70-584: Sunn (stylized in all lowercase as sunn ) is a brand of musical instrument amplifiers based in Tualatin, Oregon , United States. In early 1963, the Kingsmen , a band based in Portland, Oregon , became known for their hit version of the song " Louie, Louie ". After its hit single, the band soon embarked on a 50-state national tour. Because the band was used to playing small hops and school dances, many of
140-508: A power amplifier , to drive one or more loudspeaker that can be heard by the performers and audience. Combination (combo) amplifiers include a preamplifier , a power amplifier, tone controls, and one or more speakers in a cabinet , a housing or box usually made of wood. Instrument amplifiers for some instruments are also available without an internal speaker; these amplifiers, called heads , must plug into one or more separate speaker cabinets. Instrument amplifiers also have features that let
210-487: A tube amplifier that is often turned up to add a warm, growling overdrive . Some electric pianos have built-in amplifiers and speakers, in addition to outputs for external amplification. These amplifiers are intended for acoustic instruments such as violin ("fiddle"), mandolin , harp , and acoustic guitar —especially for the way musicians play these instruments in quieter genres such as folk and bluegrass . They are similar to keyboard amplifiers, in that they have
280-553: A better reproduction of their instruments' sound. As a result of improvements to PA and monitor systems, musicians in the 2000s no longer need huge, powerful amplifier systems. A small combo amplifier patched into the PA suffices. In the 2000s, virtually all sound reaching the audience in large venues comes from the PA system . Onstage instrument amplifiers are more likely to be at a low volume, because high volume levels onstage make it harder for
350-513: A clean, transparent, acoustic sound that does not—except for reverb and other effects—alter the natural instrument sound, other than to make it louder. Amplifiers often come with a simple mixer to blend signals from a pickup and microphone. Since the early 2000s, it is increasingly common for acoustic amplifiers to provided digital effects, such as reverb and compression . Some also contain feedback -suppressing devices, such as notch filters or parametric equalizers . Instrument amplifiers have
420-436: A closed-back cabinet. These amplifiers usually allow users to switch between clean and distorted tones (or a rhythm guitar -style crunch tone and a sustained "lead" tone) with a foot-operated switch. Bass amplifiers are designed for bass guitars or more rarely, for upright bass . They differ from amplifiers for the electric guitar in several respects, with extended low-frequency response, and tone controls optimized for
490-422: A different purpose than 'Hi-Fi' (high fidelity) stereo amplifiers in radios and home stereo systems. Hi-fi home stereo amplifiers strive to accurately reproduce signals from pre-recorded music, with as little harmonic distortion as possible. In contrast, instrument amplifiers are add additional tonal coloration to the original signal or emphasize certain frequencies. For electric instruments such as electric guitar,
560-488: A different sound from another, even when they play or sing the same note. For instance, it is the difference in sound between a guitar and a piano playing the same note at the same volume. Both instruments can sound equally tuned in relation to each other as they play the same note, and while playing at the same amplitude level each instrument will still sound distinctively with its own unique tone color. Experienced musicians are able to distinguish between different instruments of
630-468: A fan is often used to move air across internal heatsinks. The most common hybrid amp design is to use a tube preamp with a solid-state power amplifier . This gives users the pleasing preamp and overdrive tone of a tube amp with the lowered cost, maintenance and weight of a solid-state power amp. Timbre In music, timbre ( / ˈ t æ m b ər , ˈ t ɪ m -, ˈ t æ̃ -/ ), also known as tone color or tone quality (from psychoacoustics ),
700-543: A huge number of sound partials, which can amount to dozens or hundreds in some cases, down to only three values. The first tristimulus measures the relative weight of the first harmonic; the second tristimulus measures the relative weight of the second, third, and fourth harmonics taken together; and the third tristimulus measures the relative weight of all the remaining harmonics: However, more evidence, studies and applications would be needed regarding this type of representation, in order to validate it. The term "brightness"
770-445: A larger electronic signal to feed to a loudspeaker. An instrument amplifier is used with musical instruments such as an electric guitar , an electric bass , electric organ , electric piano , synthesizers and drum machine to convert the signal from the pickup (with guitars and other string instruments and some keyboards) or other sound source (e.g, a synthesizer's signal) into an electronic signal that has enough power, produced by
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#1732776674656840-420: A listener to judge that two nonidentical sounds, similarly presented and having the same loudness and pitch , are dissimilar", adding, "Timbre depends primarily upon the frequency spectrum, although it also depends upon the sound pressure and the temporal characteristics of the sound". Many commentators have attempted to decompose timbre into component attributes. For example, J. F. Schouten (1968, 42) describes
910-442: A range of the louder, heavier genres of rock, including hard rock, heavy metal , and hardcore punk . This type of amplifier is available in a range of formats, ranging from small, self-contained combo amplifiers for rehearsal and warm-ups to heavy heads that are used with separate speaker cabinets—colloquially referred to as a stack . In the late 1960s and early 1970s, public address systems at rock concerts were used mainly for
980-471: A relatively flat frequency response and avoid tonal coloration. To produce this relatively clean sound, these amplifiers often have very powerful amplifiers (up to 800 watts RMS), to provide additional headroom and prevent unwanted distortion. Since an 800-watt amplifier built with standard Class AB technology would be heavy, some acoustic amplifier manufacturers use lightweight Class D , "switching amplifiers". Acoustic amplifier designs strive to produce
1050-637: A single 8" or 10" speaker. Some harmonica players use these small combo amplifiers for concert performances, though, because it is easier to create natural overdrive with these lower-powered amplifiers. Larger combo amplifiers, with one 12 inch speaker or two or four 10 or 12 inch speakers are used for club performances and larger venues. For large concert venues such as stadiums, performers may also use an amplifier head with several separate speaker cabinets (which usually contain two or four 12" speakers). Electric guitar amplifiers designed for heavy metal are used to add an aggressive drive , intensity, and edge to
1120-399: A small condenser microphone mounted inside the body, which designed to convert acoustic vibrations into an electrical signal, but usually they do so from direct contact with the strings (replacing the guitar's bridge) or with the guitar's body, rather than having a membrane-like general-purpose microphone. Acoustic guitars may also use a piezoelectric pickup, which converts the vibrations of
1190-406: A station. Erickson gives a table of subjective experiences and related physical phenomena based on Schouten's five attributes: See also Psychoacoustic evidence below. The richness of a sound or note a musical instrument produces is sometimes described in terms of a sum of a number of distinct frequencies . The lowest frequency is called the fundamental frequency , and the pitch it produces
1260-435: A suitable microphone or pickup , depending on the type of guitar. For electric guitars, strings are almost always made of metal, and the pickup works by electro-magnetic induction (these are called magnetic pickups; they are the most widely used type of pickup on electric guitars). Acoustic guitars do not usually have a built-in pickup or microphone, at least with entry-level and beginner instruments. Some acoustic guitars have
1330-716: A vintage 1950s-style sound. They are used by electric guitarists, pedal steel guitar players, and blues harmonica ("harp") players. Combo amplifiers such as the Fender Super Reverb have powerful, loud tube amplifiers , four 10" speakers, and they often have built-in reverb and vibrato effects units. Smaller guitar amps are also available, which have fewer speakers (some have only one speaker) and lighter, less powerful amplifier units. Smaller guitar amps are easier to transport to gigs and sound recording sessions. Smaller amps are widely used in small venue shows ( nightclubs ) and in recordings, because players can obtain
1400-440: A violinist can use different bowing styles or play on different parts of the string to obtain different timbres (e.g., playing sul tasto produces a light, airy timbre, whereas playing sul ponticello produces a harsh, even and aggressive tone). On electric guitar and electric piano, performers can change the timbre using effects units and graphic equalizers . Tone quality and tone color are synonyms for timbre , as well as
1470-470: A warmer or more natural sound than solid state units, and a more pleasing overdrive sound when overdriven. However, these subjective assessments of the attributes of tube amplifiers' sound qualities are the subject of ongoing debate. Tube amps are more fragile, require more maintenance, and are usually more expensive than solid-state amps. Tube amplifiers produce more heat than solid-state amplifiers, but few manufacturers of these units include cooling fans in
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#17327766746561540-496: A warmer tone than those of transistor amps, particularly when overdriven (turned up to the level that the amplifier starts to clip or shear off the waveforms). Instead of abruptly clipping off the signal at cut-off and saturation levels, the signal is rounded off more smoothly. Vacuum tubes also exhibit different harmonic effects than transistors. In contrast to the tweed-style amplifiers, which use speakers in an open-backed cabinet, companies such as Marshall tend to use 12" speakers in
1610-427: Is important to a song. For example, in heavy metal music , the sonic impact of the heavily amplified, heavily distorted power chord played on electric guitar through very loud guitar amplifiers and rows of speaker cabinets is an essential part of the style's musical identity. Often, listeners can identify an instrument, even at different pitches and loudness, in different environments, and with different players. In
1680-467: Is played, the sound is a combination of 440 Hz, 880 Hz, 1320 Hz, 1760 Hz and so on. Each instrument in the orchestra or concert band produces a different combination of these frequencies, as well as harmonics and overtones. The sound waves of the different frequencies overlap and combine, and the balance of these amplitudes is a major factor in the characteristic sound of each instrument. William Sethares wrote that just intonation and
1750-495: Is set near its maximum, (when used for blues , rockabilly , psychobilly , and roots rock ). These amplifiers usually have a sharp treble roll-off at 5 kHz to reduce the extreme high frequencies, and a bass roll-off at 60–100 Hz to reduce unwanted boominess. The nickname tweed refers to the lacquered beige-light brown fabric covering used on these amplifiers. The smallest combo amplifiers, which are mainly used for individual practice and warm-up purposes, may have only
1820-413: Is the perceived sound quality of a musical note , sound or tone . Timbre distinguishes different types of sound production, such as choir voices and musical instruments. It also enables listeners to distinguish different instruments in the same category (e.g., an oboe and a clarinet , both woodwind instruments ). In simple terms, timbre is what makes a particular musical instrument or human voice have
1890-433: Is the use of a tube preamplifier with a solid-state power amplifier. There are also an increasing range of products that use digital signal processing and digital modeling technology to simulate many different combinations of amp and cabinets. The output transistors of solid-state amplifiers can be passively cooled by using metal fins called heatsinks to radiate away the heat. For high-wattage amplifiers (over 800 watts),
1960-482: Is used to name the note, but the fundamental frequency is not always the dominant frequency. The dominant frequency is the frequency that is most heard, and it is always a multiple of the fundamental frequency. For example, the dominant frequency for the transverse flute is double the fundamental frequency. Other significant frequencies are called overtones of the fundamental frequency, which may include harmonics and partials . Harmonics are whole number multiples of
2030-509: The Super Valve Technology (SVT) amplifier, which was often used with eight 10" speakers. However, over subsequent decades, PA systems substantially improved, and used different approaches, such as horn-loaded bass bins (in the 1980s) and subwoofers (1990s and 2000s) to amplify bass frequencies. As well, in the 1980s and 1990s, monitor systems substantially improved, which helped sound engineers provide onstage musicians with
2100-401: The bite , or rate and synchronicity and rise time, of the attack are important factors. The concept of tristimulus originates in the world of color, describing the way three primary colors can be mixed together to create a given color. By analogy, the musical tristimulus measures the mixture of harmonics in a given sound, grouped into three sections. It is basically a proposal of reducing
2170-608: The " texture attributed to a single instrument". However, the word texture can also refer to the type of music, such as multiple, interweaving melody lines versus a singable melody accompanied by subordinate chords . Hermann von Helmholtz used the German Klangfarbe ( tone color ), and John Tyndall proposed an English translation, clangtint , but both terms were disapproved of by Alexander Ellis , who also discredits register and color for their pre-existing English meanings. Determined by its frequency composition,
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2240-413: The "elusive attributes of timbre" as "determined by at least five major acoustic parameters", which Robert Erickson finds, "scaled to the concerns of much contemporary music": An example of a tonal sound is a musical sound that has a definite pitch, such as pressing a key on a piano; a sound with a noiselike character would be white noise , the sound similar to that produced when a radio is not tuned to
2310-642: The 1980s, metal bands such as Slayer and Yngwie Malmsteen also used walls of over 20 Marshall cabinets. However, by the 1980s and 1990s, most of the sound at live concerts was produced by the sound reinforcement system rather than the onstage guitar amplifiers, so most of these cabinets were not connected to an amplifier. Instead, walls of speaker cabinets were used for aesthetic reasons. Amplifiers for harder, heavier genres often use valve amplifiers (known as tube amplifiers in North America) also. Valve amplifiers are perceived by musicians and fans to have
2380-467: The Cs remain so as to dovetail with the first oboe phrase of the trio." During these bars, Mahler passes the repeated notes through a gamut of instrumental colors, mixed and single: starting with horns and pizzicato strings, progressing through trumpet, clarinet, flute, piccolo and finally, oboe: (See also Klangfarbenmelodie .) In rock music from the late 1960s to the 2000s, the timbre of specific sounds
2450-679: The Dynaco Hi-fi company, with many of the first units actually containing power amplifier chassis sold by Dynaco (models MKII, MKIII, MKIV) as well as modified Dyna PAS1 preamplifiers. By 1965, the demand for Sundholm's amplifiers had increased to the point where the family garage could no longer be used as the manufacturing facility. At this point the Sunn amplifiers still relied on the Dyna power amp circuitry, reworked to fit Sunn's own chassis but still employing Dyna produced and branded transformers and
2520-516: The Sunn operation in 2002. In 2023 a group of experienced music and electronics industry executives licensed the rights to build Sunn branded products and formed the Sunn Musical Equipment Corporation . The team includes executives from Mission Engineering, Bose, Fender, Charvel, Yamaha, Intel, Hastings and HP, as well as an advisory team made up of former Sunn engineers, designers and management. The band Sunn O)))
2590-476: The amplifier helps to create the instrument's tone by boosting the input signal gain and distorting the signal, and by emphasizing frequencies deemed desirable (e.g., low frequencies) and de-emphasizing frequencies deemed undesirable (e.g., very high frequencies). In the 1960s and 1970s, large, heavy, high-output power amplifiers were preferred for instrument amplifiers, especially for large concerts, because public address systems were generally only used to amplify
2660-422: The attack from the sound of a piano or trumpet, it becomes more difficult to identify the sound correctly, since the sound of the hammer hitting the strings or the first blast of the player's lips on the trumpet mouthpiece are highly characteristic of those instruments. The envelope is the overall amplitude structure of a sound. Instrumental timbre played an increasing role in the practice of orchestration during
2730-405: The bands can be moved on and off the stage more quickly. Instrument amplifiers may be based on thermionic (tube or valve) or solid state (transistor) technology. Vacuum tubes were the dominant active electronic components in amplifiers from the 1930s through the early 1970s, and tube amplifiers remain preferred by many musicians and producers . Some musicians feel that tube amplifiers produce
2800-432: The capability to intentionally add some degree of overdrive or distortion to the tone. The two exceptions are keyboard amplifiers designed for use with digital pianos and synthesizers and acoustic instrument amplifiers for use with acoustic guitar or fiddle in a folk music setting, which typically aim for a relatively flat frequency response (i.e., no added coloration of the sound) and little or no distortion of
2870-479: The case of the clarinet , acoustic analysis shows waveforms irregular enough to suggest three instruments rather than one. David Luce suggests that this implies that "[C]ertain strong regularities in the acoustic waveform of the above instruments must exist which are invariant with respect to the above variables". However, Robert Erickson argues that there are few regularities and they do not explain our "...powers of recognition and identification." He suggests borrowing
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2940-535: The chassis. While tube amplifiers do need to attain a proper operating temperature , if the temperature goes above this operating temperature, it may shorten the tubes' lifespan and lead to tonal inconsistencies. By the 1960s and 1970s, semiconductor transistor-based amplifiers began to become more popular because they are less expensive, more resistant to bumps during transportation, lighter-weight, and require less maintenance. In some cases, tube and solid-state technologies are used together in amplifiers. A common setup
3010-423: The components cool. Speaker cabinets designed for bass usually use larger loudspeakers (or more loudspeakers, such as four ten-inch speakers) than the cabinets used for other instruments, so that they can move the larger amounts of air needed to reproduce low frequencies. Bass players have to use more powerful amplifiers than the electric guitarists, because deep bass frequencies take more power to amplify . While
3080-462: The concept of subjective constancy from studies of vision and visual perception . Psychoacoustic experiments from the 1960s onwards tried to elucidate the nature of timbre. One method involves playing pairs of sounds to listeners, then using a multidimensional scaling algorithm to aggregate their dissimilarity judgments into a timbre space. The most consistent outcomes from such experiments are that brightness or spectral energy distribution, and
3150-399: The eighteenth and nineteenth centuries. Berlioz and Wagner made significant contributions to its development during the nineteenth century. For example, Wagner's "Sleep motif" from Act 3 of his opera Die Walküre , features a descending chromatic scale that passes through a gamut of orchestral timbres. First the woodwind (flute, followed by oboe), then the massed sound of strings with
3220-528: The electronically unrelated Model T tube amps. Fender acquired Sunn in 1985, relocating operations from Tualatin to Lake Oswego . The stated intent was to both revitalize the Sunn amplifier lines and to produce some Fender-branded models as well, which included the Standard Series (Princeton Chorus and Ultra/Ultimate Chorus, both solid-state) and M-80 Series, and are identified as USA-made amplifiers with an "LO"-prefix serial number. Fender shut down
3290-403: The fundamental frequency, such as ×2, ×3, ×4, etc. Partials are other overtones. There are also sometimes subharmonics at whole number divisions of the fundamental frequency. Most instruments produce harmonic sounds, but many instruments produce partials and inharmonic tones, such as cymbals and other indefinite-pitched instruments. When the tuning note in an orchestra or concert band
3360-472: The guitar sound with distortion effects, preamplification boost controls (sometimes with multiple stages of preamps), and tone filters. While many of the most expensive, high-end models use 1950s-style tube amplifiers (even in the 2000s), there are also many models that use transistor amplifiers, or a mixture of the two technologies (i.e., a tube preamplifier with a transistor power amplifier ). Amplifiers of this type, such as Marshall amplifiers , are used in
3430-529: The increasing role of differentiated timbres in music of the early twentieth century. Norman Del Mar describes the following passage from the Scherzo movement of his Sixth Symphony , as "a seven-bar link to the trio consisting of an extension in diminuendo of the repeated As… though now rising in a succession of piled octaves which moreover leap-frog with Cs added to the As. The lower octaves then drop away and only
3500-601: The instrument into an electronic signal. More rarely, a magnetic pickup may be mounted in the sound hole of an acoustic guitar; while magnetic pickups do not have the same acoustic tone that microphones and piezo pickups can produce, magnetic pickups are more resistant to acoustic feedback . Standard amplifiers, such as the Fender tweed -style amps (e.g., the Fender Bassman ) and Gibson amps, are often used by traditional rock, blues, and country musicians who wish to create
3570-458: The largest speakers commonly used for regular electric guitar have twelve-inch cones, electric bass speaker cabinets often use 15" speakers. Bass players who play styles of music that require an extended low-range response, such as death metal , sometimes use speaker cabinets with 18" speakers or add a large subwoofer cabinet to their rig. Speakers for bass instrument amplification tend to be heavier-duty than those for regular electric guitar, and
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#17327766746563640-580: The mandolin and banjo. Some amplifiers are designed for specific styles of music, such as the Fender tweed guitar amplifiers, such as the Fender Bassman used by blues and country music musicians, and the Marshall amplifiers used by hard rock and heavy metal bands. Unlike home hi-fi amplifiers or public address systems , which are designed to accurately reproduce the source sound signals with as little harmonic distortion as possible and without changing
3710-529: The members found themselves ill-equipped with the amplifiers that they were currently using. Bassist Norm Sundholm discovered that his bass amp was not nearly powerful enough to play larger concert halls . Sundholm enlisted the help of his brother Conrad to help solve his problem. By 1964, the Sundholm brothers had designed a high-powered concert bass amplifier. The early Sunn amplifiers relied heavily on tube amplifiers designed by David Hafler and preamps sold by
3780-537: The needs of bass players. Higher-cost bass amplifiers may include built-in bass effects units, such as audio compressor or limiter features, to avoid unwanted distorting at high volume levels and potential damage to speakers; equalizers; and bass overdrive . Bass amps may provide an XLR DI output for plugging the bass amp signal directly into a mixing board or PA system . Larger, more powerful bass amplifiers (300 or more watts) are often provided with internal or external metal heat sinks and/or fans to help keep
3850-573: The particular challenges associated with keyboards; namely, to provide solid low-frequency sound reproduction and crisp high-frequency sound reproduction. It is typically a combination amplifier that contains a two, three, or four-channel mixer , a pre-amplifier for each channel, equalization controls, a power amplifier , a speaker , and a horn , all in a single cabinet. Notable exceptions include keyboard amplifiers for specific keyboard types. The vintage Leslie speaker cabinet and modern recreations, which are generally used for Hammond organs , use
3920-399: The performer modify the signal's tone , such as changing the equalization (adjusting bass and treble tone) or adding electronic effects such as intentional distortion or overdrive , reverb or chorus effect . Instrument amplifiers are available for specific instruments, including the electric guitar , electric bass , electric and electronic keyboards , and acoustic instruments such as
3990-487: The same electronic design. Thus, the Sunn Musical Equipment Company was founded. Throughout the original Sunn Amplifier line they employed Dynaco designed and built transformers (up to the 120 watt MK VI transformer set) and Hafler based power amp designs until Sunn stopped producing the original line of tube amplifiers in favor of the solid-state Concert and Coliseum models. Later Sunn produced
4060-418: The same type based on their varied timbres, even if those instruments are playing notes at the same fundamental pitch and loudness. The physical characteristics of sound that determine the perception of timbre include frequency spectrum and envelope . Singers and instrumental musicians can change the timbre of the music they are singing/playing by using different singing or playing techniques. For example,
4130-447: The signal. A guitar amplifier amplifies the electrical signal of an electric guitar (or, less commonly, with acoustic amplifiers, an acoustic guitar ) so that it can drive a loudspeaker at sufficient volume for the performer and audience to hear. Most guitar amplifiers can also modify the instrument's sound with controls that emphasize or de-emphasize certain frequencies and add electronic effects . String vibrations are sensed by
4200-636: The sound engineer to control the sound mix. As a result, in many large venues much of the onstage sound reaching the musicians now comes from in-ear monitors , not from the instrument amplifiers. While stacks of huge speaker cabinets and amplifiers are still used in concerts (especially in heavy metal), this is often mainly for aesthetics or to create a more authentic tone. The switch to smaller instrument amplifiers makes it easier for musicians to transport their equipment to performances. As well, it makes concert stage management easier at large clubs and festivals where several bands are performing in sequence, because
4270-523: The sound of a musical instrument may be described with words such as bright , dark , warm , harsh , and other terms. There are also colors of noise , such as pink and white . In visual representations of sound, timbre corresponds to the shape of the image, while loudness corresponds to brightness; pitch corresponds to the y-shift of the spectrogram. The Acoustical Society of America (ASA) Acoustical Terminology definition 12.09 of timbre describes it as "that attribute of auditory sensation which enables
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#17327766746564340-450: The speaker cabinets are typically more rigidly constructed and heavily braced, to prevent unwanted buzzes and rattles. Bass cabinets often include bass reflex ports, vents or openings in the cabinet, which improve the bass response and low-end, especially at high volumes. A keyboard amplifier , used for the stage piano , synthesizer , clonewheel organs and similar instruments, is distinct from other types of amplification systems due to
4410-490: The stringed rebab or the voice, are related to the five-note near-equal tempered slendro scale commonly found in Indonesian gamelan music. The timbre of a sound is also greatly affected by the following aspects of its envelope : attack time and characteristics, decay, sustain, release ( ADSR envelope ) and transients . Thus these are all common controls on professional synthesizers . For instance, if one takes away
4480-421: The tone or equalization (at least not unless the hi-fi owner adjusts it themselves with a graphic equalizer ), instrument amplifiers are often designed to add additional tonal coloration to the original signal, emphasize (or de-emphasize) certain frequencies (most electric guitar amps roll off the very high frequencies), and, in the case of guitar amplifiers designed for electric guitar or Hammond organ , offer
4550-409: The tone they want without having to have an excessively loud volume. One of the challenge with the large, powerful 4x10 Fender Bassman-type amps is that to get the tone a player wants, they have to turn up the amp to a loud volume. These amps are designed to produce a variety of sounds ranging from a clean, warm sound (when used in country and soft rock) to a growling, natural overdrive, when the volume
4620-558: The violins carrying the melody, and finally the brass (French horns). Debussy , who composed during the last decades of the nineteenth and the first decades of the twentieth centuries, has been credited with elevating further the role of timbre: "To a marked degree the music of Debussy elevates timbre to an unprecedented structural status; already in Prélude à l'après-midi d'un faune the color of flute and harp functions referentially". Mahler 's approach to orchestration illustrates
4690-426: The vocals. As a result, to get a loud electric guitar sound, early heavy metal and rock-blues bands often used stacks of 4x12" Marshall speaker cabinets on the stage. In 1969, Jimi Hendrix used four stacks to create a powerful lead sound, and in the early 1970s by the band Blue Öyster Cult used an entire wall of Marshall Amplifiers to create a roaring wall of sound that projected massive volume and sonic power. In
4760-423: The vocals. Moreover, in the 1960s, PA systems typically did not use monitor speaker systems to amplify the music for the onstage musicians. Instead, the musicians were expected to have instrument amplifiers that were powerful enough to provide amplification for the stage and audience. In late 1960s and early 1970s rock concerts, bands often used large stacks of speaker cabinets powered by heavy tube amplifiers such as
4830-449: The western equal tempered scale are related to the harmonic spectra /timbre of many western instruments in an analogous way that the inharmonic timbre of the Thai renat (a xylophone-like instrument) is related to the seven-tone near-equal tempered pelog scale in which they are tuned. Similarly, the inharmonic spectra of Balinese metallophones combined with harmonic instruments such as
4900-453: Was named after the company. The band’s name includes a typographic representation of the Sun logo, with one too few or one too many parentheses depending if viewed as including the two concentric rings around the Sun. Instrument amplifier An instrument amplifier is an electronic amplifier that converts the often barely audible or purely electronic signal of a musical instrument into
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