This is why I feel the recentish (last 10-15 years) shift in decoupling CS curricula from EE and CE fundamentals in the US is doing a massive disservice to newer students entering the industry.
DSP, Control Engineering, Circuit Design, understanding pipelining and caching, and other fundamentals are important for people to understand higher levels of the abstraction layers (eg. much of deep learning is built on top of Optimization Theory principles which are introduced in a DSP class).
The value of Computer Science isn't the ability to whiteboard a Leetcode hard question or glue together PyTorch commands - it's the ability to reason across multiple abstraction layers.
And newer grads are significantly deskilled due to these curriculum changes. If I as a VC know more about Nagle's Algorithm (hi Animats!) than some of the potential technical founders for network security or MLOps companies, we are in trouble.
I guess it depends on where you went. I was a CS student at Virginia Tech in the late 90s. The CS department wasn't even in the engineering school. We did have to take computer architechture which was the only courses other than math/physics we had in common with EE/CE
I know at MIT it was (and I think still is) one major - EECS, and students had substantial latitude on how much they wanted to concentrate into hardware or software at least after the intro courses.
I've often marveled at the success many guitar players had with experimental electronics - Hendrix, EVH, Les Paul, Brian May, Jack White, and Tom Scholz (special case, of course) are just a few examples.
This is a terrible article. In the first subplot, there is no explanation of what v(b1) and v(c2) are. The -8 on the on y axis (amplitude) looks like an upside down 8.
Further down there is a sentence: "First, the Fuzz Face is a two-transistor feedback amplifier that turns a gentle sinusoid signal into an almost binary “fuzzy” output." But the figure does not match this - there is no "gentle sinusoid" wave shown on the first fuzz face plot.
I strongly believe that if you set aside genre preferences the solid body electric guitar coupled to a tube amplifier is objectively the greatest electronic instrument ever created.
All other electronic instruments, with the one exception being the Theramin, have a fundamental problem with human expression. There is an unsolvable disconnect between what the performer's actions and their audience.
With an electric guitar you get the physicality and dynamism of an acoustic instrument with the complex timbres and extended technique possibilities of an electric/electronic instrument.
There are complex and musically significant feedback loops occurring across many dimensions that lead to extremely complex transformations of timbre via both traditional music theoretical techniques and the physics of a tube amplifier combined with an inductive load (the guitar pickup).
Its really crazy how much more dynamic and complex this can be then even a highly sophisticated modular synthesizer or whatever. Even the way you over load the power supply in a tube amplifier can be manipulated on the fly to enhance and transform timbre.
Then on top of all that it is so incredibly physical that a performer like Jimi Hendrix can manipulate these systems and have the audience intuitively understand what he is doing. Never in a million years would THAT be possible with any other electronic instrument.
Hmmm, I disagree, having played electric and acoustic guitars for over two decades and begun learning piano and synths for the first time in 2025.
For one, you can’t easily play two melodies simultaneously across several octaves, using both of your hands, with an electric guitar.
Stringed electronic instruments do have their advantages, but so do the others. Each music making thing has its place in the spectrum.
Two books that have helped me greatly in my musical life, in case people haven’t heard of them, are The Listening Book, and Bridge of Waves, by W.A. Mathieu.
This comment is a love letter to electric guitar. I adore it. Consider reading “Desolation Road” by Ian McDonald. I don’t want to spoil any of it, and perhaps science fiction isn’t your cup of tea, but at one point there is a character on Mars with a 700-year-old strat, and you can tell Ian McDonald loves the guitar as much as you do.
Similar to the Theremin is the ondes Martenot. Jonny Greenwood (Radiohead) describes it as a "very accurate Theremin".
You can hear it particularly on "Where I End and You Begin" from Hail to the Thief. Ed O'Brien compliments its sound using an EBow (back before he had the sustainer) in that song.
Yes! I always think first of How to Disappear Completely, which I think was the first song he used it on. I remember watching some concert in college from the Kid A days, and he would have like 3 Ondes Martenot players on stage with them, crazy stuff from the band that wrote Creep like 5 years earlier.
> have a fundamental problem with human expression.
How up to date is this opinion of yours? Expression on guitar is pretty intuitive, but modern electronic instrument manufacturers have been working on this problem and created modes of expression that definitely solve this problem.
For example, EWIs allow you to use breath control for expression with many of the same techniques available on actual wind instruments. Also many synths now have features like polyphonic aftertouch, pitch/mod wheels, which allow you to add expression to a note while it is playing. Apps and hardware exist which allow you to use novel methods of capturing motion or other forms of expression. And most modern synths/midi controllers allow you to decide what parameters are affected.
> Then on top of all that it is so incredibly physical
That's an affectation. I can stand on my tiptoes and close my eyes when bending up a note on the synth the same as I can on the guitar. Neither affects the sound, and both are a conscious decision to project an appearance of "I'm really shredding"
> With an electric guitar you get the physicality and dynamism of an acoustic instrument with the complex timbres and extended technique possibilities of an electric/electronic instrument.
That can apply to any instrument once you "electrify" it. What makes a guitar more expressive than a cello or trumpet with a pickup/mic running through effect processing? I play guitar, keys and trumpet, and while I agree that a casio keyboard has limited expression options, your opinion doesn't sound researched.
> What makes a guitar more expressive than a cello or trumpet with a pickup/mic running through effect
The difference lies in the pickup! On those other instruments you will be using a contact mic (piezo-transducer) wheras the solid body guitar is using an inductive coil.
The contact mic is going to pickup only physical resonance whereas the the coil is measuring an electromagnetic field. Plucking the steel string induces a change in voltage in the coil. This means that the coil can pickup all sorts of interesting electromagnetic interference from the tube amplifier that is all frequency dependent and involve that in whatever feedback loops are occuring.
So the difference in expression is in the oscillator type?
Are we using the same definition of "expressive"? I play synth, guitar and trumpet, and the trumpet is by far the most expressive of the three, both musically and physically. You have basically all the same options for expression that you do with a human voice (vibrato, dynamics, glissando, etc) plus the expressive techniques offered by the instrument mechanics (for example: half-valving, trills, lip slurs, using a plunger as a LPF).
Sure you need a microphone or contact mic, but again that's just your source of your oscillator. After that, sound design is just sound design. I'm not saying everybody should play electric trumpet, but it's just absurd to make blanket statements like "electric guitar is the most expressive electronic instrument".
No two trumpet players sound the same. I know who is playing just by the tone. Listen to Herb Alpert / Al Hirt / Maurice Andre, all playing the same instrument, but wildly different.
Crazy example of when everything is AI generated, even the code referenced in git repo (refer to commit 3d733ca), and actually interesting and "new" in a way...
Nice article for engineers to understand something that most guitar players will intuitively know.
One of the great things about a hi-gain setup like Hendrix's is how the feedback loop will inject an element of controlled chaos into the sound. It allows for emergent fluctuations in timbre that Hendrix can wrangle, but never fully control. It's the squealing, chaotic element in something like his 'Star Spangled Banner'. It's a positive feedback loop that can run away from the player and create all kinds of unexpected elements.
The art of Hendrix's playing, then, is partly in how he harnessed that sound and integrated it into his voice. And of course, he's a force of nature when he does so.
A great place to hear artful feedback would be the intro to Prince's 'Computer Blue'. It's the squealing "birdsong" at the beginning and ending of the record. You can hear it particularly well if you search for 'Computer Blue - Hallway Speech Version' with the extended intro.
I think I recall reading about Hendrix that he tried to emulate the sounds of cartoons with his guitar, and then when he was in the army he did the same with trying to reproduce the sounds of fighter jets. Not sure if urban legend, but cool origin story.
> The art of Hendrix's playing, then, is partly in how he harnessed that sound and integrated it into his voice. And of course, he's a force of nature when he does so.
One thing for me to notice is his playing does not require a rhythm guitarist. I discovered that what worked well is Mitch Mitchell as a Jazz drummer his playing was heavily influenced by classics. In a way it complemented Jimi's guitar tone so well.
This leaves me wondering what would happen if you attached a coupling to a trumpet and ran the sound through an effects/feedback box. Why should electric guitars have all the fun?
I like the thought, but trumpets require a lot of energy to excite them (i.e. you have to blow a LOT of air into a horn just to get a note. Getting an instrument like that to feedback would require a pretty radical system.
The difference with electric guitars is that guitar pickups are relatively sensitive and then go through multiple stages of amplification, which makes the system ripe for feedback loops.
Some saxophone players have been known to generate feedback through on-board microphones. Strictly speaking, this isn't exciting the horn, but it does introduce feedback that's excited BY the instrument.
It's quite likely that when Hendrix went to London the first time, he was the first person ever to play a Stratocaster through a Marshall full stack at full volume.
Also maybe not until the night of his first big gig there.
Townshend had Marshall build 100 watters so he could play louder clean, Clapton had already been cranking it with a Gibson SG which is a characteristic sound all its own, he was in the audience at the gig and was blown away watching Hendrix.
Every year from at least 1964 to 1984, more advanced amps were made than ever existed before.
I like how the phone rings in the background on Gypsy Eyes. Wonder who called?
Voodoo Chile lyrics: "on the night I was born the moon turned fire red".
Poetic license? Stellarium reveals on the early evening of November 27, 1942 in Seattle, the moon was low on the horizon - just 25 degrees altitude at 5:30pm, directly East. The sun set at 5pm. While not a full moon it was 85%, so I'm calling it! The moon may have glowed a warm orange-red on the night (of the day) Hendrix was born.
For a better example of the guitar as a synth like feedback device listen to robert fripps solo on heroes by bowie. He used markings on the studio floor to achieve the desired tone.
> Electric guitars attack hard, decay fast, and don’t sustain like bowed strings or organs.
Since the 1980s, we have had the "Sustainiac": an active circuit installed in the electric guitar along with a "reverse pickup" which is energized in order to excite vibration in the strings.
With this device, at the flip of a switch, you get indefinite sustain on any note on the neck, at any volume, distortion or not --- even if the electric guitar is not plugged into an amplifier at all, and just heard acoustically.
The best implementations of this have a three way harmonic switch. You can choose between excite the fretted (or open) note itself (fundamenta a.k.a first harmonic), an octave above it (second harmonic) or a higher harmonic still.
You can be sustaning the given note, and then at the flip of a switch, it will fade over to the higher harmonic.
YouTube videos of this in action are worth checking out.
If you don't want to or can't install a Sustainiac pickup, you can get a much cheaper handheld one-string "E-Bow" that does the same thing. It's not as easy to use as a Sustainiac and you can't also be playing with the whammy bar unlike with a Sustainiac, but you can get it to do tricks a Sustainiac can't do: see the "spiccato" section in https://www.youtube.com/watch?v=b0V3pzxma-8
I've also managed to make an E-Bow work with a steel-string acoustic guitar (but only on one string IIRC).
You might enjoy this video. He really goes deep into using the guitar to create textures and emotions. He talks about the Edge (U2) and his Infinite Guitar and that he actually calling Michael Brook to see if he could get one. Eventually Fender did a custom build on his Clapton Strat which became the Fender EOB Sustainer.
Interesting factoid: modern guitar effects typically have their input jacks on the right-hand side, and output jacks on the left. In this article's guitar rig diagram, the jacks are reversed, but this is accurate: back then, for whatever reason the jacks were reversed on each of these pedals. Modern reissues of the round-enclosure Fuzz Face pedals preserve this pattern despite the reversal of industry trends.
The amazing thing is that Hendrix during live performances has the same wonderful effects as he got in the studio. I only saw Hendrix play live one time, that was in San Diego a few weeks before he died in England.
67 comments
[ 4.4 ms ] story [ 69.8 ms ] thread> and the component was the Octavia guitar pedal, created for Hendrix by sound engineer Roger Mayer.
So, Roger was the engineer. And, Jimi was the artist.
DSP, Control Engineering, Circuit Design, understanding pipelining and caching, and other fundamentals are important for people to understand higher levels of the abstraction layers (eg. much of deep learning is built on top of Optimization Theory principles which are introduced in a DSP class).
The value of Computer Science isn't the ability to whiteboard a Leetcode hard question or glue together PyTorch commands - it's the ability to reason across multiple abstraction layers.
And newer grads are significantly deskilled due to these curriculum changes. If I as a VC know more about Nagle's Algorithm (hi Animats!) than some of the potential technical founders for network security or MLOps companies, we are in trouble.
I know at MIT it was (and I think still is) one major - EECS, and students had substantial latitude on how much they wanted to concentrate into hardware or software at least after the intro courses.
While some try to make it as exact science, it is not, there are things you still cannot put a number on and it works ...
Further down there is a sentence: "First, the Fuzz Face is a two-transistor feedback amplifier that turns a gentle sinusoid signal into an almost binary “fuzzy” output." But the figure does not match this - there is no "gentle sinusoid" wave shown on the first fuzz face plot.
All other electronic instruments, with the one exception being the Theramin, have a fundamental problem with human expression. There is an unsolvable disconnect between what the performer's actions and their audience.
See: https://www.scribd.com/document/55134776/48787070-Bob-Ostert...
With an electric guitar you get the physicality and dynamism of an acoustic instrument with the complex timbres and extended technique possibilities of an electric/electronic instrument.
There are complex and musically significant feedback loops occurring across many dimensions that lead to extremely complex transformations of timbre via both traditional music theoretical techniques and the physics of a tube amplifier combined with an inductive load (the guitar pickup).
Its really crazy how much more dynamic and complex this can be then even a highly sophisticated modular synthesizer or whatever. Even the way you over load the power supply in a tube amplifier can be manipulated on the fly to enhance and transform timbre.
Then on top of all that it is so incredibly physical that a performer like Jimi Hendrix can manipulate these systems and have the audience intuitively understand what he is doing. Never in a million years would THAT be possible with any other electronic instrument.
For one, you can’t easily play two melodies simultaneously across several octaves, using both of your hands, with an electric guitar.
Stringed electronic instruments do have their advantages, but so do the others. Each music making thing has its place in the spectrum.
Two books that have helped me greatly in my musical life, in case people haven’t heard of them, are The Listening Book, and Bridge of Waves, by W.A. Mathieu.
You can hear it particularly on "Where I End and You Begin" from Hail to the Thief. Ed O'Brien compliments its sound using an EBow (back before he had the sustainer) in that song.
https://en.wikipedia.org/wiki/Ondes_Martenot
https://www.youtube.com/watch?v=cvWwMhRsRgo
How up to date is this opinion of yours? Expression on guitar is pretty intuitive, but modern electronic instrument manufacturers have been working on this problem and created modes of expression that definitely solve this problem.
For example, EWIs allow you to use breath control for expression with many of the same techniques available on actual wind instruments. Also many synths now have features like polyphonic aftertouch, pitch/mod wheels, which allow you to add expression to a note while it is playing. Apps and hardware exist which allow you to use novel methods of capturing motion or other forms of expression. And most modern synths/midi controllers allow you to decide what parameters are affected.
> Then on top of all that it is so incredibly physical
That's an affectation. I can stand on my tiptoes and close my eyes when bending up a note on the synth the same as I can on the guitar. Neither affects the sound, and both are a conscious decision to project an appearance of "I'm really shredding"
> With an electric guitar you get the physicality and dynamism of an acoustic instrument with the complex timbres and extended technique possibilities of an electric/electronic instrument.
That can apply to any instrument once you "electrify" it. What makes a guitar more expressive than a cello or trumpet with a pickup/mic running through effect processing? I play guitar, keys and trumpet, and while I agree that a casio keyboard has limited expression options, your opinion doesn't sound researched.
The difference lies in the pickup! On those other instruments you will be using a contact mic (piezo-transducer) wheras the solid body guitar is using an inductive coil.
The contact mic is going to pickup only physical resonance whereas the the coil is measuring an electromagnetic field. Plucking the steel string induces a change in voltage in the coil. This means that the coil can pickup all sorts of interesting electromagnetic interference from the tube amplifier that is all frequency dependent and involve that in whatever feedback loops are occuring.
Are we using the same definition of "expressive"? I play synth, guitar and trumpet, and the trumpet is by far the most expressive of the three, both musically and physically. You have basically all the same options for expression that you do with a human voice (vibrato, dynamics, glissando, etc) plus the expressive techniques offered by the instrument mechanics (for example: half-valving, trills, lip slurs, using a plunger as a LPF).
Sure you need a microphone or contact mic, but again that's just your source of your oscillator. After that, sound design is just sound design. I'm not saying everybody should play electric trumpet, but it's just absurd to make blanket statements like "electric guitar is the most expressive electronic instrument".
One of the great things about a hi-gain setup like Hendrix's is how the feedback loop will inject an element of controlled chaos into the sound. It allows for emergent fluctuations in timbre that Hendrix can wrangle, but never fully control. It's the squealing, chaotic element in something like his 'Star Spangled Banner'. It's a positive feedback loop that can run away from the player and create all kinds of unexpected elements.
The art of Hendrix's playing, then, is partly in how he harnessed that sound and integrated it into his voice. And of course, he's a force of nature when he does so.
A great place to hear artful feedback would be the intro to Prince's 'Computer Blue'. It's the squealing "birdsong" at the beginning and ending of the record. You can hear it particularly well if you search for 'Computer Blue - Hallway Speech Version' with the extended intro.
One thing for me to notice is his playing does not require a rhythm guitarist. I discovered that what worked well is Mitch Mitchell as a Jazz drummer his playing was heavily influenced by classics. In a way it complemented Jimi's guitar tone so well.
The difference with electric guitars is that guitar pickups are relatively sensitive and then go through multiple stages of amplification, which makes the system ripe for feedback loops.
Some saxophone players have been known to generate feedback through on-board microphones. Strictly speaking, this isn't exciting the horn, but it does introduce feedback that's excited BY the instrument.
Also maybe not until the night of his first big gig there.
Townshend had Marshall build 100 watters so he could play louder clean, Clapton had already been cranking it with a Gibson SG which is a characteristic sound all its own, he was in the audience at the gig and was blown away watching Hendrix.
Every year from at least 1964 to 1984, more advanced amps were made than ever existed before.
>Electromagnetic pickups—(...)—fixed the loudness problem. But they left a new one: the envelope
Was it really a problem to be solved? Good tube amplifiers already existed back then. Clean guiar tone was not something frowned upon.
>Hendrix’s mission was (...)
>His solution was (...)
I don't think Hendrix was on a 'mission' to solve engineering puzzles at all. He was just experimenting, as an artist.
https://jimihendrixrecordguide.com/home-recordings/
(edit: syntax)
Voodoo Chile lyrics: "on the night I was born the moon turned fire red".
Poetic license? Stellarium reveals on the early evening of November 27, 1942 in Seattle, the moon was low on the horizon - just 25 degrees altitude at 5:30pm, directly East. The sun set at 5pm. While not a full moon it was 85%, so I'm calling it! The moon may have glowed a warm orange-red on the night (of the day) Hendrix was born.
Since the 1980s, we have had the "Sustainiac": an active circuit installed in the electric guitar along with a "reverse pickup" which is energized in order to excite vibration in the strings.
With this device, at the flip of a switch, you get indefinite sustain on any note on the neck, at any volume, distortion or not --- even if the electric guitar is not plugged into an amplifier at all, and just heard acoustically.
The best implementations of this have a three way harmonic switch. You can choose between excite the fretted (or open) note itself (fundamenta a.k.a first harmonic), an octave above it (second harmonic) or a higher harmonic still.
You can be sustaning the given note, and then at the flip of a switch, it will fade over to the higher harmonic.
YouTube videos of this in action are worth checking out.
Here is one:
https://www.youtube.com/watch?v=LZwPPGsxY6g
I've also managed to make an E-Bow work with a steel-string acoustic guitar (but only on one string IIRC).
https://au.fender.com/products/fender-eob-sustainer-stratoca...
You might enjoy this video. He really goes deep into using the guitar to create textures and emotions. He talks about the Edge (U2) and his Infinite Guitar and that he actually calling Michael Brook to see if he could get one. Eventually Fender did a custom build on his Clapton Strat which became the Fender EOB Sustainer.
https://www.youtube.com/watch?v=YK4Fmrlqz3I
Nigel Tufnel: The sustain, listen to it. Marty DiBergi: I don't hear anything. Nigel Tufnel: Well you would though, if it were playing.