UPM Book Series on Music Research, No. 6, 2014 – ISSN 2289-3938.

How Do I Sound? – Organological Considerations in Evaluating Electric Guitar Sound Qualities

Ahmad Faudzi Musib

In music productions, songwriters, composers, musicians, and hobbyists of music technology often make a tag line to remember how good guitar sounds are recorded on a track. The processing of electric guitar sound in audio tracks is usually not divulged in album linear notes. Naturally, if all the frills were left out such as effect pedals or twin cab that constitute the final sonic product, the core source and shape of the pure electric guitar remains. In such cases, no one could determine if the electric guitar itself is of a genuine brand or just an imitation. What about an imitation guitar body filled with genuine electronic components or perhaps the use of some mysterious techniques or effect processors used by a studio engineer that manipulate the sound? To a certain degree this is avoided by studio engineers who typically record the signal ‘dry’, i.e. without effects in order to responsibly process the sound.

The purpose of this study is to investigate whether an electric guitar as a musical instrument, especially its material parameters, is itself a significant pre-condition for good quality sound. In this paper, samples of different brands and their derivates are taken, tested and measured, based on the signal produced by the electronic components, the guitar’s bodywork and the sound primarily shaped by the guitar’s material quality. Consequently, the findings may contribute to define a key element for quality sound and can be useful for consumer decisions in the electric guitar market.

Some Reading

The present development of recording techniques has seen the excessive use of various effect processors; however studies on the core element, the sounding instrument itself such as an electric guitar are scarce. There are some materials and information provided through excerpts in YouTube videos. Other articles aim at making consumers, for example in Malaysia, become aware of different brands and their symbols. It is observed that

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162 Ahmad Faudzi Musib

effect processors, electronic peripherals, and signature series have gained popularity among the popular guitarists and recording producers, i.e. the guitarist Jimmy Page, Joe Satriani, Slash and others. The function of recording is, however, not merely about sound production but also about the primary sound source. Ross (1998) stated that, a great guitar sound could be described as sound that allows the guitarist to express him or herself to the maximum. Neither Pat Metheny nor Edward Van Halen sound alike, but both ‘Pat’ and ‘Eddie’ have developed a personal sound that allows communicating their musical ideas and feelings with maximum efficiency to the audience. This reminds those who want to sound like Pat Metheny and Edward Van Halen to work out their way and look for these personality gears. Musib (2011: 10-11) stated in his chapter “Sound Print as an Identification Tool” that these musicians have established their identity through making music using various unique sound components. With this in mind, a musical idea is well delivered in the form of particular timbre qualities. The transformation of ideas into timbre using technical devices has contributed to signature sound creators being remembered beyond their generation. Sound identity produced in this way does play a role for musicians who are distinct among others. Considering the primary function of the instrument, identity of a good guitar sound produced by a good quality instrument should be clearly understandable. Gibson1 and Fender2

gained trust of the consumers through their quality products, parts, and after sales service. Sound identity of this strength, along with indicated signature series have made listeners, musicians to believe in the brand. Martinez (2012: 60) says that a brand’s objective is to generate a good experience for consumers through its various actions and communications. This means achieving a positive brand experience involves stimulating positive feelings, so that consumer wants to repeat this situation through brand loyalty. However, the musical instruments and the electronic gears were sold at different ranges. Though a consumer might purchase the lower price range of musical instruments, the feeling of owning a brand instrument is still satisfying.

1 Gibson: Gibson Guitar Corporation is currently located in Nashville; Tennessee is a

guitar and instruments manufacturer. It was founded by Orville Gibson in 1902 Kalamazoo, Michigan

Fender: Fender Musical Instrument Corporation located in Scottsdale, Arizona is a guitar and instruments manufacturer. It was founded by Leo Fender in 1946, markets using the brand names Fender®, Squier®, Charvel®, Gretsch®, Guild®, Jackson®, SWR®, Tacoma®, EVH® and Groove Tubes®.

How Do I Sound? 163 Signal and Sound Production

Ross (1998) says that the principal misconception is that an electric guitar is just a frame holding pickups. He emphasizes that each guitar has its own sound characteristic. Even a similar brand, one important characteristic known as tone colour is differently generated through signal acquisition which derives from the body of the instrument, the type of strings used and its electronic components. It is the whole faculty of electric guitar elements that creates the sound. Therefore it is important to test and evaluate the components of the electric guitar, and not only electric details, because the body of the guitar is of equal importance. Milan (2006) stated that there have been players using the tone of their instruments as bare as possible; and other players who felt the need to process it heavily. What is amazing is how they make these things work – the wires, magnets and wood – becoming powerful tools for artistic expression. In a recording session, the recording engineer’s role is not only in conducting session procedures but also in determining the quality of the source before cutting the tracks.

Figure 1: Toby Seay, photo by Nashville Music Pros.

Ross (1998) added that an electric guitar that does not sound great acoustically will never sound great electrically. In a personal commu-nication with one of the top studio engineers from the United States, Toby Seay has recorded many artists and musicians such as Kirk Walhum, Ringo Starr, and Dolly Parton to name a few. Since sound recording is his main job, I asked his opinion on the recording sound of musical instruments. He answered, “Each guitar has its own unique chemistry of wood, of course with its proper made electronic an electric guitar would have its own distinct sound even compared between the same make. If you are planning to get an imitation or licensed by, for example a Fender USA and Mexico, I suggest try it all of the same make, and I am sure you will find a reasonably good sounding instrument. I remember cutting a track of a local group back in the States, it’s a five piece band, and the electric bass is made of a brand that I never heard of, but the sound quality is extremely good that one would think that it might be one of those top brands. The tone, intonation was just excellent” (Toby Seay pers. comm.: 2012).

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The core of the signal acquisition is based on these qualities depending on the body of the instrument, the type of strings and electronic components used. If these elements are well maintained in optimum quality, then, it may not matter if a guitar is genuine or a licensed product (such as Fender Mexico, Japan) or even an imitation of the guitar could do the job well. The question is if this hypothesis can be confirmed through detailed measurements.

Methodology

Methods used in this research are based on extracting information and analyzing samples taken from selected electric guitars which are genuine brands, licensed products and some of their imitations. Each guitar will be tested and measured through multiple variables. The variables were formulated based on recommendations given through the literature discussed (Ross, 1998; Musib, 2011; Martinez, 2012). Suggestions are derived from the questions introduced above and shaped into a research instrument.

The first level is to test and inspect the bodywork’s settings. This includes both primary and secondary data such as the brand, model, series, production year, its origin, authenticity, audio samples of each single tone, at its twelve frets ‘pre tuning’, as well as photo samples of the neck, and the frets. The next level is the testing of each guitar’s electronic components. This includes the output of each guitar pick-up, its ohms resistance, the pick-up selector, as well as the potentiometers and tapers. Electronics tests will be conducted separately on each guitar.

The final stage will be the measuring sound level activity in a live room3

3 Live room: An isolation booth or room use to separate the sound produce from this

room to the control room. The purpose is for the studio engineer able to monitored and record signal without other interruption from outside sound. The live room is acoustically treated with sound proofing materials that able to absorb sound from both inside and outside.

of a recording studio where the guitar is usually recorded. This will gauge how much treatment and sound manipulation is needed in order to isolate the electric guitar core source and live room sound. This procedure includes the measurement of the sound level of the instrument and the amplifier in the studio, their levels with or without guitar effects plugged in, pick-up output, tone sweep and pick-up switch noise.

How Do I Sound? 165 Material: Types of Electric Guitars

An electric guitar comes in variety of models, and types.

No Types Brief description and sound characteristic

Image

1 Hollow body guitar

Acoustic guitar with floating pick-up on the guitar’s top. It has a distinctive “woody” sounding character

Johnny Smith Model (photo: John G. Stewart).

2 Semi-hollow body guitar

Leaner body and less resonance capabilities in sound cavity

Hamer Echotone-ARCPA4

2028 (photo: Ahmad Faudzi Musib).

3 Solid body Sonic characteristic derives largely from the neck as well as all the electronic components. The solid body may vary by its pickup settings. The example shown on the rights were double coil or hum buckers pick-ups(Gibson Les Paul) and single coil. (Fender Stratocaster)

Gibson Les Paul Model-

ARCPA 2031 (photo: Ahmad Faudzi Musib).

Fender Stratocaster -

ARCPA 2027 (photo: Ahmad Faudzi Musib).

Figure 2: Three main types of electric guitars (table after Ahmad Faudzi Musib 2012).

4 Audiovisual Research Collections of Performing Arts [ARCPA] at the Music Depart-

ment, Faculty of Human Ecology, Universiti Putra Malaysia (publicly accessible).

166 Ahmad Faudzi Musib

The Anatomy of an Electric Guitar

An electric guitar comes in a variety of shapes or cuts, has numerous electronic components, as well as different string gauge combinations used for the instrument. The sound produced by an electric guitar differs from an acoustic guitar that resonates sound through a sound box. According to a definition coined by Chappell (1999: 15) an electric guitar produces sound not directly from the resonating wood, but by creating an electric signal through a pickup that is amplified and sent to a speaker. The common components can be seen on a solid body electric guitar (Figure 3).

Figure 3: Overview of a solid body electric guitar installed for measuring. ARCPA 2027 (illustration: Ahmad Faudzi Musib 2012).

Testing and Measuring of Bodywork Settings and the Electronic Components of Selected Guitars

Psycho-acoustically, the human brain perceives sound through at least six qualities. This includes the pitch, timbre, loudness, phase, direction as well as distance. What does it imply for the perception of the actual electric

How Do I Sound? 167 guitar sound? In the following, an electric guitar is inspected both visually and acoustically. The table in figure 4 gives an overview on bodywork tests.

Figure 3: Testing and inspection scheme for bodyworks of selected guitars. ARCPA 2023 (table: Ahmad Faudzi Musib 2012).

Another task is the evaluation of electronic components in a studio environment. Test equipment serves a digital multi-meter and a stereo recording device (Figure 4).

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Figure 4: Testing and measurement of electronic components in a studio environment on selected guitars. ARCPA 2023 (table: Ahmad Faudzi Musib 2012).

Some Issues Raised in Evaluating Sound Qualities

Prior to the test conducted as shown in Figure 4, electronic components of the selected guitars were tested and measured in a studio environment. The values circled in the excerpt (Figure 5) show high output at the neck pick-up compared to other guitars. This may defeat the quality of the sound produced by the guitar. According to my practical observations, values of

Mismatched Pickup Output

How Do I Sound? 169 more output from the bridge pickup rather than the neck pickup are recommended.

Figure 5: Excerpt of Figure 4 which was testing and measurement of electronic components in a studio environment on selected guitars.

The reason for different readings between two different outputs is due to its position located on the body of an electric guitar pickup cavity. The higher output pickup is placed at the bridge as the vibration produced by the strings at the bridge is less pronounced. Putting the higher output pickup on the less pronounced vibrations of strings at the bridge along with another pickup with less output located at the neck position but with more vibration of the strings compensates the output deficiency hence keeping the overall sound of the guitar in balance. Figure 6 illustrates the compensation of each pick-up output corresponding to the vibrations of the strings in the flux magnetic field.

Figure 6: Side view of the two humbucking pickups and the effect of compensating pickup outputs and its location defining the analogy of high pickup output for less vibration of strings, and less output for high vibrations of the strings within the flux magnetic field (illustration: Ahmad Faudzi Musib 2012).

Each pickup namely the neck and the bridge show different outputs; therefore the position of each pickup is very important. A Gibson Les Paul Standard as shown in figure 7 is made of five pieces of wood and its electronic components comprise of two humbucking pickups namely the Burst bucker Pro (Rhythm Pro) for the neck, and the Burst bucker Pro (Lead Pro) for the bridge. The sound of the electric guitar is controlled by two sets

170 Ahmad Faudzi Musib

of volume controls each with a capability of 300 k ohms of resistance and the tone control resisting at 500k ohms, giving the user a brighter sound. Each pickup has a different output which depends on its position located on the electric guitar front cavity.

Figure 7: Gibson Les Paul-Standard front body, with two humbucking pickups: the Burst bucker Pro, with neck (PAF5 Rhythm Pro) and the bridge (PAF Lead Pro). ARCPA 2031 (photo: Ahmad Faudzi Musib 2012).

Figure 8: Gibson Les Paul genuine parts Burst bucker Pro (Lead) on the left and on the right is the Burst bucker Pro (Rhythm). ARCPA 02031 (photo: Ahmad Faudzi Musib 2012).

Figure 9: Shown on the multi-meter is Burst bucker Pro (Lead) output signal at 8.31ohms on the left and on the right is the Burst bucker Pro (Rhythm) output signal at 7.85 ohms. ARCPA 2031 (photo: Ahmad Faudzi Musib 2012).

5 PAF – An abbreviation for ‘Patent Applied For’ specifically design for the Gibson Les

Paul-Standard.

How Do I Sound? 171

Through spectrogram analysis there are other issues to be considered. The sound of the electric guitar is not at its best quality due to a buzzing sound occurring either with open strings or with the tone on and then detectable at the frets. Figure 10 shows two sections (in circles) of sound defects due to improper body setups. In figure 11, a spectrogram analysis shows buzzing sound that occurs at A1 and A2 (in square) as well as a pulsating signal generated from the amplifier label A3. Another defect is found in the tone of an imitation Gibson Joe Perry signature series. The defect found on the fret 13 of a B string is shown in figure 10. This unwanted buzzing generates other unwanted harmonics visible in the spectrogram (Figure 12).

Buzzing Sound at Open Strings and Frets

Figure 10: Excerpt of figure 3on which the testing and inspection of bodyworks on selected guitars took place. ARCPA 2023 (table: Ahmad Faudzi Musib 2012).

Figure 11: Zakk Wylde Signature series “Camo” buzzing sounding due to improper bodyworks setups. ARCPA 2036 (spectrograms: Ahmad Faudzi Musib 2012).

The defect and the unwanted harmonics can be clearly seen in comparison to the precise tone and its harmonics.

172 Ahmad Faudzi Musib

Figure 12: Joe Perry signature series “Boneyard” imitation buzzing sounding frets due to improper bodyworks setups. ARCPA 2035 (spectrograms: Ahmad Faudzi Musib 2012).

Another reason that causes buzzing is due to worn out frets as shown in the circled areas of Figure 13.

Worn out Frets

Figure 13: Fender Stratocaster worn-out frets and rusty strings that cause buzzing. ARCPA 2029 (photo: Ahmad Faudzi Musib 2012).

How Do I Sound? 173

The implication of setting a tre-molo system at a high position, might intrude the sound quality. For instance, the range between the bridge pickup and the strings will be far in distance, thus affec-ting the sound quality when a bri-dge pickup is selected.

Tremolo System Set too High

Figure 14: The settings of the tremolo system need to be precise for correct intonation during usage. ARCPA 2029 (photo: Ahmad Faudzi Musib 2012).

Noise may be produced as a result of inconsistent contact originating from the pickup selector switch. Figure 15 shows how the signal appears when the pickup switch is moved back and forth. This can be cleaned with the aid of contact spray. The other element found in the spectrogram as a ‘noisy’ environment (cloudy background) derives from an unshielded electronic component encoded by the recorder.

Dirty Pickup Selector Switch that Introduces Noise

Figure 15: Pick-up selector noise-found on the electronic components of selected guitar - ARCPA 2036 (photo: Ahmad Faudzi Musib 2012).

174 Ahmad Faudzi Musib

Based on the test, the quality does differ between the genuine, licensed products and the imitation guitars. They are conflicting in their quality parts, bodywork setups, and the setting of the pickups between each guitar. Music examples 14-01, 14-02 and 14-03 are short excerpts of guitar sound. Each guitar was precisely set up to play certain phrases; therefore the quality of each module or component that plays a significant role for the guitar’s sound quality can be heard clearly:

14-01 Van Halen (toggle switch techniques on “You really got me”); ARCPA 2024-8.

14-02 Rahmat (bridge pickup on “Kau yang pertama”); ARCPA 2024-6.

14-03 Ahmad Faudzi (mix of bridge and center single coil pickups on “Kau Kasih Ku”). ARCPA 2024-4.

Conclusion

It is not only the strong imagination of owning a guitar brand that satisfies consumer expectations. The quality of genuine instruments and their parts is worth investment as the measurements demonstrate. With an imitation product, there is no guarantee of good sound, although some musicians are able to produce exceptional tone quality on inferior products. However, most of the time consumers will end up doing a lot of adjusting and redefining of components to achieve the quality sound they desire from their instruments. This does not mean that genuine guitars are defect-free. As a guitarist one should allow him or herself to allocate sometime in maintaining sound quality through regular inspections of instruments as the primary source that determines a good sounding instrument. Finally, the right guitar and the totality of sound attributes including individual care are part of a musician’s individual personality. The question ‘How do I sound?’ might be mostly answered with ‘You sound as you are’.

How Do I Sound? 175 References

Bacon, Tony (2002). 50 years of the Gibson Les Paul. Half century of the greatest electric guitars. England: Outlined Press, 8–9.

Boehnlein, John (1997). Basic guitar adjustment and setups. An essential guide to guitar maintenance. Wisconsin: Hal Leonard Publishing Corporation, 8-10, 18–20, 25–27.

Chan Cheong Jan and Ahmad Faudzi Musib (2011). How technology shapes the preference of timbre in music-timbre change of Sapé and the use of sound reinforcement devices. Changing approaches to musical practice and education. Edited by Loo Fung Chiat, Loo Fung Ying and Mohd Nasir Hashim. University of Malaya Book Series on Research in Musicology, 2. Saarbrücken

Chappell, John (1999).Guitars for recording: Recording Guitarist. A Guide for Home and Studio. Wisconsin: Hal Leonard Publishing Corporation, 15–29.

: VDM Verlag, 16–37.

Hirst, Tom (2003). Electric guitar construction. Wisconsin: Hal Leonard Publishing Corporation, 122–141.

Horning, Susan S. (2004). Recording: The search for the sound. The Electric Guitar: A History of an American Icon. Edited by

Hunter, Dave (2009). The Guitar Pick-Ups Handbook. Wisconsin: Hal Leonard Publishing Corporation.

André Millard. Maryland: John Hopkins University Press.

Iwanade Yasuhiko (1998). The Beauty of the Burst. Gibson Sunburst Les Paul from 58’ to 60’. Wisconsin: Hal Leonard Publishing Corporation.

Johnson, Chad (2012). Guitar Setup and Maintenance – Learn to properly adjust your guitar for peak playability and optimum sound. Wisconsin: Hal Leonard Publishing Corporation, 36–48, 53–97.

Lawrence, Robb (2008). The Early Years of the Les Paul Legacy 1915-1963. Wisconsin: Hal Leonard Publishing Corporation.

Martinez, Pepe (2012). The Consumer mind: Brand perception and the implication of marketers. London: Kogan.

Musib, Ahmad Faudzi (2011). Sound Print as an Identification Tool. Music and Memory. Edited by Gisa Jähnichen and Julia Chieng. UPM Book

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Series on Music Research, 4. Serdang: Universiti Putra Malaysia Press, 157–170.

Ross, M, (1998)

Seay, Toby and Ahmad Faudzi Musib (2012). Personal Communication on 7

. Getting Great Guitar Sounds. A Non-Technical Approach to Shaping Your Personal Sound. Wisconsin: Hal Leonard Publishing Corporation.

th

Siminoff, Roger H (1986).

of October 2012, India International Centre, New Delhi, India.

Constructing a Solid-Body Guitar. A Complete Technical Guide

Summerfield, Maurice J (1993). The Jazz Guitar – Its Evolution, its Players and Personalities since 1900. 3

. Wisconsin: Hal Leonard Publishing Corporation, 53–54.

rd

edition. Newcastle: Ashley Mark Publishing Company, 13–55.

Audio References

ARCPA 2024-8. Pick-up switch technique “You Really Got Me” VAN HALEN – Atomic Punk: Warner Bros, 17107. 1978.

ARCPA 2024-6. Bridge pick-up followed by neck pick-up “Kau Kasih Ku” – Instrumental–Millinieum Art, 2004.

ARCPA 2024-4. Well maintained electronics components, bodyworks settings. “Kau Yang Satu” – RAHMAT – Kau Yang Pertama: E.M.I. Records, 2000.