But, you do not need to be a player to feel this level of excitement or ecstasy . This then asserts that no skill or practice is needed to present “pleasing” notes on a complex guitar -like instrument. It is the interpreter of this energy and an accumulation of all the pure sounds that he has recognized and realized in his daily life that create the bias of what a player might find pleasing.
The ability to train one’s ear comes from years of practice as well as silence. I have witnessed clients with no ability to play reach a level of ecstasy with an instrument while playing in a completely dissonant manner (relative to what I may find pleasing to the ear). The guitar’s warm, organic-analogous energy spreads over and swells the body to the point where their bodies unite as one in a seemingly beautiful display of power translated into music. There is a creational power or godliness that stains the air with every pulse. The pleasures of tone have the power to merge and dissolve the stresses or constricted energy flow in the body creating a “Tantric” guitar experience. Something so pleasing that you will revisit it as much as possible over the course of your life and surrender to its will. In this sense the guitar has become much more than just another musical instrument. It has become an inspiration for life and a soul to your body of music.
Let’s investigate the guitar further in order to derive a better way to reveal an instrument’s compatibility and ability to draw ecstasy.
The CTA allows me to zone in on “physical” areas of the tone but has no representation on the metaphysical scale. A guitar may not “ring like a bell” but it makes you feel like a super-hero. Just because a guitar resonates like a harp and has a deep cello-like bass doesn’t mean it will be the right guitar for you. You may need a dry, rough tone that cuts like a knife. On the CTA they both would look like polar opposites. What I may love about a guitar may not suit your needs and may leave you wanting more. This cannot be measured via CTA or physical analysis.
Can it be measured at all?
Part I: Conception
Part 2: Honesty
From this equation we can see;
The larger the area (A sound hole) the more high frequencies will be present since the air can move faster in/out.
The larger volumes (V) give us lower frequencies since more air must move out to relieve excess pressure.
A Longer Neck (L) will contribute to developing low frequencies
This principle is the key to all the tone that we love to hear. A foundation from which our acoustic knowledge is formed is crucial in understanding the work it performs for us.
Part 3: Gender
We are used to seeing guitars exactly how they are created by their creators when they are ready to be presented. The naked body of a guitar may help us understand its compatibility to the user as well. If a guitar becomes more masculine with its embellishments removed then that may interest you more than the feminine option. This may help us derive a gender for guitars which will encourage a better long-term relationship. This also may prove to be very important for singers and songwriters looking for a muse. What needs to be considered is the bias of my relative perspective to yours. So nakedness of the guitar should be represented from a skewed symmetrical relationship in which we both see the same rigid bodies but the possibility exists that we will derive the opposite conclusions. In addition, all of these planes of thought exist because I conceived the idea to formulate them, thus additional bias is presented within my representation. If nakedness is be accounted for than this needs to be addressed.
To help assert the gender of a guitar “nude” photos of the guitars will be displayed and explained in each guitars profile to assert gender
Part 4: Power
In this case we are looking for a real number that corresponds to the tonal mass of the guitar described in our criteria. The CTA real numbers can be realized to help illustrate power. No guitars will be rated below 3 or above 5 on the CTA. Let these real numbers be known as x. As discussed before, a higher rated guitar may not be the more powerful one. Therefore deviations from a number n (n = 4) on the CTA may be the best way to summarize the force. Let all intervals be represented as a real number greater than one so 𝑑 = (𝑥 – 𝑛) +1 and 𝑑 ⦥ 1. Let T be the total points possible on our scale (largest deviation from n possible is 2 and there are 11 possible criteria so T = 22)
𝐏= ∑ F ∕ T ∑F= ∑𝑑 (A) / t
A = 1 , t = 1 sec (arbitrary time)
∑𝑑 = (𝑑1+𝑑2+𝑑3+𝑑4+𝑑5+𝑑6+𝑑7+𝑑8+𝑑9+𝑑10+𝑑11)
𝑑 = (𝑥 – 𝑛) +1 so 𝑑 ⦥ 1
For every real number described (x) under the CTA criteria a deviation (d) from n can be found. Let’s look at this guitar as an example.
Critical Tone Analysis
Guitars embody the voice of the forest translated through the skill determination and dedication of the luthier. The luthiers primary job is to give a voice back to the wood. Inside every grain and detail of the wood is a malleable material which has the power to alter the form and function of the instrument and the tone. When judging guitar construction, the tone becomes the ultimate material which guides all of our senses through the value of the art form.
Judging guitar tone is very complicated as well as subjective. What I may find pleasing in a guitar may or may not influence your overall experience submerged in the overall quality of the sound. This valuable experience has the power to influence and create music.
Sound is a complicated material that is capable of shifting in and out of time and transforming any moment into a memory. A memory can be directly linked to the smells, sights and tastes involved in the experience of being submerged in it’s quality. Good sound may be described as sound that pleases the listener, regardless if this person understands the complexity of sound or quality of which it’s timbre can be judged or categorized.
A guitar can have a combination of different elements that when mixed together form the overall quality of its tone. A guitar’s tone may be described better by closely looking at the components of the overall quality of the tone and sound material transduce’d by the instrument. Such components as bass, treble, projection, dynamic range, warmth, harmonic series, sweetness, clarity and definition, decay time, evenness of response, note articulation and separation, volume, percussiveness, midrange, resonance, tonal bloom, note shape (round-flat),dryness of tone, tonal darkness or lightness and all the colours and textures between. Looking at these components enable a listener with a well trained ear the ability to describe the overall quality of tone.
Symphontree Music composed a new criteria for physical tonal analysis known as the Critical Tone Analysis (CTA). The analysis addresses physically measurable quantities on the guitar by looking closely at the overall components which define the quality of tone. We can use these criteria to describe what quality of tone one can anticipate from a particular instrument. This analysis has been adapted from and is based around Ervin Somogyi’s work entitled “How To Critically Analyze Tone”. Symphontreee Music’s “The Critical Tone Analysis” is a direct result of Ervin’s incredible teachings and influence on luthiers and players worldwide. Without Ervin’s clear and concise language to direct the analysis of tone, Symphontree Music would not be ale to offer you such an in depth of analysis of the qualities of tone.
Criteria to Critically Analyze Guitar Tone
1. Chordal Response (how quickly the chord responds to your touch)
2. Individual note decay, as well as blended in a chord
3. Basic volume and presence
4. Individual note separation and focus
5. Systematic sustain (exact length of time it takes a chord to decay)
6. Response compliance (do you have to push the guitar or does it respond easily to your touch)
7. Balance and quality of tone (bass heavy, treble heavy or evenly balanced)
8. Even strength and balance of each string
9. Wolf tones (problematic loud or soft notes)
10. Tone projection (is the sound good up close or across the room)
11. A large dynamic range (quality of sound from playing very softly, softly, medium, harder, and/or really hard)
13. Tonal bloom (whether the sound comes out immediately at full volume or whether it integrates and gets louder before it begins to wane)
Quality of sound (Warm, sweet, tinny, rich, live, fundamental, shallow, breathy, open, held back, and/or has lots of overtones)
Ratings may be applied to the listed criteria above
3 Lowest possible rating
5 Highest possible rating
The Critical Tone Analysis
1. Chordal Response: fast, deep, reactive, thick swell, round, versatile chordal weight, fighter jet speed 5.0
2. Individual note decay as well as blended in a chord: 5.0
14 sec + ~ approx sec as note ~ 14 sec + with vibrato
3. Basic volume and presence: LOUD, soft, classical, orchestral, powerful, grand piano control, profound presence, interactive volume with a ton of headroom, roaring, thunderous, thundering 5.0
4. Individual note separation and focus: clear, thick, crisp, very good note separation 5.0
5.Systematic sustain: earth trembling sustain, rich defined overtone series, interactive sustain, delay, lingering sustain that is malleable 5.0
6. Quality of sound: lyrical tone with supernatural strength, exuberant, thick, atmospheric, vivacious, very dynamic, rich, rings like a bell, cuts like a knife, soft / classical-nylon, gritty, fundamental shovel, defined overtone series, very pleasing, shivering soundboard, incredible tap tone snap to whoof, luxuriant
7. Response compliance: fast, energetic, interactive response, perfect finger style balance, 5.0
8. Balance and quality of tone: balanced with a crisp acoustic note loaded in fundamental, very energetic, open, ppp to fff, an enthusiastic voice, vibrant, malleable tone, interactive, 5.0
9. Even strength and balance of each string: every string is evenly balanced and pronounced with a crisp acoustic focus, thick and heavy mids and trebles, trembling and enveloping bass loaded with fundamental, 5.0
10. Wolf tones : none to report
11. Tone projection: Vivacious interactive swell, LOUD to soft, volcanic, tsunami wave 5.0
12. A large dynamic range: smooth jazz to classical to avante garde to contemporory to flat pick to finger style to orchestral, solo, virtuoso, PROFESSIONAL dynamics, new sounds you have never heard, percussive snap to jazz chatting, musical weapon 5.0
13. Tonal bloom: energetic bloom or slower warm bloom, interactive tonal control with even compliance 5.0
The Listening Bar
The Ecstatic Guitar Theorem
The following criteria will now be satisfied for all new inventory at Symphontree Music and will make up the Ecstatic Guitar Theorem.
Conception (state of mind of builder, season, astrological signs etc.)
Honesty (integrity of design; ie Mitchi Matsuda’s rosette designs, Laskin Armrest, lets create the most honest guitars possible)
Gender (nude guitar photos to help derive sex of the guitar and reveal compatibility)
Power (A real number derived from the CTA scale to show potential of a given instrument)
The primary focus of this criteria is to allow costumers everywhere to be better informed about the products they are considering to purchase. This new criteria aims to focus on delivering guitars capable of procuring tonal ecstasy. This results in an instrument that will inspire you as well as others for generations to come. That is the true power and gift of music.