While researching guitarists’ obsession with tone, I found a fascinating take on why heightened sound frequencies excite humans.
In the beginning, everybody building gear wanted a purity of signal. Pickups and amps were designed to eliminate distortion and leave the natural sound of strings and wood uncolored. Les Paul himself felt like the P-90 pickup in his signature guitar was too prone to overdrive, so he stuck a DeArmond pickup in the neck of his No. 1 until Seth Lover came to him with the ultra-pure alnico V, Gibson's “staple pickup," in 1953. Then something unexpected happened. When guitar players cranked up their amps to be heard over the crowd, the musicians and the audience were seduced by the distortion that engineers were trying to avoid.
My friend Jason Dunaway, a bassist I've played with for years, also happens to be an electrical engineer who's helped design some of the gear many of us have used at one time or another. A little over a decade ago, I was writing a Premier Guitar feature called "Cult of Tone," where we examined the elements that shape guitarists' worldviews and define what they view as their Holy Grail of Tone. I asked Dunaway for a scientific explanation of why we're drawn to overdrive.
"Our ears/brains are really amazing," Dunaway said. "We can divine an incredible amount of information very quickly by listening. Is it a real cry or are they just messing around?" In short, our hearing has an amazingly difficult job of picking up the tiniest nuance in sound and processing the information: sarcasm, deceit, urgency, playfulness, anger. Some 100 million years of evolution developed these abilities—our ancestors' hearing had to be good to ensure survival of the species. So how does this relate to our choice in guitar tone? It goes back to survival.
"Generally when we're stressed or excited and want to verbally express it, we go up in volume and drive our vocal apparatus harder than normal," Dunaway continued. "Things get nonlinear and our normally smooth voices have more high-frequency content and volume than normal. Over time, we have come to perceive this changed harmonic content and increased volume as something that needs to have our attention. It may be danger, it may be an opportunity ... but whatever it is, it excites us. It also says 'Listen to me! Ignore all that other stuff that's going on.'
"I once had a door chime that was the actual recording of Zeppelin's 'Black Dog'—for one day. Every time someone rang the doorbell, it scared the shit out of me!"
"We find even-order distortion fairly pleasing. That's essentially the addition of stacked octaves on top of the fundamental tone, and is a result of asymmetrical distortion [one side of a waveform clipped more than the other]. Odd-order distortion gives us odd multiples of the fundamental, which is not very musically pleasing. (Example: symmetrically clipping an op-amp.) Where does every guitar/saxophone/vocal solo or evangelical preacher go to bring the crowd to their feet? Loud, high, and way nonlinear. A scream has much more high-frequency content than a normal speaking voice, regardless of volume."
The reason the hair stands up on your arms when you hear a Les Paul ripping through a warm, fat, tube amp is because your body has evolved over millions of years to respond to those nonlinear waves. Our bodies tell us that these sounds are important and we feel physically excited when we hear them. Conversely, these tones don't always bode well in an everyday context, as Jason learned from personal experience. "Tones that are used for everyday signaling like a doorbell are pretty simple. They don't alarm us too much. I once had a door chime that was the actual recording of Zeppelin's "Black Dog"—for one day. Every time someone rang the doorbell, it scared the shit out of me!"
We're physically built to respond to certain tones, which helps explain why masterful musicians use tone to evoke an emotional response. For the most part, my default mood is up. Perhaps that's why I lean toward the clean tones, but there are times when the only way I can express what I'm feeling is to turn all knobs right and howl. Listen to the way Sister Rosetta Tharpe used overdrive with both her voice and her guitar playing to get the crowd fired up.
Had Sister Rosetta kept it clean, her songs might've sounded like nursery rhymes. Her use of drive connects to the audience on a primitive level that goes beyond the lyrics and melody.
The nuance of sound quite literally has a power over us. And that gives sound an almost mystical quality. This invisible force can make us happy, horny, sleepy, angry, sad, excited, worried, etc. Sure, there are scientific reasons why guitars make us feel the way they do, but what fun is that? Let miracles be miracles. Music, like prayer, is our primitive attempt at expressing the ineffable: It's not so much what is said, but how you heard it.
Sister Rosetta Tharpe - Up Above My Head on Gospel Time TV show
[Updated 8/16/21]
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It’s almost over, but there’s still time to win! Enter Stompboxtober Day 30 for your shot at today’s pedal from SoloDallas!
The Schaffer Replica: Storm
The Schaffer Replica Storm is an all-analog combination of Optical Limiter+Harmonic Clipping Circuit+EQ Expansion+Boost+Line Buffer derived from a 70s wireless unit AC/DC and others used as an effect. Over 50 pros use this unique device to achieve percussive attack, copious harmonics and singing sustain.
A 1000-watt speaker cabinet crafted for musicians who demand power and precision. Sunn Amps intends to reinvent the standard 4x12 configuration with the introduction of this new cabinet.
The Sunn Amps DoomBox is built to accommodate both guitar and bass, offering an impressive 1000-watt handling capacity—making it the first commercially available 4x12 cabinet with such high power handling. With four specially designed 12” drivers rated at 250 watts each, this cabinet provides clean, unrestrained sound levels that can maintain power integrity across all frequencies, ideal for high-volume performances.
Inspired and developed using feedback from artists and bands who rely on the depth of lower tunings and high volume genres, the DoomBox was engineered to meet the unique demands of professional musicians looking for a robust, high-efficiency cab that can translate the raw power of their sound without compromise.
Premium Craftsmanship and Materials
The Doom Box cabinet is crafted from solid finger-jointed Baltic Birch plywood, ensuring both durability and tonal clarity. Each cabinet is constructed by hand in the U.S.A. using original 1930s machinery, the DoomBox reflects Sunn’s historic commitment to quality, contrasting with some of the mass-produced, MDF-based cabinets on the market today. The cabinet’s aluminum basket, ferrite magnet, and custom Sunn weave Tolex with a custom grill design complete its professional-grade build.
Technical Specifications:
• Power Handling: 1000W
• Inputs: 1 x ¼”
• Impedance: 8 Ohm
• Drivers: 4 x Sunn 12S250
• Construction: Marine Grade Baltic Birch
• Dimensions: 29.25” X 30” X 14”
• Weight: 107 lbs
• Price: $2399.00
With clear low-end punch, even sound response, and ample air movement, the Doom Box ensures that every note reaches the audience with clarity and power. This cabinet is a game-changer for musicians who need high-performance, road-ready equipment that enhances their unique sound.
Does the guitar’s design encourage sonic exploration more than sight reading?
A popular song between 1910 and 1920 would usually sell millions of copies of sheet music annually. The world population was roughly 25 percent of what it is today, so imagine those sales would be four or five times larger in an alternate-reality 2024. My father is 88, but even with his generation, friends and family would routinely gather around a piano and play and sing their way through a stack of songbooks. (This still happens at my dad’s house every time I’m there.)
Back in their day, recordings of music were a way to promote sheet music. Labels released recordings only after sheet-music sales slowed down on a particular song. That means that until recently, a large section of society not only knew how to read music well, but they did it often—not as often as we stare at our phones, but it was a primary part of home entertainment. By today’s standards, written music feels like a dead language. Music is probably the most common language on Earth, yet I bet it has the highest illiteracy rate.
Developed specifically for Tyler Bryant, the Black Magick Reverb TB is the high-power version of Supro's flagship 1x12 combo amplifier.
At the heart of this all-tube amp is a matched pair of military-grade Sovtek 5881 power tubes configured to deliver 35-Watts of pure Class A power. In addition to the upgraded power section, the Black Magick Reverb TB also features a “bright cap” modification on Channel 1, providing extra sparkle and added versatility when blended with the original Black Magick preamp on Channel 2.
The two complementary channels are summed in parallel and fed into a 2-band EQ followed by tube-driven spring reverb and tremolo effects plus a master volume to tame the output as needed. This unique, signature variant of the Black Magick Reverb is dressed in elegant Black Scandia tolex and comes loaded with a custom-built Supro BD12 speaker made by Celestion.
Price: $1,699.