
Photo 1 Two versions of an extremely simple so-called bass-extender.
Esoterica Electrica columnist and luthier Jol Dantzig has been exploring string-tension myths in recent Premier Guitar articles. Here are some thoughts to add to the discourse.
Dear Jol Dantzig,
Your recent PG articles, "The Doors of Perception" and the follow-up "The String-Tension Follies Experiment, Continued," are an interesting read about string tension, a topic of which your friend Collin Olson of D'Addario said: "There's definitely a lot of confusion out there." He's right, and you're definitely not alone with your doubts, thoughts, and struggles.
Recently a bass builder came up with the idea of how to make a 30" short-scale feel and sound like a 34" long-scale bass. He intended to use a string-through bridge and attach the tailpiece at a place where Floyd-Rose-equipped guitars have those spring-claws to elongate string length. He was about to spend a lot of money on a patent, which he now hopefully saves for something else.
I've discussed this topic in a few earlier columns, but sometimes we might be skeptical about a certain idea and need a different explanation and view angle before we know what's wrong. And since this is even discussed among experienced luthiers, I wanted to shed some light on it.
You mentioned four questions you've been thinking about, and I allow myself to start with my short answers:
1. Does overall string length affect tension?
No.
2. Does string tension really affect tone?
No and yes.
3. Is sustain hampered by pickup magnets?
Yes.
4. Can Eric Johnson tell when my battery is alkaline?
Surely not, but he's free to believe whatever he wants.
With questions #3 and #4 being a very different topic, let's focus on questions #1 and #2.
The issue of string tension has a mathematical answer. This is the formula for a string's tension (T):
Uw= specific weight per length unit of core and winding, L= scale length, f= frequency.
I'm sure you've seen this, but let's put it in words: For a given speaking length of a specific string, tension equals frequency, or the root thereof.
And, less mathematical, if I said that length behind the bridge would add tension, you'd need to tune down to a lesser tension to get back to pitch "f." A classic circulus vitiosus.
Tension (if one-dimensional) is an axial force between two points and is in equilibrium across the whole length of the string between both anchor points, wherever these are. But pitch only depends on its speaking length.
I've discussed this topic in a few earlier columns, but sometimes we might be skeptical about a certain idea and need a different explanation and view angle before we know what's wrong.
Question #2 is a bit more complicated because I think the question should be: Does overall string length affect tone? While tension doesn't affect tone, overall string length can. It's often said that additional string length adds especially to the low end, which once led to the idea of so-called bass-extenders (see "The B-String Extender Myth" [March 2013]).
Two of these "bass-extender" constructions are shown in Photo 1, which to me is not only simple, but debunking at the same time. In physics, it's often helpful to look at the extremes. Assuming adding length worked:
A.) It would be almost impossible to build a good-sounding headless bass, as these sport an extremely short overall string-length.
B.) Using an extra, extra-long string, wound all across the room, would allow one to forever dominate the bass world.
Both outcomes not only sound very unlikely but have been disproven. It's no surprise that you mention two specific instruments that led to the idea of outer string length affecting tension: the upright bass and an archtop guitar or bass.
Photo 2 - This German Fasan archtop bass (built in 1965) has a shallow break angle and long string-length on the left side of the bridge.
Photo courtesy of german-vintage-guitar.com
Both of these are known for their extended string length behind the bridge, sport a separate bridge and tailpiece, and, more importantly, are half or fully acoustic instruments. On an acoustic instrument, you'll want to remove as much weight and stress from the soundboard. The first eases movement of the top, while the latter allows for an even thinner soundboard, moving even more air.
This construction with a very distant bridge and tailpiece is exactly the one where perception chimes in, although I'd prefer to use the term elasticity. Whenever we pluck or bend a string, we apply a force (F) to a given string with an elasticity (E) and diameter (A). According to Hooke's law for a material's elastic behavior:
E and A are constant and so would be the force that needs to be applied for bending a string by ∂l. For a given instrument, l0 is constant—close to the scale length for a headless, and scale length plus the additional length outside the scale, if the string can slip over the bridge once we bend it. When l0 getting bigger, the force needed for the same bend gets smaller and this results in the perception of a softer, more elastic string. Of course, the break angle at both ends of the scale length needs to be rather shallow with low friction to allow for the string's slippage (Photo 2). It's discussed in my PG column "The Break Dance Behind the Bridge" [February 2021].
A final answer to your question about its effect on tone is pretty complex and one I'm also still struggling with. A few of my thoughts on the subject went into the article "Bridge vs. Tone" [March 2021].
Maybe these can give you some ideas to chew on?
Sincerely,
Heiko PG
An imperfectly perfect routing job.
Take a moment to appreciate those quirks in your instruments that reveal their maker’s hands.
Let’s talk about obsessions for a minute. They come in all sizes and shapes; some are benign and harmless, while others can be cruel, crippling, or even life threatening. Members of 12-step and self-help programs remind us of how insidious our own self-delusion can be, which intrigued me enough to take a look at my gear and, ultimately, myself.
I took stock of any compulsive behaviors or things that kept me up at night. I tabulated items that pushed my buttons or irritated me. In the end, I had to admit that I’ve got issues—I’m obsessed. I can’t help myself, but I don’t want to either.
There are names and acronyms for what I have, but it all boils down to one thing: I’ve been obsessed with the little details. The little stuff that most people can pass by without a second thought. That candy wrapper teetering on the edge of the waste bin; I wonder, who could possibly tolerate that? That screwdriver with a worn tip? I’ve got to replace that! A small gap between a maple top and the binding? We can’t let that go. An uneven seam? To the bandsaw it goes, and then the dumpster. Those are the little glitches that make a statement individually and add up to a total that is less than what it could be. No, make that should be. Or should it?
The ancient Greeks were fascinated with the concept of arete, which refers to excellence or virtue. Arete represents the highest quality or state that something or someone can achieve. The German auto designer Ferdinand Porsche considered it almost a religion—indeed, the company’s motto has been interpreted as “excellence is expected.” I’m not imagining that I have the chops of a Porsche engineer, but we all have goals.Of course, there is a limit; otherwise, I’d never get anything done. I’m not crazy. So, in order to save myself, and possibly you, I encourage embracing a get-out-of-jail-free concept of sorts known to the Japanese as wabi-sabi.
Wabi-sabi plays a profound and integral role in Japanese culture and traditions, influencing various aspects of art, philosophy, and daily life. This aesthetic concept, ingrained into Japan’s culture, actually celebrates imperfection, impermanence, and simplicity. Some of the aesthetic principles of wabi-sabi include appreciating asymmetry, valuing roughness and simplicity, recognizing beauty in natural things, and embracing natural wear and tear. I think those of us who appreciate a real road-worn vintage instrument may already be part of the way there!
“As much as I don’t want my toaster to project sloppy construction, I do want beautiful instruments to approach perfection, while leaving little breadcrumbs that are evidence of the maker’s hand.”
For me as a musician and builder, I’ve come to soften my obsessions to appreciate and even look for the little “mistakes” in music and craft that tell me that a human being actually created those things. Things like off-mic banter in studio recordings, or fret buzz. As much as I don’t want my toaster to project sloppy construction, I do want beautiful instruments to approach perfection, while leaving little breadcrumbs that are evidence of the maker’s hand. Of course, under the microscope anything can be dissected and proclaimed imperfect, but there is a beauty to something that says, “This is as good as you need it to be.” Furthermore, you could say it’s beautiful the way it is because it has character shaped by virtues and flaws, just like a human being.
So, before I jump to a conclusion or judgement on a guitar, song, or most anything that is created by humans, I take a breath and consider character and personality. You might say that a perfect execution of lutherie might be flawless, but it’s the cold, sterile presence of the totally immaculate that I find flawed. When I look at the flatness of the finish on the top edge of a Collings headstock, I marvel at the determination behind it. But it’s not the entire beast, for that same guitar has telltale marks that prove it was made by people, not an alien force. They are the wabi-sabi—the maker’s mark.
I once owned a vintage Telecaster that was stunningly mint, but had a tiny knot in the maple fretboard, just past the 12th fret. Would I have returned it as unacceptable if I had been the original owner? Even at the time, many decades ago, I recognized the character that birthmark brought to my guitar. Even though it’s long gone from my collection, if I ever saw it again, I’d recognize it like an old compadre. And that, my friends, is what makes our instruments real to us. And I’m now obsessed with that.
Two Notes Unveil the Next Giant Leap in Their Reactive Load Box Legacy With Reload II
Introducing Torpedo Reload II - Two Notes Audio Engineering's latest groundbreaking reactive load solution, featuring twin-channel operation, multi-impedance compatibility, and continuous attenuation. With a Celestion® Approved Load Response and 215W per channel power amplifier, Reload II redefines backline control.
Two Notes Audio Engineering, the world's leading innovator and manufacturer of load boxes, attenuators, and digital cabinet emulators, has just announced Torpedo Reload II - The latest installment in Two Notes’ class-leading reactive load solution legacy marking the definitive watershed in contemporary backline control.
Featuring twin-channel operation, selectable multi-impedance compatibility, and true continuous attenuation, Reload II is Two Notes’ most advanced Load Box to date. Its mission is simple: unleash the power of any amplifier or line-level source without compromise. Armed with a ground-up rework of their defining reactive load for a Celestion® Approved Load Response, the match is set to drive any amp’s power stage (rated up to 200W RMS) to perfection, retaining all the sonic integrity your performance demands. Scalable from a whisper to a full-throttle onslaught, Reload II’s ultra-transparent dual-mono 215W (per channel) amplifier/attenuator and paired speaker outputs preserve every facet of your tone. Add a Stereo FX Loop, dual Line outputs, and GENOME Reload II Edition (software download) into the mix and Reload doesn't just enhance your rig, it redefines it.
“When it came to developing Reload II, it was obvious this couldn't be a run-of-the-mill update of its predecessor. Fuelled by an ethos rooted in continual redefinition of contemporary backline control, we set our sights on a ground-up rework of our defining reactive load. The results speak for themselves: hands-down the best-in-class impedance match available on the market to date and the first reactive Load Box to feature an industry first Celestion® Approved Load Response.” Said Guillaume Pille, Two notes CEO. “Whether it’s a tube amp, a line level source, or even both simultaneously, all the hookup flexibility you demand from a Two Notes product is here. Throw a 215W (per cab output) power amplifier into the mix, and you’re primed with everything from studio-friendly silent loadbox operation to mainstage-ready source amplification. If that wasn't enough, there’s a suite of expertly-tuned tone-shaping tools - plus a super-versatile Stereo/Dual Mono FX loop - that all combine to make Reload II our most adaptable solution to date. The next generation of our Reactive Load legacy has arrived. It’s now up to you to reimagine your backline with everything the Two Notes ecosystem has to offer!
Reload II is now available for pre-order from Two Notes stockists worldwide, scheduled for shipping Q1 2025. At launch, Reload II ships with the following MAP / MSRPs
US: $999.99 (MAP)
Euro: 999.99€ (MSRP)
GBP - £849.99 (MSRP)
For more information, please visit two-notes.com.
Introducing Torpedo Reload II - YouTube
On That’s the Price of Loving Me, “We’re Not Finished Yet” is a love letter to Wareham’s 1968 Gibson ES-335.
The singer-songwriter-guitarist, known for his time with indie rock heroes Galaxie 500, Luna, and Dean & Britta, reunites with producer Kramer on his latest song-driven solo effort, That’s the Price of Loving Me.
“You want there to be moments where something unexpected hits you,” says Dean Wareham. “They’ve done studies on this. What is it in a song that makes people cry? What is it that moves you? It’s something unexpected.”
The singer-songwriter, 61, has crafted many such moments—most famously during the late ’80s and early ’90s, helping cement the dream-pop genre with cult-favorites Galaxie 500. Take the tenor saxophone, by Ralph Carney, that elevates the back half of “Decomposing Trees” from 1989’s On Fire, or the Mellotron-like atmosphere that bubbles up during “Spook” on This Is Our Music from 1990—both of which, notably, were recorded with journeyman producer Kramer, who’s part of Wareham’s rich sonic universe once again with the songwriter’s new solo album, That’s the Price of Loving Me.
Following This Is Our Music, the final Galaxie 500 album, Wareham and Kramer went their separate ways. The former founded the long-running indie-rock band Luna, formed the duo Dean & Britta with now-wife Britta Phillips, worked on film scores, and released a handful of solo projects. Kramer, meanwhile, grew into a hero of experimental music, playing with and producing everyone from John Zorn to Daniel Johnston. They stayed in touch, even as they drifted apart geographically, and always talked about working together again—but it took the weight of mortality to make it happen.
“[Kramer has] been saying for years, ‘It’s crazy we haven’t made a record together,’” says Wareham over Zoom, his shimmering silver hair flanked in the frame by a wall-hung cherry red Gibson SG and a poster of Rainer Werner Fassbinder’s 1975 drama Faustrecht der Freiheit. “He was living in Florida, and I was living elsewhere and doing other things. But I did lose a couple of friends over the pandemic, and it did occur to me, you can’t just say, ‘I’ll get to it’ forever. Not to be morbid, but we’re not gonna be here forever. We’re not getting any younger, are we?”
Dean Wareham's Gear
Wareham was a member of the early indie dream-pop trio Galaxie 500. After their split, he formed indie rock stalwarts Luna as well as Dean & Britta, with wife and Luna bandmate Britta Phillips.
Photo by Laura Moreau
Guitars
Amps
- Lazy J 20
- Mesa/Boogie California Tweed
Effects
- EAE Hypersleep reverb
- EAE Sending analog delay
- Dr Scientist Frazz Dazzler fuzz
- Danelectro Back Talk
- Joe Parker Raydeen overdrive
Strings, Picks, and Accessories
- Curtis Mangan nickel wounds (.010–.046)
- Dunlop Nylon .88 mm picks
- Truetone 1 Spot Pro CS12
In 2020, Dean & Britta recorded a covers album, Quarantine Tapes—the perfect opportunity, amid the agony of lockdown, to finally get Kramer involved. The producer mixed their hazy version of the Seekers’ “The Carnival Is Over,” which planted the seeds for a bigger collaboration on That’s the Price of Loving Me. At first, though, Wareham didn’t have any songs, so he gave himself a hard deadline by booking some time at L.A. studio Lucy’s Meat Market.
“What is it in a song that makes people cry? What is it that moves you? It’s something unexpected.”
“I don’t write songs every day—sometimes I don’t write songs for a whole year or something,” he says with a laugh. “The only thing that gets me to do it is booking studio time. Then I have to write some songs because it’ll be embarrassing if I show up with nothing.”
The space itself—decked out with a jaw-dropping amount of vintage guitars and amplifiers and keyboards—helped animate his sleepy-eyed and gently psychedelic songs. “I thought I had a few nice instruments,” Wareham says, “but I showed up, like, ‘Oh, your Les Paul’s from 1955? I think I’ll play this one. Your Martin is from the ’40s?’” Speed and spontaneity were essential: They worked six full days, with Kramer guiding him to capture every performance without overthinking it.
Wareham’s latest was produced by Kramer, a former member of Shockabilly, Bongwater, and the Butthole Surfers who owns the legendary underground label Shimmy-Disc. He produced all three Galaxie 500 LPs.
“[That’s] how I worked with Kramer back in the day too,” he recalls. “Maybe it kinda spoiled me—he was always like, ‘Yep, that’s it. Next!’ I got lazy about going back and redoing things. We’d make the decision and move on: keep that drum track and bass track. Maybe Britta [bass, backing vocals] would change a few things. Sometimes you’re with people who think every single thing should be replaced and made perfect, and you don’t actually have to do that. When it came time for me to overdub a guitar solo or something, Kramer would just allow me two takes generally: ‘Do it again a little differently. That’s it. That’s good.’”
“I thought I had a few nice instruments, but I showed up, like, ‘Oh, your Les Paul’s from 1955? I think I’ll play this one.’”
The material itself allowed for such malleability, with ringing chord progressions and gentle melodies often influenced by the musicians who happened to be gathered around him that day. “You Were the Ones I Had to Betray” has the baroque-pop sweetness of late-’60s Beatles, partly due to the sawing cellos of L.A. session player Gabe Noel, who also added some boomy bass harmonica to the climax. “It’s an instrument you’d mostly associate with the Beach Boys, I guess,” Wareham says. “It kinda sounds like a saxophone or something.”
Wareham, his 335, and Mesa/Boogie California Tweed at a recent Luna show, with bassist Britta Phillips in the background.
Photo by Mario Heller
It’s easy to get wrapped up in the warm hug of these arrangements, but it’s also worth highlighting Wareham’s lyrics—whether it’s the clever but subtle acrostic poetry of “The Mystery Guest” (“I’d never done that before, and it’s not that hard to do actually. Sometimes it’s just to give yourself a strange assignment to get yourself thinking in a different way”) or the hilarity of “We’re Not Finished Yet,” which scans as carnal but is actually a love letter to his semi-recently acquired 1968 Gibson ES-335.
“Sometimes it’s just to give yourself a strange assignment to get yourself thinking in a different way.”
“I read this poem about a guy polishing an antique wooden cabinet or something,” Wareham explains. “I thought, ‘That’s funny—it’s vaguely sexual, how he’s like rubbing this thing.’ I thought it would be funny if I wrote a song not about a piece of furniture but about the guitar—the experience of buying this. The lyrics in there: ‘I waxed you; I rubbed you; I reamed you.’ It all sounds like a dirty song, but it’s like, ‘No, I had to get the peg holes reamed!’ It works kind of as a love song, but that’s what it’s really about.”
Which brings us back to that idea of the unexpected. The most beautiful touches on Loving Me, crafted with his ol’ producer pal, are the ones that appear out of nowhere—like the blossoming guitar overdubs of “New World Julie” and “Dear Pretty Baby.” Kramer, he says, liked to “run two or three guitar tracks at once, where it becomes a symphony of guitars.”
These surprises, indeed, are the moments that stick with you.
YouTube It
Luna’s four-song performance on KEXP showcases Dean Wareham’s sparse, low-key indie rock vibe as well as his simple and sweet guitar embellishments.
The Delecaster offers a passionate Mexican-culture spin on the tried-and-true Tele model.
Drawing on the appointments of the traditional acoustic instruments that have been the Delgado family’s stock-in-trade for three generations, a new take on the Tele is born.
Growing up as the son and grandson of luthiers renowned for their concert classical and flamenco guitars, I was immersed in the world of handcrafted instruments from a young age. While I learned the traditional techniques passed down through generations, my musical tastes spanned a wide spectrum, from the soulful melodies of boleros and mariachi to the raw energy of punk and folk. This diverse musical upbringing instilled in me a deep appreciation for the unique character and personality of different guitar styles.
At Delgado Guitars, we build more than 45 different types of stringed instruments that help players cover plenty of ground. Our concert classical guitars, bajo quintos, acoustic steel strings, and mariachi instruments are sought after by musicians worldwide, often with a waiting list. In recent years, we've expanded our lineup to include a modern classic with a twist: the Delecaster. It’s not an acoustic instrument, but bear with me. I think it’s a story worth sharing.
My vision for the Delecaster was to create an instrument that honored the iconic Telecaster design while infusing it with the distinct flavor of my Latin American heritage. I've always been drawn to the elegant simplicity and versatility of the Telecaster, but I also wanted to push the boundaries and explore new sonic possibilities.
“I've always been drawn to the elegant simplicity and versatility of the Telecaster, but I also wanted to push the boundaries and explore new sonic possibilities.”
”Each Delecaster is handcrafted in our workshop, where traditional techniques mingle with modern innovations. We use only fine tonewoods, carefully selected for their resonance and beauty. The body is typically crafted from lightweight ash, known for its bright and articulate sound. The maple neck provides a smooth and comfortable playing experience, while the 9.5"-radius, 25.5"-scale-length ebony fretboard adds a touch of warmth and sustain.
One of the hallmarks of the Delecaster is its unique aesthetic. I drew inspiration from the intricate inlay work and vibrant colors found in our traditional Latin American instruments, and incorporated these elements into the Delecaster's design. The binding is what you would see on our bajo sexto instruments and similar to designs on our vihuela or guitarrón. The purfling I have also used to create rosettes on requintos and jaranas. The vibrant colors are seen throughout Mexico’s art, architecture, and festivals. They have spiritual and mythological meanings, and can represent beliefs, passion, and tradition.
The combination of Fralin Vintage Hot Tele pickups and a 4-way switch system delivers a wide range of tonal possibilities, from classic Telecaster twang to thick, overdriven tones. The Wilkinson string-through bridge with compensated saddles ensures accurate intonation and sustain, while the Wilkinson tuners provide smooth and precise tuning, and the bone nut adds a touch of warmth and clarity to the overall tone.
At Delgado Guitars, we believe that the soul of an instrument lies in the hands of its maker. That’s why we don't rely on CNC machines, shapers, or assembly lines. I pour my heart and soul into each instrument. From the initial selection of tonewoods to the final setup and inspection, every step of the process is carried out with the utmost care and attention to detail. We take pride in our work, and the Delecaster demonstrates this passion.
The Delecaster is a work of art, a symbol of cultural fusion, and a testament to the power of human creativity. It’s an instrument designed to inspire musicians to express themselves in new and exciting ways. Wherever we’re from, isn’t that what we’re all looking for?