Fig. 1
Hello, and welcome to another Dojo. Last month, I focused on the history and development of the VU meter, and then defined some of the more confusing terms regarding decibels (dB, dBu, dBA, and dBSPL), as well as various ways to measure loudness and amplitude. I also asked: “Is a 100-watt amp twice as loud as a 50-watt amp?”—the answer shall be revealed presently. But first, I’m going to focus on a relative newcomer to the scene: dBFS. Tighten up your belts, the Dojo is now open.
More dB Terms?
What is dBFS? It is relegated to the digital realm, and whenever you hear this term, I want you to remember the following joke: “What sounds better than digital distortion? Everything!”
You see, dBFS (decibels full scale), is the unit of measurement for amplitude within a digital system (such as your DAW), and all digital systems have a maximum peak level before clipping (overload) occurs. A reading of 0 dBFS is the highest signal level achievable for a digital audio. Unlike the analog world, where brief moments of being “in the red” of the VU meter won’t adversely affect the audio, dBFS digital “overs” are squared off (or, mercilessly guillotined), and clipping occurs. It sucks, and is to be avoided at all times. The audio irony is that, when or if you see those two teeny-tiny rectangles above your master fader turn red (Fig.1), you’ve got big problems, and need to turn everything down in order to avoid clipping when you bounce/render your mix.
Is a 100-watt amp twice as loud as a 50-watt amp?
I’m going to answer this by helping you learn some more about how we perceive loudness, and I’ll be using dBA as our mode of measurement. Because, as you’ll recall from last month, using dBFS treats all frequencies equally, and that’s not how the human ear works. In other words, our sensitivity to frequency, sound level, and duration vary across our general range of hearing (20 Hz to 20 kHz). Specifically, our hearing has evolved to be most sensitive between the approximate ranges of 2 kHz and 5 kHz.
Using this range as a yardstick, audiologists agree that 3 dB (up or down) is the minimal detectable change the average person can hear. In my experience, in a critical listening environment, I—and anyone else in the studio—can easily hear 1 dB changes—this especially happens when mixing and mastering.
“The audio irony is that, when or if you see those two teeny-tiny rectangles above your master fader turn red, you’ve got big problems.”
However, to increase the sound, 3 dB requires twice the power (intensity). An increase of 6 dB requires twice the amplitude (voltage), and an increase of 10 dB sounds to the human ear twice as loud. Stated another way: +3 dB is 2x the acoustic power, +6 dB is 4x the acoustic power, and +10 dB is 10x the acoustic power. For those who are mathematically inclined (I am not), here is the decibel formula: dB = 10log10 (S1/S2), where S1 and S2 are the intensity of the two sounds.
Remember when I said last month that decibels are based on a ratio, and they are logarithmic? Now we want to look at the relationship of decibels and power. What is the international unit of measurement for power? It’s the watt (W), named after Scottish inventor James Watt (1736–1819). Check out these relationships:
| Number of Decibels | Relative Increase of Power |
| 0 dB | 1x |
| 3 dB | 2x |
| 10 dB | 10x |
| 20 dB | 100x |
| 30 dB | 1,000x |
| 50 dB | 100,000x |
| 100 dB | 10,000,000,000x |
So, let’s say we have a lovely vintage 4x12 cabinet, and we have two amps that we are going to run through it—a 50-watt head and a 100-watt head (both with matching impedance). Using this relationship, we can answer our previous question! Our 50-watt head is the starting point and baseline for measurement.
Let’s say that, as we play our latest epic jam through our dimed 50-watt head, our drummer comes over and says, “It’s not loud enough! They can’t hear it in the parking lot of the Waffle House across from the stadium!” So, we switch to the 100-watt head thinking it will be twice as loud. Wrong! Go back and look at the chart above. We’ve doubled the power (2x) and that only gained us a paltry increase of 3 dB! That’s right, a 100-watt amp is only 3 dB louder than a 50-watt amp. So, what would be twice as loud? Do the math—we’d need a 10x increase in watts (50 W × 10), so a 500-watt amplifier (or 10 dimed 50-watt amps, simultaneously) would be needed! (Yes, but do they go to 11?)
Until next time, namaste.
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“Earthwood Bell Bronze strings are a giant leap forward in tone, playability, and durability. They’re great in any musical setting but really shine when played solo. There’s an orchestral quality to them.” -John Mayer
Product Features:
- Developed in collaboration with John Mayer
- Big, bold sound
- Inspired by alloys used for bells and cymbals
- Increased resonance with improved projection and sustain
- Patent-pending alloy unique to Ernie Ball stringsHow is Bell Bronze different?
- Richer and fuller sound than 80/20 and Phosphor Bronze without sounding dark
- Similar top end to 80/20 Bronze with richer low end than Phosphor Bronze
Milkman’s Jerry Garcia-style JG-40 combo.
Entire books about the Grateful Dead’s gear have been written, so we can’t cover it all here. Garcia tinkered with all facets of his sound from about 1971 until 1978, when his signal path reached stability. By then, his On-Board Effects Loop—an innovation he developed to control how much signal reached his effects—was dialed in, his backline firm, and his choice of effects pedals solidified. Even then, adjustments were made, especially when MIDI arrived or when technology like in-ear monitoring was used. Here are some basics.
Scarlet Fire’s recreation of Garcia’s Wolf, originally built by Doug Irwin.
It starts with guitars. For players wanting to get their Jerry on, there’s a wide range of Garcia-esque instruments—with just as wide a range of prices—out there. Recreations of the Doug Irwin guitars and the Fender Alligator Strat abound. China-built models from companies likePhred Instruments can go for as little as $700 or so. Luthier Thomas Lieber apprenticed with Irwin long ago, and his Lieber Guitars will deliver a copy of a variety of Garcia models. Leo Elliott’sScarlet Fire Guitars out of Dallas, Texas, takes things in another direction. Elliott builds Doug Irwin replicas that start at $20,000 and go up from there, with a current wait time of about 18 months for an instrument. He’s outfitted many of the top Garcia guitarists today, including Tom Hamilton Jr. and Jeff Mattson. Elliott says, “I’m a self-taught luthier; I didn’t really build my first guitar until 2010. I understood a little bit about woodworking before I got started, but I learned by reading books and through trial and error. I started building replicas of Doug Irwin’s Wolf guitar right away, which is sort of like building a car and starting with a Ferrari. I didn’t know any better. Then, eventually I got to know Doug Irwin and collaborated with him. So, I got to hold Garcia’s Tiger guitar and get to know it really well, and by 2015, I had built replicas of that guitar. There’s one guy who helps me around the shop, but otherwise, I am building these guitars on my own. I’m collaborating with Doug Irwin on a new series of Tiger guitars, which will retail for 50 grand each.” That’s one way to get your Jerry going.
The JBL-inspired Milkman K-120.
Garcia’s choice of amplifiers is another matter. He preferred Fender Twin Reverbs loaded with JBL Alnico speakers, which were popular amongst many rock bands in the 1970s. The details get complicated; Garcia’s amps were heavily modified, and the Fender Twin served as a preamp that ran to a McIntosh MC-3500 power amp.
It’s hard to find vintage JBL speakers today—at least ones in good shape. San Francisco’s Milkman Sound, founded by Tim Marcus, has created a faithful reproduction of those classic JBLsthey call the K-120. They’re coupling those speakers with a Garcia-style recreation of his Fender Twin that Marcus named the JG-40. “I think 75 percent of Jerry’s tone is in the JBL speakers,” Milkman’s founder says. “But when you start to analyze the other 25 percent, you kind of have to start withDon Rich. [Editor’s Note: Rich was the guitar player in Buck Owens’ band, pioneers of the Bakersfield Sound.] That’s Jerry’s tone, too, but the difference is Garcia’s midrange was a bit throatier. It sounds clean, but really, it’s not clean at the same time. Especially his tone in the late ’70s. There is something about running that Fender Twin Reverb through the McIntosh that would just completely blow out the tone in a really interesting way.”
Garcia colored his tone with off-the-shelf effects. This was, after all, long before the days of boutique pedals. By 1978 and beyond, you’d hear him playing through an MXR Distortion+, an MXR Analog Delay, and an MXR Phase 100. He often used auto wahs, preferring the Musitronics Mu-Tron envelope filter as well as a Mu-Tron Octave Divider and a Mu-Tron combination volume and wah pedal.
When I asked Jeff Mattson, Bella Rayne, and Tom Hamilton Jr. exactly how orthodox they are about using the kind of gear that Garcia did, I got three different answers.
Mattson tells me that because Dark Star Orchestra is doing something very specific, he really has to tailor his sound as carefully to Garcia’s as he can. “Some folks get too hung up on small things, like what kind of cable to use and things like that, and I don’t go that far. But it’s important for Dark Star Orchestra to get Jerry’s sound right because we are covering different eras and different shows. In 2022, for example, we went to Europe and recreated shows from the Dead’s famous Europe ’72 tour, so you have to pay close attention to what kind of gear they were using to do that right.”
Hamilton works differently. He’s always preferred a higher-gain signal than Garcia ever did, landing in more of a British or heavy metal tone. (Randy Rhoads was a big influence.) “I’ve always approached it like, ‘What’s the new information we can put into this thing?’” he says. “Not just recreate but pushing in a forward direction. And anytime I’ve played with the guys who played with Garcia back in the day, they always said to me, ‘You’re here because you’re here. Don’t try and do what we did back in 1978 or do it because Garcia did it that way.’ They’ve always encouraged me to be myself.”
Bella Rayne is just wrapping her head around what it really means to try to sound like Garcia. “Besides Jerry, I’m influenced by guitarists like Dickey Betts and Derek Trucks, so my tone tends to be a bit heavier and bluesy,” she explains. “I’m generally running a Stratocaster through a Fender Twin Reverb. But recently, I was doing a show, and a buddy of mine set up a Jerry rig for me, and that was so cool: JBL speakers, McIntosh head, the whole setup. I had never played through one. I didn’t know what the hype was all about. I plugged in, and it was just amazing; there was such a snap, and I was really commanding the band. I can see myself keeping my current rig but adding a Dead-rig to experiment. But honestly, anything is fine; I am not picky. I just want to play the best that I can.”
“The distinctive pickup configurations of these five guitars deliver a versatile tonal platform, whether you’re exploring subtle textures or pushing the envelope. The deep dive into our Narrowfield technology is obvious with this launch. With both the S2 models made in our Maryland factory and the SE models made in Indonesia, our goal has been to create guitars that will inspire you and spark creativity, all at an exceptional value,” said PRS Guitars COO, Jack Higginbotham.
S2 Special Semi-Hollow
The PRS S2 Special Semi-Hollow features a pair of 58/15 LT humbuckers in the bass and treble positions and a PRS Narrowfield in the middle. A 5-way blade switch and two mini-toggles allow players to tap the humbuckers, creating twelve distinct pickup combinations for sonic exploration. The carved maple top and mahogany back encompass a semi-hollow body that adds a natural airiness and depth to the guitar’s tone while enhancing sustain.
S2 Studio
The PRS S2 Studio delivers a wide range of sonic possibilities through its distinctive single-single-hum configuration. Featuring two proprietary PRS Narrowfield pickups in the bass and middle positions and a 58/15 LT humbucker in the treble position, the S2 Studio offers a palette of sounds from single-coil clarity to vocal humbucker tones. This model also has a 5-way blade switch and push/pull tone control.
SE Special Semi-Hollow
The PRS SE Special Semi-Hollow is designed with the versatility of a hum/“single”/hum setup, bringing PRS’s Narrowfield DD pickup design to the SE Series in a classic maple-top guitar. The semi-hollow construction also enhances sustain and resonance, while the f-hole adds a classic aesthetic. The coil-tap switching system unlocks a wide range of tones through a pair of 58/15 LT “S” pickups in the bass and treble positions and a PRS Narrowfield DD “S” in the middle.
SE Studio
The PRS SE Studio’s “single”/”single”/hum pickup configuration provides a wide range of tonal options. This combination of PRS Narrowfield DD “S” bass and middle pickups with a PRS 58/15 LT “S” treble humbucker offers humbucking warmth, single-coil sparkle, and everything in between. The 5-way blade switch and push/pull tone control further enhance its versatility.
SE Studio Standard
The only bolt-on neck in this release group, the PRS SE Studio Standard brings the tone, playability, and versatility of the Studio model to the SE Series and into an all-mahogany design with a vintage-style pickguard aesthetic. At the heart of the SE Studio Standard is its versatile trio of pickups: an 58/15 LT “S” humbucker in the treble position with two Narrowfield DD “S” pickups in the middle and bass positions. The 5-way blade switch and push/pull tone control allow for an array of pickup configurations.
PRS Guitars continues its schedule of launching new products each month in 2025. Stay tuned to see new gear and 40th Anniversary limited-edition guitars throughout the year.
