Tonewood: Difference between revisions

From The Jolly Contrarian
Jump to navigation Jump to search
No edit summary
No edit summary
 
(6 intermediate revisions by the same user not shown)
Line 1: Line 1:
{{a|crime|{{image|59 strat-1 1|jpg|A nice piece of tonewood yesterday. Alder, since you are asking.}}}}{{quote|
{{a|crime|{{guitar tone factors}}}}{{quote|
{{dsh a lot of learning}}
{{dsh a little learning capsule}}
:—{{otto}}, {{dsh}}}}A decades-long debate rages amongst electric guitar nuts about how the material from which an electric guitar is made affects its ''tone''. There are similar debates about hi-fi componentry, real ale, [[Lucy Letby|assay tests for the presence of exogenous insulin]] but [[JC]] happens to know more about it than those other things, so it will serve as an example. It runs like this:
:—{{otto}}, {{dsh}}}}A decades-long debate rages amongst electric guitar fans about how the material from which a solid-body guitar is made affects its ''tone''. There are similar debates about hi-fi interconnects, real ale, chalk-content in soil for vineyards and [[Lucy Letby|tests for the presence of exogenous insulin]], but [[JC]] happens to know more about electric guitars than those other things, so the humble axe will serve as an example.


For :
The argument runs like this:
{{quote|The precise shape, size and composition of an electric guitar’s body meaningfully affects the guitar’s ''tone''. The sound will change depending on whether the body is made of ash, alder, basswood, pau ferro, chipboard or perspex and even the grain and density of the wood will affect its harmonic resonance.}}
 
For:
{{quote|The shape, size and composition of a solid-body electric guitar will meaningfully affect its ''tone''. A guitar’s tone and harmonic resonance will depend, among other things, on what it is made of, the grain and density of that material, whether it is varnished and with what.}}
Against:
Against:
{{Quote|Bullshit.}}
{{Quote|Bullshit.}}
There will then follow a long detailed and increasingly hostile flame war — sometimes multi-handed but usually reducing to two core combatants as it descends further into the unfathomable depths of the Perian spring, where jousters will debate the merits of the climactic sonsiderations, the fibrous character of different woods, the effect over time of electric currents and aluminium-nickle-cobalt alloys (from which pickups are built) on the moisture content, and even the resonant frequencies of different types of ''varnish''.
There will then ensue a long and increasingly hostile flame war — sometimes multi-handed but, as they descend into the unfathomable depths of the Pierian spring, usually reducing to two combatants, who will angrily joust over the importance of climactic considerations, the fibrous composition of different woods, moisture content, and even the resonant frequencies of ''varnish''.<ref>This is not a joke: it is widely contended, by tonewood aficionados, that modern polyurethane “suffocates” the tone in a way that nitrocellulose lacquer does not, which explains why vintage instruments, which were varnished with the latter, sound more “open”.</ref>
 
Now: all stringed instruments ''do'' rely on the vibration of a string anchored between fixed points. The string’s vibration ''will'' depend on the sympathetic vibration of the materials it is constructed from. ''To some extent''. In the same way that every object exerts a gravitational force, there will always be ''some'' sympathetic vibration, whatever the material.
 
So there is, if you will excuse the expression, a grain of truth in the tonewood argument.
 
''But no more.''
 
For these “harmonic vibrations” would be so minute as to be imperceptible even in laboratory conditions. They would be “as the flappèd wings of a Latin papillon” when set against all other factors affecting how an electric guitar sounds in real life. See the panel — you needn’t read this in detail: it is included to make a point. But the state of the cleanliness of the strings ''by themselves'' would drown out any “tonewood” contribution. That is not even to mention the amp, pickups or room.


Now: all stringed instruments rely on the vibration of a string anchored between fixed points. The string’s vibration will indeed depend on the sympathetic vibration of the materials it is constructed from. There will be ''some'' sympathetic vibration of any material.
Yet that grain of truth is all one needs to sustain an epochal battle between good and evil on an internet forum. And once you engage in that debate — once you accept the question is not ''whether'' tonewood affects the sound, but ''by how much'' — there is no end to the argument. You have completely lost.


But these vibrations are as the wings of a butterfly in an Amazon forest compared with the other things affecting the tone of a struck electric guitar string. These include (you needn’t read this;it is included to make a point:
The tonewood argument is a form of [[prosecutor’s tunnel vision]]. It is — if you will again excuse a pun — to fail to see the wood for the trees.
{{tablehelvetica}}
|+ How important tonewood is in the grand scheme of things
{{aligntop}}
! Factor !! Considerations
{{aligntop}}
| The player || Attack<br>Picking style (pick or fingers)<br>Type of pick<br>Right-hand dampening<br>Left-hand vibrato
{{aligntop}}
| Instrument ||Fixed or floating bridge<br>Tremolo type<br>Glued or bolted neck<br>Nut composition<br>Bridge composition<br>String gauge<br>String age<br>
{{aligntop}}
|Electronics || Potentiometers<br>Capacitors<br>Resistors<br>Pickups: Single-coil/P90/humbucking<ref>for the love of all that is holy let us not get onto the topic of polepiece construction and ageing of copper wire</ref> <br>Cavity shielding<br>Length of cable to the amplifier<br>
{{aligntop}}
|Stomp-boxes
||
Distortion<br>Compression<br>Modulation<br>Delay<br>Reverb<br>Equalisation<br>
{{aligntop}}
|Amplification
||
Type: Tube/transisitor/digitial<br>Class: Class A/B/A-B<br>Power: 15w-100w<br>Preamp settings<br>Power amp settings<br>Tone settings<br>
{{aligntop}}
| Speaker cabinet
||Open- or closed-back<br>Speaker size<br>Speaker configuration<br>
{{aligntop}}
| Public address system
||Mixing<br>Foldback<br>Volume<br>
{{aligntop}}
| The rest of the band
|| What instruments<br>What they play<br>How loud they play<br>Position relative to guitar amp<br>
{{Aligntop}}
| The room
||
Size<br>Acoustic properties<br>Natural reverberation<br>How many people are in it<br>Ambient noise<br>
|}


{{sa}}
{{sa}}
*[[Prosecutor’s tunnel vision]]
*[[Prosecutor’s tunnel vision]]
*[[Lucy Letby]]
{{ref}}

Latest revision as of 12:40, 24 August 2024

Crime & Punishment
How important tonewood is in the grand scheme of things
Factor Considerations
The player Attack
Picking style (pick or fingers)
Type of pick
Right-hand dampening
Left-hand vibrato
Instrument Fixed or floating bridge
Tremolo type
Glued or bolted neck
Nut composition
Bridge composition
String gauge
String age
Electronics Potentiometers
Capacitors
Resistors
Pickups: Single-coil/P90/humbucking[1]
Cavity shielding
Length of cable to the amplifier
Stomp-boxes Distortion
Compression
Modulation
Delay
Reverb
Equalisation
Amplification Type: Tube/transisitor/digitial
Class: Class A/B/A-B
Power: 15w-100w
Preamp settings
Power amp settings
Tone settings
Speaker cabinet Open- or closed-back
Speaker size
Speaker configuration
Post-amp signal processing Compression
Delay
Reverb
Equalisation
Public address system Mixing
Foldback
Volume
The band What instruments
What they play
How loud they play
Position relative to guitar amp
Room Size
Acoustic properties
Natural reverberation
How many people are in it
Ambient noise
Index: Click to expand:
Tell me more
Sign up for our newsletter — or just get in touch: for ½ a weekly 🍺 you get to consult JC. Ask about it here.

Triago: Ho, Ho.
Let not thy witty fool, nor his foolish wit
Besmirch the fruited science of th’ academy.
“A little learning is a dangerous thing” —

Nuncle: Yet not half so dangerous as a lot.

Triago: — So sayeth Pope, you know.

Nuncle: But not the one in Rome:

Queen: Good ser knight: art thou drunk upon the Pierian spring:
A hypoxic draft that suffocates the brain,
So deep no shaft of light can bring it round again?

Triago: My conjecture comports a grain of truth
As pure and true and golden—

Nuncle: — but yet no more roundly causative
Than are the month-past flappings of a Latin papillon
Upon a brewing Filipino typhoon.

Otto Büchstein, Die Schweizer Heulsuse

A decades-long debate rages amongst electric guitar fans about how the material from which a solid-body guitar is made affects its tone. There are similar debates about hi-fi interconnects, real ale, chalk-content in soil for vineyards and tests for the presence of exogenous insulin, but JC happens to know more about electric guitars than those other things, so the humble axe will serve as an example.

The argument runs like this:

For:

The shape, size and composition of a solid-body electric guitar will meaningfully affect its tone. A guitar’s tone and harmonic resonance will depend, among other things, on what it is made of, the grain and density of that material, whether it is varnished and with what.

Against:

Bullshit.

There will then ensue a long and increasingly hostile flame war — sometimes multi-handed but, as they descend into the unfathomable depths of the Pierian spring, usually reducing to two combatants, who will angrily joust over the importance of climactic considerations, the fibrous composition of different woods, moisture content, and even the resonant frequencies of varnish.[2]

Now: all stringed instruments do rely on the vibration of a string anchored between fixed points. The string’s vibration will depend on the sympathetic vibration of the materials it is constructed from. To some extent. In the same way that every object exerts a gravitational force, there will always be some sympathetic vibration, whatever the material.

So there is, if you will excuse the expression, a grain of truth in the tonewood argument.

But no more.

For these “harmonic vibrations” would be so minute as to be imperceptible even in laboratory conditions. They would be “as the flappèd wings of a Latin papillon” when set against all other factors affecting how an electric guitar sounds in real life. See the panel — you needn’t read this in detail: it is included to make a point. But the state of the cleanliness of the strings by themselves would drown out any “tonewood” contribution. That is not even to mention the amp, pickups or room.

Yet that grain of truth is all one needs to sustain an epochal battle between good and evil on an internet forum. And once you engage in that debate — once you accept the question is not whether tonewood affects the sound, but by how much — there is no end to the argument. You have completely lost.

The tonewood argument is a form of prosecutor’s tunnel vision. It is — if you will again excuse a pun — to fail to see the wood for the trees.

See also

References

  1. for the love of all that is holy let us not get onto the topic of polepiece construction and ageing of copper wire
  2. This is not a joke: it is widely contended, by tonewood aficionados, that modern polyurethane “suffocates” the tone in a way that nitrocellulose lacquer does not, which explains why vintage instruments, which were varnished with the latter, sound more “open”.