’s a breakdown of all the controls and how they interact (based largely on the user manual and Solar’s spec sheet) S By Solar - Website+3images.equipboard.com+3Solar Guitars- Website+3:


Input / Pre-Gain Filters

  • LF Gain (outer / lower knob)Controls how much low frequency content from the guitar input is allowed into the gain / distortion circuit. You use this to reduce excessive bottom before distortion (to avoid mud) or increase fullness. images.equipboard.com+1


  • HF Gain (inner / top knob)Controls how much high frequency content from the guitar input is passed through into the distortion circuit. This is useful for taming harshness or giving more edge. images.equipboard.com+1


These two act like pre-filters shaping what part of the guitar’s signal is being driven into the distortion core.


Gain & Gate / Master

  • GainA master distortion / overdrive control — turns up the amount of gain applied after the input filters. images.equipboard.com+1


  • GateA threshold control for the internal noise gate. It determines how aggressively the signal is gated (i.e., how much signal must be present before the gate opens). The LED changes color (green when signal is passing, red when gated) to show when the gate is active. images.equipboard.com+1


  • Out (Output level)Controls the overall level leaving the pedal (post distortion / gate) — effectively your “master volume” or send level to your amp / interface. images.equipboard.com+2Solar Guitars- Website+2


Post-Gain EQ / Tonal Shaping

After the gain and gate stages, there’s a full EQ / tone-shaping section:

So in flow order: Guitar → LF / HF Gain filters → Gain → Gate → Output → (Bass, Depth, Middle, Treble, Presence) → Output jack.


Sounds / Tone Character & Use Cases

From both the manual / spec sheet and user reviews, demos, this pedal is capable of:

  • Modern, heavy, saturated distortion / metal tones — it’s voiced specifically as a metal preamp pedal (“Ultimate Metal Preamp Pedal”) and intended to give you strong “chug” / palm-muted distortion. youtube.com+3Solar Guitars- Website+3S By Solar - Website+3


  • Dynamic control via input filtering — the LF / HF gain filters help you tailor whether you want more bottom or edge going into distortion, thereby affecting saturation character and muddiness control.


  • Strong noise suppression — because high-gain metal tones often generate plenty of hiss, the built-in gate is a major advantage. Many user reviews cite the gate being “very useful / necessary” for taming noise. Reddit+2Solar Guitars- Website+2


  • Full tone-shaping potential — with Bass, Depth, Middle, Treble, Presence, you can sculpt a wide range of metal voices (from scooped modern styles to more mid-forward “progressive” styles).


  • Because of that flexibility, it can handle both low-tuned rhythms and more aggressive lead / edge tones.


Some limitations / caveats that users note:

  • The controls are quite tightly packed, and visibility (knob pointers) is a complaint in some reviews (hard to see knob positions). Musikhaus Thomann+2Musikhaus Thomann+2


  • High/presence settings pushed too far may cause squealing or harshness in some contexts. Moderation is advised. Musikhaus Thomann


  • Because it is buffered bypass (not true bypass), when the pedal is off the buffer is in the signal chain — which may or may not interact (positively or negatively) with long cable runs or other gear.


In practice, many users treat the CHUG as their primary distortion / preamp — ie, guitar → CHUG → clean amp input (or power amp) or CHUG → interface (if recording). youtube.com+3Solar Guitars- Website+3youtube.com+3


Also, Solar provides an IR file (impulse response) included with the pedal, to use when going direct / recording (to simulate cab) S By Solar - Website


Suggested Starting Knob Settings (for modern metal / chug tone)

Here’s a possible patch to try, then adjust for your guitar, tuning, amp, cab etc:

  • LF Gain: ~ 10 o’clock (reducing bottom into distortion helps tighten)

  • HF Gain: ~ 11–12 o’clock (to allow edge in)

  • Gain: ~ 11 o’clock (cranked but not over-saturated)

  • Gate threshold: set so it silences string noise / hum when muted but doesn’t chop your sustains — adjust to taste

  • Out level: unity / match amp level

  • Bass: ~ 12 o’clock

  • Depth: ~ 1 o’clock (gives a little extra low presence)

  • Middle: ~ 10:30 (slightly scoop but enough mids to cut)

  • Treble: ~ 12:30

  • Presence: ~ 1:00


From that as a baseline, sweep Middle and Presence to find the sweet spot that cuts in your rig, trim Bass/Depth if getting too muddy, and adjust HF Gain if it gets brittle.

If you want a more aggressive / lead-edge tone, push Gain toward 1–2 o’clock, Presence up a bit, maybe slightly reduce LF Gain to tighten.


Check out Ola's demo here:




Conclusion


You really could get any of these pedals and be more than happy as they are all amazing at what they do. My personal favourite is the Fortin pedal. Damn it's just so brut@l!!!!


It's also the most expensive though with the Meshuggah pedal being around £370, the Empress Heavy Menace £250 and the Chug at £170


There are also loads of pedals that should get mentioned if you are looking for a more classic metal sound - check out these:


🎸 10 Classic Heavy Metal Pedals That Defined the Genre


1. Boss HM-2 Heavy Metal

  • Famous Users: Entombed, Dismember, Carcass (the “Swedish chainsaw” tone).

  • Key Features: Dual-band EQ (LOW and HIGH), Dist and Level controls.

  • Sound: Blistering, mid-forward, chainsaw-like grind — created the Stockholm Death Metal sound.

  • Why it’s legendary: Its distortion circuit clips so hard it almost mimics an amp with blown tubes — now reissued as the Boss HM-2W Waza Craft.


2. ProCo Rat

  • Famous Users: Kirk Hammett (early Metallica), Jeff Beck, Nuno Bettencourt.

  • Key Features: Distortion, Filter (tone roll-off), Volume.

  • Sound: Fat, biting distortion that can range from overdrive to fuzz.

  • Why it’s legendary: Its LM308 op-amp gives a unique grainy, aggressive midrange perfect for ‘80s thrash rhythm tones.


3. Ibanez Tube Screamer (TS808 / TS9)

  • Famous Users: Zakk Wylde, Kirk Hammett, Gary Moore, Stevie Ray Vaughan.

  • Key Features: Overdrive, Tone, Level.

  • Sound: Mid-boosted soft clipping; famously tightens low end when used before a high-gain amp.

  • Why it’s legendary: Essential “boost” pedal for metal players using Marshalls or Mesas — still ubiquitous in modern rigs.


4. Boss Metal Zone MT-2

  • Famous Users: Slipknot (early), Cannibal Corpse, Marty Friedman.

  • Key Features: Dual-stage gain, semi-parametric 3-band EQ.

  • Sound: Saturated distortion with extreme EQ sculpting.

  • Why it’s legendary: Polarizing but flexible — modded versions (like Waza Craft) have redeemed its reputation.


5. MXR Distortion+

  • Famous Users: Randy Rhoads, Glenn Tipton (Judas Priest), Jerry Garcia (live).

  • Key Features: Simple Output and Distortion controls.

  • Sound: Hard-clipping distortion with raw openness.

  • Why it’s legendary: Used by Rhoads into a cranked Marshall for that piercing early metal crunch.


6. Electro-Harmonix Big Muff Pi

  • Famous Users: Tony Iommi (early Sabbath), David Gilmour, Smashing Pumpkins.

  • Key Features: Volume, Tone, Sustain.

  • Sound: Thick, fuzzy sustain — more doom than thrash.

  • Why it’s legendary: Though often seen as a fuzz, its massive sustain defined early doom/stoner metal tones.


7. DOD Grunge FX69

  • Famous Users: Kurt Cobain (live), Jerry Cantrell (Alice in Chains).

  • Key Features: Loud, Low, High, Grunge knobs.

  • Sound: Gritty, scooped distortion; exaggerated and chaotic.

  • Why it’s legendary: Captured the dirty, thick, over-the-top ’90s heavy tone.


8. Marshall Guv’nor

  • Famous Users: Gary Moore, Alex Lifeson (Rush), Slash.

  • Key Features: Gain, Bass, Mid, Treble, Level.

  • Sound: Classic “Marshall stack in a box.”

  • Why it’s legendary: The OG “amp-in-a-box” — based on the JCM800 circuit; thick, crunchy distortion.


9. Boss SD-1 Super Overdrive

  • Famous Users: Zakk Wylde (before switching to MXR), John Sykes.

  • Key Features: Level, Tone, Drive.

  • Sound: Mid-forward, asymmetric clipping adds edge to high-gain amps.

  • Why it’s legendary: Perfect for boosting a tube amp — still found on many pro pedalboards.


10. Digitech Metal Master

  • Famous Users: Dino Cazares (Fear Factory), various early 2000s nu-metal bands.

  • Key Features: Level, Low, High, Morph.

  • Sound: Brutal, scooped, digital metal sound — ahead of its time.

  • Why it’s legendary: Early digital “amp modeler” pedal that inspired later high-gain processors.


Pedal

Type

Typical Metal Subgenre

Signature Sound

Boss HM-2

Distortion

Death Metal

Chainsaw grind

ProCo Rat

Distortion

Thrash / Classic Metal

Aggressive mids

Tube Screamer

Overdrive Boost

All Metal

Tight low end

Boss MT-2

Distortion

Modern Metal

Sculpted high gain

MXR Distortion+

Distortion

Early Heavy Metal

Raw crunch

Big Muff

Fuzz

Doom / Stoner

Thick sustain

DOD Grunge

Distortion

Grunge / Alt Metal

Dirty, scooped

Marshall Guv’nor

Distortion

Hard Rock / Metal

British amp tone

Boss SD-1

Overdrive Boost

Classic / Modern

Mid boost clarity

Digitech Metal Master

Digital Distortion

Nu Metal

Scooped brutality


Classic Pedals for Heavy Metal

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