Capacitors are often used in electrical and electronic circuits as energy-storage devices. They can also be used to differentiate between high-frequency and low-frequency signals. This property makes them useful in electronic filters, and thats exactly what we use them for inside our guitars. Basically, our passive tone control can be used to dampen the high frequencies. When you close the tone pot, it rolls off the treble response, giving a more mellow tone. Adjusting this control affects the sound very noticeably, but it still is quite recognizable as the same guitar.
VA - In Ya Mellow Tone 5 2010.zip
A basic rule for tone caps is that the bigger the cap, the darker the tone. Depending on the cap's value (capacitance), the effect can reach from "slightly warmer" to a "woman tone" all the way to "completely dark and clinically dead." Remember, the tone cap is always part of the guitar circuit and it even influences the tone when the tone pot is fully opened.
I often receive e-mails and calls from guitarists who don't use the tone control at all, mostly complaining about tones that are darke and lifeless, hotspots when closing the tone pot, and a basically useless taper of the tone control. I'm sure you've experienced the last problem; when closing your tone control, all changes occur between 10 and 8, and from 8 all the way to 0 there is no audible change of your tone. Don't worry, this can be solved. I hope that I can encourage you to give your tone control a second chance. It is really unbelievable how many tone colors can be easily dialed in with a proper tone control.
There are two basic parameters that we will talk about: the value (capacitance) and voltage rating of the cap, plus the type of cap itself. Both parameters will influence the tone a lot; this month, we will start with the value and voltage rating of the cap. Capacitance is a measure of the amount of electric charge stored (or separated) for a given electric potential. The voltage rating describes the maximum working voltage of a cap (potential, measured in volts).
As a basic rule you can say that every cap with a voltage rating of 0.5 volts or higher will work inside a passive electric guitar, with higher voltage ratings resulting in larger caps. The reason for the high-voltage tone caps that you find in guitars is easy to explain. A lot of popular caps, like the Sprague "Orange Drops," are for tube amps with inside voltage of 600V or higher. Nevertheless, the caps sound great inside a guitar, but an Orange Drop cap with a 10V rating would also sound great. A cap with a higher voltage rating does not sound different from the same cap with a lower voltage rating.
In the "golden days" of electrical guitars, Fender and Gibson used tone caps with a very high capacitance (0.1uf/0.05uF and 0.047uF/0.022uF, depending upon the time period). The 0.022uF value is still the standard today. If you need very dark and bassy tones, this value may work for you. For most of us, however, this value is much too large and the effect is more or less useless, resulting in the aforementioned problem of the effect only taking place between 10 and 8. The solution to the problem is simply a tone cap with a much smaller value. This little change will enhance the usability of your tone control dramatically, giving you a good evenness among the complete taper of the tone control without any hotspots, and every movement of the pot will result in a change of tone.
The value of your tone cap is always a matter of individual choice and needs, because everyone has a different ideal tone and everyone uses the tone control differently. Personally I use very small tone caps of 3300pF up to 6800pF, depending on the guitar and how bright it sounds. With these mall values Im able to dial in a lot of tonal shades and colors all over the tone pot, and with every small movement the tone gets a little bit warmer and sweeter - not dull and dark.
Now open your guitar and desolder and remove the existing tone cap. Solder the end of the wires opposite to the alligator clips to the points where the original tone cap was connected and close your guitar leaving the wires hanging out. Now you can change the different caps within seconds by simply connecting with the alligator clips. Play your guitar and use the tone control to see which value works best.
Hopefully you will be able to determine through this method what your favorite cap value is. My tip is to try 2200pF, 3300pF, 4700pF and 6800pF and listen to how they interact with the tone and taper of the pot. Chances are good that you will like them!
This is a very important step in converting your tone control to a useable and helpful tool in the future. Next month we will talk about the different cap types, and how to figure out which one is for you.
Also known as the overtone scale or acoustic scale, because it is close to the first seven pitches in the natural overtone series. Same pitches as the G melodic minor scale and the F-sharp/G-flat altered scale.
the preening, the coy eye contact - but voice plays a role, too. googletag.cmd.push(function() googletag.display('div-gpt-ad-1450190541376-1'); ); Lowering your voice may be a means of demonstrating attraction, says Susan Hughes, assistant professor of psychology at Albright College in Reading, Pa., in a study, "Vocal and Physiological Changes in Response to the Physical Attractiveness of Controversial Partners," to be published in the fall by the Journal of Nonverbal Behavior."We found that both sexes used a lower-pitch voice and showed a higher level of physiological arousal when speaking to a more attractive opposite-sex target," she says.The study examined 48 Albright students using Skype to leave scripted voice-messages while viewing a picture of a fictitious person "receiving" the message. The men and women the participants looked at varied in attractiveness.Hughes - who expected that women would raise their voices to sound more feminine and attractive - was surprised."There appears to be a common stereotype in our culture that deems a sexy female voice as one that sounds husky, breathy, and lower-pitched," she says. "This suggests that the motivation to display a sexy/seductive female voice may conflict with the motivation to sound more feminine."Female voice manipulation suggests that altering their tone may be a learned behavior based on sexual voice stereotypes rather than actual vocal characteristics of attractiveness. "When a woman naturally lowers her voice, it may be perceived as her attempt to sound more seductive or attractive, and therefore serves as a signal of her romantic interest," she adds.Their research also measured people's awareness of the changes in others' voices."These findings may have implications for the important role voice plays in mate selection and attraction," she says. "If people can perceive changes in others' voices when speaking to attractive individuals, this perception may be adaptive for identifying interested potential mates, detecting partner interest in others, and possible detection of partner infidelity."Says Hughes, "The sound of a voice can communicate a wealth of biologically and socially important information." Provided byDick Jones Communications Citation: The sound of seduction: Lowering voice may be means of signaling attraction (2010, May 20) retrieved 7 February 2023 from -05-seduction-lowering-voice.html This document is subject to copyright. Apart from any fair dealing for the purpose of private study or research, no part may be reproduced without the written permission. The content is provided for information purposes only. Explore further
Their biggest selling album. #1 in 1967 for 18 weeks, it was also the first ever rock album to be the Best-Selling Album Of The Year (also 1967). Featuring the big hit singles "I'm A Believer" and "(I'm Not Your) Stepping Stone" this would be the biggest album of their career and one of four Monkees albums that were all #1 in 1967. Mastered impeccably by Joe Reagoso , from the original Colgems Monophonic tapes.1-She2-When Love Comes Knockin' (At Your Door) 3-Mary, Mary 4-Hold On Girl 5-Your Auntie Grizelda 6-(I'm Not Your) Steppin' Stone 7-Look Out (Here Comes Tomorrow) 8-The Kind Of Girl I Could Love 9-The Day We Fall In Love 10-Sometime In The Morning 11-Laugh 12-I'm A Believer
The opening track on 1972's Super Freak is a brilliant, nearly side-long medley of three tracks from Curtis Mayfield's Superfly: the title track, "Pusherman," and, of course, "Freddie's Dead." Heavy, druggy, and psychedelic, with thick organ and wah-wah guitars, the medley sounds more like the psychedelic soul of War or even Funkadelic than the sparkling Latin jazz of Pucho's earlier albums. The rest of Super Freak is a little lighter in tone, but this is still the most groove-oriented and least overtly Latin jazz-oriented of this group's albums, trafficking instead in shuffling grooves like "Oak Hurst's Art" and vibes-led ballads like "Judy's Moods" and "One More Day." Latin jazz purists may balk, but this later became a classic of the '90s acid jazz movement, which some sources date to the U.K. hip-hop group Galliano pinching a sample from this album's version of "Freddie's Dead" for the 1989 single "Frederick Lies Still." -AllMusicThis is its first pressing in twenty years and comes to record stores first as part of RSD Black Friday.
Side D1. "St. Louise is Listening" (Edit) (From El Oso)2. "$300" (Edit) (From El Oso)3. "Circles" (Edit) (From El Oso)4. "Super Bon Bon" (Propellerheads Radio Edit) (From "Super Bon Bon" single)5. "Casiotone Nation" (Live) (From "Super Bon Bon" single)
A1. Donnie Elbert "I Can't Help Myself (Sugar Pie, Honey Bunch); A2. Della Reese "Compared to What"; A3. The Softones "Can't Help Falling in Love"; A4. Eugene Pitt & the Jyve Fyve "Lay Lady Lay"; A5. Limmie and Family Cookin' "Walkin Miracle"; A6. Eric Mercury "Hurdy Gurdy Man"; A7. Van McCoy "Doctor's Order"'; 2ff7e9595c
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