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Post by sumgai on Jun 23, 2019 0:18:40 GMT -5
.... X bypasses the whole thing. Gee, in my playbook, engaging an X condition would pretty much guarantee a visit from the Environmental Protection Police, due to all the smoke your short circuit is gonna generate. Might want to re-think this one.... Not bad. What are you using to make your drawings? sumgai
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Post by sumgai on Jun 22, 2019 23:44:27 GMT -5
jaga,
Sorry, but for some reason, I'm just now seeing your messages. Seems like the "NEW" icon was "unlit" for me... or sumpin', I dunno.
Anyway, the answer to your question is "Yes", there will be a hanging hot in any position that doesn't use the pickup that is directly connected to the output (or the controls inbetween the switch and the output). Designing to eliminate that can take one of two forms (either double-switch it, giving a True Bypass treatment; or simply shunt around the pup in question), but neither of them obeys the K.I.S.S principle. The decision is up to the modder, of course, but most people find that any noise attributed to this condition is too low a volume to bother with. It takes a pretty noisy environment (electrical-wise) to elevate this kind of problem into something of a minor nuisance.
HTH
sumgai
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Load
Jun 22, 2019 10:22:46 GMT -5
Post by sumgai on Jun 22, 2019 10:22:46 GMT -5
'bunny,
In our case (that of guitarists and their gear), we can't stop at just resistance or impedance, we also need to consider the current being generated by the pickup, and the Back EMF (VL) being generated by these signal sources. And of course, since we are speaking of frequency, we are also throwing another variable into the mix, known as reactance. Then we need to add the interaction between various frequencies (harmonics), and not just at any given single point in time, but over a time span as current rises and falls. (Remember, voltage and current are not in lockstep with each other, there is a finite time period of lead and/or lag between them.) Woah!!
Like reTrEaD said, it gets complicated - in a hurry!
Without going into a bunch of math and lots of diagrams, it should be sufficient to say that the bottom line is, we don't care about one pickup loading another. It's a fact of life, we can't do anything about it, so we might as well ignore it, and just get on with those things we can control. In other words, pick and choose your battles... life is always better when you can keep it simple!
HTH
sumgai
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Post by sumgai on Jun 22, 2019 10:00:56 GMT -5
I moved this topic to ths sub-Forum Pickups because it deals with electrical interactions between pickups.
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Post by sumgai on Jun 12, 2019 11:04:33 GMT -5
Art, Hi, and to The NutzHouse! Your capacitors appear to be dead because they don't pass current in DC mode! That's what your multimeter uses for taking resistance readings, a simple battery, which means DC. Capacitors are meant to pass AC, so if you want to test them, you'll need a meter that has a Cap testing function. Fortunately, non-expensive meters can be found in various outlets which have this capability, should you wish to go further along this path. (These use the battery to generate a low-level AC signal.) HTH sumgai
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Post by sumgai on Jun 10, 2019 19:58:38 GMT -5
One or more omelettes were ultimately harmed in the making of this thread!
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Post by sumgai on Jun 10, 2019 19:51:24 GMT -5
zozoe,
Hi, and to The NutzHouse!
Your question boils down to one item: should you choose a set of Jensen speakers or a single Celestion? Don't ask me, I'm probably the most biased/prejudiced person Nut here. That probably stems from the fact that Celestion has yet to make a decent sounding speaker, and price it without trying to out-do Apple in terms of least bang-for-the-buck.
Regarding the weight difference between the two, another couple of questions might be - how old are you, how's your back holding out, and/or can you afford a half-rack of beer for your roadie each time out the door? If paying a roadie is off of the table, you'll want to go with the smaller unit, and replace the Celestion with a decent speaker - almost anything not made in Britain (they all sound so mid-rangy). If you think you're hearing some kind of "bass goodness", that's the box design, not the speaker - trust me on that one. Replace it, and you'll thank me later. (Not to mention, you can probably sell the Celestion on craigslist in just a few hours, and buy that replacement speaker.)
While I've not actually owned any Laney amps, I've had to "massage" a few them during my time as a bench repair tech. Usually pretty nice sounding, but sometimes the assemblage of components makes them hard to diagnose and repair.
HTH
sumgai
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Post by sumgai on Jun 10, 2019 19:33:56 GMT -5
Why not GO CRAZY............ ...... Perhaps because doug's trying to strip out as much cruft as possible, and get down to the business of playing Surf guitar. Trust me, any one who's spent some serious time listening to Surf music can, and will, determine when the player is not staying true to the Laws Of Surf Music, as laid down by Dick Dale in 1961. And a few others... a very few. (Determines that now is not the correct time to list other Surf bands, as the list would not stop at an even 100 - there'd be no less than 200, and probably more. )
sumgai
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Post by sumgai on Jun 10, 2019 19:27:00 GMT -5
I had shrink tubing but recently moved and apparently it moved somewhere else. Yeah, you just hadda go and play ChrisK's "it's in another city" card, din't ya... Which is to say, by the time you finally catch up with that tubing, the ambient heat (from global warming, of course) will have done the job for you. Usefulness will be rduced to -1, at the least. Sorry 'bout that.
Oh, and your photo is pretty clean, certainly better than some we've seen. It lets me say that I see no reason not to button it up... provided it passes that tap-test, of course.
sumgai
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Post by sumgai on Jun 10, 2019 13:13:31 GMT -5
espy,
If I've read your recent reply correctly, you're wondering how to make the switch select "Neck + Mid" only, and not have "Mid + Neck" - is that correct? (Hopefully so, because I've put a fair amount of work into this reply!)
Here's what you have currently, rendered as a schematic: (You did say that you have some familiarity with electronics.)
Note that you've used the Common terminal of both A and B poles. This wasn't necessary, but I can see where it's a holdover from the original Fender circuit that connected the Tone controls to the B pole. But seeing that "doubled" connection in place, it should be easy to understand the following modification. Here it is, giving you the "Neck + Mid" combo, and eliminating the "Mid + Neck" possibility:
And here's what I think you asked for, Mid added to either Neck or Bridge, as selected, but without any chance of either Neck or Bridge being added to Mid:
Hopefully you (and other readers) can make sense of all that. (And of course, none of the follow-on controls are shown, it's assumed that they will be added per the modder's desires.)
HTH
sumgai
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Post by sumgai on Jun 10, 2019 10:05:08 GMT -5
... I do have an electronics background but everything has some nuance to it's function. For a Rookie Solder Flinger, you exhibit a nice grasp of that which bites most guitar modders on the butt, so to speak. Even we well-experienced axe-hackers occasionally get myopic, often with embarrassing results. Which also speaks to many eyeballs usually prevent disasters in the making, or at least they can find errors and offer corrective solutions.
My only sticking point in our discussion is that regardless of the manufacturer, all guitars are basically cut from the same mold. Meaning, don't let anything that appears different at first glance prevent you from applying a logical examination and analysis. If some circuit component/feature functions in a certain way inside of a Strat, it will function the exact same way inside of a Les Paul. Of course, that's provided it's hooked up in the same manner. Which of course gives rise to the 50s vs. modern wiring practices - a good example of why and how to interpret a circuit designer's intentions.
Stick around, I've a feeling that you're gonna be contributing more to The NutzHouse than you might now think possible.
HTH
sumgai
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Post by sumgai on Jun 9, 2019 18:09:41 GMT -5
doug,
Hi, and to The NutzHouse!
Nothing wrong with being a DickHead as far as I'm concerned!! The Father Of Loud was a shining example of keeping it simple, yet stirring the soul. You'll likely note my mini-profile to the right, and where it says "Master Fwipper", well, that should give you clue as to my favorite genre.
Now as to your axe. I see where you wanted Middle added to Neck, and you've got that. However, you've also got Neck added to Middle, don't you.... it comes with the terrirory, so don't get upset. The only real problem here is one of switching to a different tonality, especially when playing live... and when you have to manipulate two switches in order arrive at your desired sound. If you like, and play often with, the Middle pup alone, then we can get just a little fancy and eliminate that "extra" combination, using just the parts you already have installed - nothing new, unless you consider an extra wire or two as "new".
However, if you're happy with your current setup, then I'll just hush up and drop back into the background - your call.
Oh, and have you considered intonating your bridge? Or have you already done that, after taking the photo....?
HTH
sumgai
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Post by sumgai on Jun 9, 2019 10:38:19 GMT -5
Yes. And, sg, remember he's wiring his buddy's guitar and experimentation is probably not the order of the day So let his buddy do the final tone testing. Done is.
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Post by sumgai on Jun 9, 2019 0:37:22 GMT -5
espy,
Stick around, you'll get the hang of it soon enough. And never forget, none of us here were born knowing all this BS, we had to learn it too - we just got curious earlier than you did.
As to where the cap goes, that's easy. If you know what "series" means, then skip the rest of this paragraph. In essence, when we put two components "end to end", we say they are in series. From that, it's only a short jump to understanding that the order of those connections makes no difference to the final results. Just be aware that if the connection between those two components is also hooked up to something else, then the order/arrangement is important.
For most simple tone controls, the Tone pot is often wired "closest" (electrically speaking) to the Vol pot, and the capacitor is hooked to ground. There is no hard and fast rule anywhere that says a Tone control must be hooked up this way - the positions can be reversed with no effect on the control's ability to change the tone. In a few cases, you might see this reversal, but as often as not, that was probably done as a way to simplify something in the design. That might be the choice of values, or potentially the physical connecting points (where the leads are soldered... one way might be easier than the so-called "standard" way), but like we've been saying, the end effect will still be the same.
HTH
sumgai
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Post by sumgai on Jun 9, 2019 0:21:23 GMT -5
I submit to you that if you can't have an omelette without breaking a few eggs, then perhaps you should question the need for having an omelette in the first place. I had three sunny-side-ups with biscuits and corned beef hash for dinner yesterday and omelets for a late breakfast today. I've broken a half-dozen eggs in the past 24 and feel no remorse whatsoever. 😛 Ah, but you had/will have again a need that no one would question as to legitimacy.
OTOH, Mr. Pinocchio has uttered no less than 10,011 outright falsehoods or misleading statements, and that was the count as of April 27 of this year. (Bingle doesn't want to give me any thing more current.)
The omelette he's been eating is so overcooked that it's a wonder he doesn't die from apheganiahephus disease!
John,
Technically, the plans are still on the burner... somewhere... as soon as I get the bleepin' stove installed!
sumgai
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Post by sumgai on Jun 8, 2019 10:57:56 GMT -5
This is as close to political commentary as I wanna get. For several years now, you've been trying to get me (and Mrs. gai) to come down there for a visit. In light of the recent violent erosion of basic human dignities Down Under, I'm pretty sure that won't be happening any time soon. Time to extend the invitation in the other direction. Seeing as how your country's leaders are doing their best to out-Trump our Liar-in-Chief, I thought I'd take a moment to remind you that we have an extra bedroom available, and some additional room for Kit-Kat to run around as well.
Quoting PM Scott Morrison (after yet another AFP raid on journalists' homes and offices): “It never troubles me that our laws are being upheld.”
Indeed. Sir, I submit to you that if you can't have an omelette without breaking a few eggs, then perhaps you should question the need for having an omelette in the first place.
That is all.
sumgai
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Post by sumgai on Jun 7, 2019 18:00:28 GMT -5
As for the '50s wiring, I'm sure there are diagrams out on the web. Essentially, the '50's wiring puts the tone before the vol. pot. Errr, that's a bit different than what the linked thread says. In modern wiring, the Tone comes before the Vol pot, in so-called 50s wiring, it's after the Vol pot. Fortunately, you describe it correctly, and in greater detail, in Reply #7.
esp400,
Hi, and to The NutzHouse!
In essence, you can (and probably should) think of anything that looks like a guitar circuit as a collection of modules. The simplest module would be nothing more than a pickup, some wire, and an output jack. From there, you can add a Volume control, and doing so would be modifying the simple circuit by adding a Vol pot module. Then you can add a Tone pot module, if you so desire. I trust you're starting to get the picture, eh? So we've got one pickup, with some controls. It goes without saying that we can duplicate that whole schmear, and have two pickups, each with their own controls, and they can share an output jack. (But do ask newey about doing this with two output jacks, for a stereo guitar.) By adding a Switching module, we can now select which pickups are used. And so it goes, building up a complex circuit out of simple modules until we get the desired results.
Your original question was about modern versus 50s wiring. I'm fairly certain that after reading the linked thread, you'll consider very carefully your options, before implementing the final circuit. But if you wish to experiment, that'd be a good thing. After all, nothing is permanent inside of your axe - you can always take it apart and do something else, then try it out for tonal appeal. It's a bit difficult to do accurate Before/After experiments, unless you can record your trials (relying on your own memory can result in errors - trust me!), but for the most part you should be able to settle on which way to go, and lock it in as your final setup.
My final word on the topic - there's a reason why so-called 50s wiring didn't stick around... why it morphed into modern wiring, and that schema being pretty much the standard since then. John's thread deals with this to some degree as well. HTH
sumgai
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Post by sumgai on Jun 2, 2019 0:26:44 GMT -5
that brings me to something i was wondering: how to figure out current draw from a schematic? We could at least get a rough idea from the specs. 100w (rms) into a 4 ohm load would require 20v rms at a current of 5A. Seeing as how the schematic calls for 45vDC at the Output Transistors collector/emitters, we might think that 100w/45vDC should = 2.25A. However, this being a DC (direct coupled) output device, we need to look at the voltage expected to be seen at the output of the choke. That's 60vP-P, which translates to 30v per side, which further translates to about 0.707 * 30, or just a hair over 21vRMS. Now we can take that figure, and divide it into our expected/desired wattage figure. Diddling 100/21, we see 4.75 amps... roughly. Going the other way, with a bit closer to true figures (under ideal conditions), we get 45vDC * 2.222A = 99.99w. Close enough for government work, amiright?
This figure is about half of what the power supply is fused at (on the output of the bridge rectifier) - 10 amps (on each side). I personally think that's too lenient, but the fly in the ointment is, this is a fast-blow fuse. (To be accurate, a pair of them.) To use a slow-blow, as in a tube amp, is just asking for a visit from the Enviromental Police, vis-a-vis your smoke signals, soon to be emitted by one or more blown OTs. But a fast-blow fuse will easily succumb to a short burst that might exceed the expected power draw, so it's granted some lee-way, and a healthy dose of tolerance. Personally, I'd try to live with 7.5 amp fast-blow fuses, I'd bet they'd work just fine... unless you play in the ear-bleed range of decibels.
For any given tube amp, the calculations are a tiny bit more complex, but certainly nothing that the average Nut can't handle.
On to other items of interest:
Diode drops are not the way to control or reduce voltages, especially when currents of more than 100mA are involved. A voltage regulator is nothing more than a set of components designed around a Zener diode. They are intended to both protect the Zener, and boost it's potential current handling capability. Read up on Zeners, and it'll become obvious why reTrEaD and I are hot to use fully developed regulators.
The choke shown in the output circuit appears to be valued at 2 microH, and rated for 10A. That might be a tad hard to locate these days. Fortunately, the value can be varied considerably, as the choke's purpose is to dampen RadioFrequency emissions, caused by the OTs turning on and off at various frequencies (of the incoming audio), and rendering many orders of harmonics. Common practice for DC amps. Also fortunately, these can be hooked up in parallel to gain higher current ratings, just like resistors.
But look at that output resistor, R52. It's in parallel with the choke, and it's valued at 2 Ohms, but only 5 watts! What? How can that be, you ask. Ah, but it's job is simply to dampen the choke, almost exactly like the resistors you find in a power supply for a tube amp, the ones that are hooked up in parallel with the filter capacitors - it drains potential from the coil, so that the coil can't exert a "back EMF" into the output transistors. Again, this is further than we need to analyze the circuit, but the point being, don't be fooled by the seemingly too-low values. But to be sure, you also can't vary this by much. You can go for a higher wattage, if you happen to have one (or more) on hand, but not lower. And try to stick to 2 Ohms, or else the choke won't be able to do its job effectively.
HTH
had to put the kustom head down as i have spent twice what i paid for it in obscure transistors i keep smoking.... I had one of those once..... After two dozen dollars worth of power transistors insisting that their Job Description was to protect the 10 cent fuse, I gave it back to the customer as "uneconomically repairable". (And at no charge to him. Just my way of doing business.) I heard later that he took it to another repair shop, and they said the same thing. Never heard anything about him or the amp, after that. A real head shaker of a puzzle.
sumgai
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Post by sumgai on May 21, 2019 10:18:02 GMT -5
"A good idea of the effectiveness of a Faraday shield can be obtained from considerations of skin depth. With skin depth, the current flowing is mostly in the surface, and decays exponentially with depth through the material. Because a Faraday shield has finite thickness, this determines how well the shield works; a thicker shield can attenuate electromagnetic fields better, and to a lower frequency." It would seem to this old geezer that times have once again "changed", only not for the better. In my day, it was understood that the so-called skin effect was null and void for all practical purposes, until you were at power levels that would fry a human body several several feet away. (Considering that we're speaking of 50 or 60 Hz, the standard power line frequencies.) Now, it appears to me that we're dealing with microjoules of energy, and yet we're worried about skin effect? I'd ask for a break, but I'm no longer certain that I'd get one. Sigh.
For the most part, I can agree with that. Again, the old saying proves true here - Perfect is the enemy of good enough. But we were dealing with some pretty sophisticated gear back in my heyday, even by today's standards, so you'll forgive me if I'm a bit skeptical about the "laws of noise reduction" having been changed all that much.
Ferrous metals will work to focus the magnetic field, and here we are indeed concerned with the shape and size of the metal involved. Copper, being non-ferrous, works by acting as a shield that doesn't so much as block, as it does to divert impinging energy into the local ground. Being an excellent conductor, this works well. Which explains why guitars shielded with copper (or aluminum) exhibit no significant changes to tone when used as directed.
HTH
sumgai
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Post by sumgai on May 20, 2019 17:49:25 GMT -5
Faraday cages don't block low frequency alternating magnetic fields. Gonna hafta bite yer tongue on that one, antigua. A properly designed and built Faraday cage is intended to block all manner of interference, both cyclic and sporadic, at all frequencies.
In my career, I've worked in several places of high quality equipment manufacture and/or calibration labs. We had to shield against interference of all kinds, both RF and EMF. A very tightly woven screen (even finer than window screen sized openings) was used, and it always worked. Although TBH, when I was at John Fluke they did use solid copper. I always thought it was overkill, but it wasn't my money, so....
EDIT: What kind of metal does Lace use as their shielding?
sumgai
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Post by sumgai on May 20, 2019 17:01:00 GMT -5
We should care about tone because tone will either enhance or ruin the mood that the song is striving to convey. Well, that just goes back to what reTrEaD said (and demo'd) about "Everyone's Gone To The Movies", by Steely Dan.
But in point of fact, there are two (at least two!) facets in play at all times here:
1) At one extreme, we see that Tone can be the end of the journey all by itself. At the other end, no one gives a flying hoot, it's all just noise anyways. You can take it to the bank that there are quite a few very popular players coming from both camps, but for my money, most credible players are somewhere closer to the middle between those extremes.
2) Whose mood are you referring to - the Listener or the Player? We've discussed the player a fair amount up above, but what about the listener? Again, the above quoted example is a good indicator. Did Steely Dan (specifically, Fagen and Becker as the players/producers) feel that they were changing their minds for their own good, or for their listeners? Hard to say.*
So. OTOneH, we have a player being self-inspired by Tone, and OTOtherH, we have listeners who spend money to support said players. It's a sure bet that not all listeners have a "golden ear", but at the same time, not all of them will turn a deaf ear to pure noise, either. Sounds like the old routine about artistic values versus having to put food on the table. Sometimes compromise is the least distasteful medicine. Or to put it in persective vis-a-vis a musician's viewpoint - Perfect Is The Mortal Enemy Of Good Enough.
HTH
sumgai
* As it happens, this gets done a lot more than you might think. Dick Dale did it over his lifetime to at least a dozen tunes I can name. The Ventures are still doing it, after 60 years!! But the all-time winner of re-releasing a new version (and on practially every album she ever put out) is Nina Simone. HOTRS (House Of The Rising Sun) is pretty much her signature song, and she (and perhaps her producers) can't leave it alone. I mean, I have something like 14 versions of her doing it, on my drive.**
** I collect "swarms" of certain songs/tunes. Something like 1100+ copies of HOTRS, by more than 900 artists. But for all that, the Ventures version (on Walk Don't Run Volume 2) is still my favorite. Pantses Hilton Valentine all the way down to his ankles!
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Post by sumgai on May 19, 2019 21:44:31 GMT -5
^^^ IND means "individual", meaning in this case that just one pickup is chosen via the pickup selector switch. The statement was rather superflous, as it describes the way a blender works under normal circumstances. But we'll forgive geronimo, he's still somewhat new here.
HTH
sumgai
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Post by sumgai on May 18, 2019 17:15:15 GMT -5
But the unit is F for Farads! tho I was told that we use U instead of V for formulas now! Xc = 1/2πfc or be XK= 1/2πfK if only the world could make standards
Now where's the fun in that, I ask you?
Seriously, I've been around for more than 7 decades, and I've seen standards come and go. I can say with no little authority that they are really just temporarily stationary targets. You can bank on someone, or several someones, taking potshots at a standard until it gets changed. Then the pot-shooter changes faces, but the pot-shooting continues, unabated. Same old, same old.
Nothing to see here folks, kindly move along, please.
sumgai
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Post by sumgai on May 18, 2019 16:56:46 GMT -5
I'm as interested/intrigued as reTrEaD about these font choices. Yes, the Staff will be discussing this "behind the scenes", and we'll let everyone know in due course what we decide. In the meantime, @angelsbunny, do keep us up-to-date with what you find in your experiments on this forum. If you have suggestions we can follow, such as a good experience on another website, then let us know that too.
HTH
sumgai
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Post by sumgai on May 18, 2019 12:42:39 GMT -5
Actually I disagree with Sumgai on one subtlety here: An electric guitar as an instrument *includes* the amplifier. Focusing on, or exploiting, the amplifier's tonal characteristics is all part of playing electric guitar. Given the complexities and interactions of this end-to-end tone-generating system, and the never-ending debate on the influence (or not) of the wood of a solid-body guitar on the tone, a player is playing the pickups/amplifier as much as he is ever playing the guitar (and then it all feeds back into the body more and more as volume goes up). I do not expect we can ever separate all of that into its parts. Since we're in the mode of disagreeing.....
I can separate the parts of the discussion, quite easily in fact.
I'll agree that an amplifier is part and parcel of the tone of an electric guitar, but the very term "amplifier" is the key here - an amplifier is meant to to exactly that - amplify what was put in to it, nothing more. When you have an amp that adds to that with various effects (Gain being my personal bugaboo), you are no longer just amplifying, you are modifying the tone along its way to the speaker. And here I speak even to the added reverb, but not to commonly found tremolo. The former does affect the tonality (usually reducing some of the treble), but tremolo merely adjusts the volume level in a repetitive pattern. (At least, that all it's supposed to do.)
How many amplifiers today, even those of 30 and 40 years ago(!) add a lot of baloney effects to produce a "different, unique" tone? How many of them add modeling? (Answer: a lot.)
I understand that in today's world/market, makers/sellers need to stand out from the crowd. But it's one thing to embellish tone to accomplish a given ideal (pure, clean, etc. or perhaps simply loud, quality of tone be damned), and another thing entirely to substitute a completely different sound, and call that "the best sounding amp you'll ever buy". They're correct - it has a sound, but does it have The Tone? I think not.
And no, for those who are just tuning in, I'm a Fender owner/former player, but I don't think that Fender has always had the best tone. I like them, that's true, but in fact I'd opt for an old Gibson RVT79, or even an GT17 (or 19), given my druthers. Neither of those are particularly loud, but they are are so well suited to many genres that don't require stadium-sized volume levels. And if you wanna talk bass, then you can safely stop with Ampeg's B-15, the very definition of how to do it correctly the first time out the door.
Tonewood? See many discussions on this Forum.
The tone is really in one's fingers? I think reTrEaD said it best - "I shook my fingers all night, and not one Tone dropped of them - ever!!" Need I go on? (Probably not, eh? )
And lest we forget, we should let ashcatlt chime in with his version of what constitutes tone. Versus sound....
HTH
sumgai
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Post by sumgai on May 18, 2019 11:50:51 GMT -5
'bunny,
In some parts of the world, capacitance is spelled with a K instead of a C.
nerd, First, to The NutzHouse! Second, I'm happy that you give credit to the source of your inspiration, but we aren't so much interested in what Vinnie did as we are in helping you, the guy who came here and asked us for help. That means that we need to see a table, even a simple text one, that tells us what you want the circuit to do. Working backwards, so to speak, is all fine and dandy, but it puts the cart at the wrong end of the horse. Another thing, and this is much smaller an issue, we'll all agree, is that when you post a diagram, in any stage of the proceedings, you should keep in mind that other viewers will see it, and eventually, someone's gonna "snatch" it for their own use. Things like labels, component values, and even a Truth Table all work together to make it easy for someone else to follow, later on. While it's understood that a work in progress is just that, and necessarily incomplete, I'm asking that you keep these items in mind as you approach the final drawing. And at that, once this is done to your satisfaction, your circuit easily qualifies for posting to our Guitar Schematics sub-Board. (Generally speaking, we like entries therein to be complete at the outset. And preferably vetted by members before submission, although that's not a hard-and-fast rule.) As to @angelsbunny 's suggestions, I'd advise that you first accomplish your goals in your own fashion, then we can all look for ways to optimize those results.
HTH
sumgai
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Post by sumgai on May 18, 2019 11:09:55 GMT -5
'bunny,
I'm curious - can you capture a screen image of what you see, and post it here? We have had, and likely still have, a few low-vision members, and I don't recall ever getting a request quite like yours.
sumgai
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Post by sumgai on May 16, 2019 21:02:03 GMT -5
Actually, tone is in the ear of the beholder, I think we can all agree on that. But there are certain, shall we say, universal concepts that attract much more than a small fraction of the listening audience..
One of the major differences we already see in this very thread, is the difference between Tone and Sound. Jimi Hendrix made it to the big time by not relying on Tone, but on Sound. (As did Robin Trower, later on.) And here, I get to quote a friend of mine, a former teacher in Nashville (where you had to be a cut above the rest in order to make it at all). He said "That man's not playing the guitar, he's playing the amp!"
Whether it's amps or pedals, if you going beyond the guitar's natural output in order to obtain a sound (and I'm excluding sustain here, except where sustain is a byproduct of distortion), then you're in Sound territory, and no longer in Tone territory.
As noted, many players tend to develop a synergy between their perceived tone, and what/how they play. I myself tend to think like a sax player when I solo, because I like to use a sax sound from my synth machine(s). I can't think in terms of double-stops unless I'm using a piano or organ tonality/sound. But wouldn't you know it, I almost refuse to play the bridge of Amazing Grace if I don't get to use the Bagpipes tonality/sound. Sends shivers up and down my spine... and I'm not even a Scotsman! But I can bring tears to the eyes of more than one person in the house, it just sounds right, for that particular tune.
So. Why care about tone? Some don't need to, some don't want to, and some think that's the sum-total of the endgame. It's all over the map, just like ToneWood (and it's offshoots) - it's a crap-shoot as to what the next listener might want to hear, so one might as well forget about what other people want to hear, and make themselves happy.
HTH
sumgai
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Post by sumgai on May 16, 2019 20:33:55 GMT -5
Well, they're holding it in August, at Watkins Glen (a race track). My bet would be this will become known as DustStock.
But otherwise, it's been done, and better at that, time and time again. I don't think it's not gonna draw anywhere near the crowd needed to pay the bills.
This morning I read an article about a judge handing a partial victory to the organizers, saying that Dentsu et al (a majority stake financier) can't summarily pull the plug and kill the whole thing. However, Dentsu is permitted to keep their money (17.8 Megabux), so it's not a total win. Ouch. Even so, other sponsers are allegedly still on board, and others are being courted, as we write (and read).
But if I were in the hot seat, I'd be worried, like Dentsu, about the fact that the organizers haven't even started trying to sell tickets yet. Seems to me that they're waiting for the last minute, will put them up for sale on a website, and figure on a bazillion people all trying to jam in there at once, thus assuring a sell-out crowd. What they haven't counted on is that ideas like this tend, with great frequency, to go titsup in a hurry, thus giving the opposite results. Remember, one "aw crap" resets all attaboys!
I give it a 40 Mr. Clark. It has an awful beat, and I can't dance to it.
sumgai
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Post by sumgai on May 14, 2019 14:21:22 GMT -5
For certain, there's a lot of room to define both the meaning of, and the word itself, "Tone".
The previous postings all assume "electric guitar", and I find that to be an immediate limiter. Yes, all of the above mentions are tres cool, but let's down to the nitty gritty, shall we? Most fortuitiously, we can stay within one genre to get to the apex of Tone, electric or otherwise.
For my runner-up, I'm going with Bugs Henderson, specifically the album "Four Tens Strike Again". Sadly the man died a few years ago, but not until leaving us with a legacy of masterful licks, and more than one song devoted to Tone itself. "Don't you get it kid? I'm the tone. Four Tens strike again!" He was referring to an old Fender Concert that had four 10" speakers.
Very sadly, there are hardly any videos of his studio recordings - most of them are live, probably taken from 1st generation cell phones, which means vastly reduced audio quality... some to the point of why did they even bother. But here's a neat one called Anthem For The Blues:
So you're all waiting with 'bated breath as to what I consider the best of all Tone-ful players, yes? Well, wait no more, Bunky, 'cause it's none other Rory Gallagher!!!
If I had to spend the rest of my life on a desert island, with only three albums, they'd have to be Calling Card, Against The Grain, and Edged In Blue. But seriously, Rory played with his tone all over the place, never sticking to one thing for very long. And he used both the acoustic guitar and other acoustic stringed instruments as well, giving a rich backdrop for so many songs he performed.
Runner-up favorite:
And the epitome of all songs, for all time:
There you have it, the concise definition of Tone, all rolled up into one performance. As Porky Pig would say, th..th... tha... that's all, folks!
Good night, Irene.
sumgai
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