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UPDATE: Based on cool info supplied by YOU, dear readers, I’m expanding the scope of this piece. I’m furiously wiring up clones of some very rare models, and I can promise many cool and interesting surprises. Thanks, guys! :beer:
Okay, now that we’ve all gotten that silly “reading” stuff out of our systems with Book Week, it’s time to get back to the real focus of this blog: nasty, filthy fuzz pedals.
Last time we were on the subject, we looked at the original version of Dallas-Arbiter Fuzz Face, and included Mitchell “super-freq” Hudson’s beautiful DIY instructions.
Those posts generated many interesting comments — plus some misinformation on my part. For example, I said that the original Fuzz Face circuit is a close cousin to the Tone Bender Mk I, which would mean, for example, that known Mk 1 user Mick Ronson was essentially using a Fuzz Face between his Les Paul and his Marshall. But subsequent listening and reading makes me believe I was wrong. So I figured it was time to play fuzz detective and sort the facts from the other stuff.
First, I made clones of all the early commercial fuzzes. I’ll be posting a compare-and-contrast video in the coming days. (The audio forensics will be quite incriminating.) Here’s the lineup:
 The usual suspects. (Incriminating audio/video evidence to be posted soon!) I’ve also re-read the experts, and man, even my most trusted sources contradict each other right and left, especially when it comes to those darn Tone Benders. While I have absolutely no inside dope on what actually transpired, I think David from D*A*M Stompboxes offers the most convincing Tone Bender chronology, which you can read here.
Anyway, here’s my best guess about how the early fuzz years unfolded:
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Thanks to all my smart and cool readers who contributed to the first (maybe annual?) Tonefiend Book Week! I loved chatting about some old favorite books, and getting exposed to so many cool new ones.
 An encyclopedia of rad mods. I have just two quick additions: the first concerns an exciting new acquaintance, and the other a sad departure.
In comments to Tuesday’s post on DIY and repair books, reader smgear mentioned Nice Noise, a book on prepared guitar by Bart Hopkin and Yuri Landman. I immediately ordered a copy, and received it the other day. I’m blown away. It’s a small-format book, a mere 72 pages, but it is a veritable encyclopedia of alternate guitar treatments.
Hopkin (he edited the journal Experimental Musical Instruments and wrote the fabulous alternate instrument books Gravikords, Whirlies & Pyrophones and Orbitones, Spoon Harps & Bellowphones) and Landman (he builds mutant guitars for Sonic Youth, Liars, Melt Banana, and other artists) discuss pretty much every avant-garde guitar mod I’ve ever heard of, and many besides. It’s not just a catalog — it’s a detailed how-to, meant to be consumed alongside the pair’s online audio library of musical examples. I’m sure you’ll be reading about it more here, because I’m definitely going inflict some of these rad alterations on some unwitting guitars.
 A great rock-and-roll novel. An a sadder note, the death of Scotland’s Iain Banks this weekend reminded me of a book that should have been inclued in Friday’s installment on musical fiction. Both funny and moving, his 1987 novel, Espedair Street, is simply one of the finest rock-and-roll novels ever. Its protagonist is a fabulously successful rock star (think Floyd or Fleetwood Mac in their prime) who must process his own past while grappling with the prospect of suicide.
Readers in the UK, where Banks is hugely popular, may be surprised to learn he’s strictly a cult figure in the States. While Espedair Street is his only work to focus on the music world, he wrote many fine novels marked by wry humor and vast empathy. (The Crow Road and Whit are two other favorites of mine.) He also wrote scads of science fiction under the name Iain M. Banks. Banks, 57, had only recently learned he was dying of cancer. In April he composed a final communique to his readers, writing:
I’ve asked my partner Adele if she will do me the honour of becoming my widow (sorry – but we find ghoulish humour helps). By the time this goes out we’ll be married and on a short honeymoon. We intend to spend however much quality time I have left seeing friends and relations and visiting places that have meant a lot to us.
Tonefiend Book Week is simple: I discuss a few titles I’ve found particularly enlightening, useful, or entertaining, and then you jump in and do the same. I’ve organized the days of this week by subject matter. Today’s topic: musical fiction.
In comments to yesterday’s installment on musical autobiographies, several folks mentioned the Real Frank Zappa Book. Which reminds me of a quote often (and apparently incorrectly) attributed to Frank: “Writing about music is like dancing about architecture.”
 A music fan rescues ’60s rock via time travel. (Not as dorky as I’m making it sound!) The line probably originated in reference to music journalism, but it applies just as well to fiction about music. Countless novelists and screenwriters are ardent music lovers. Yet there aren’t many novels or films that capture the act of music creation — what’s it’s like to be a musician.
The problem isn’t a lack of passion for music. Leo Tolstoy, Thomas Mann, and Victor Hugo were knowledgable listeners who channeled the emotions they perceived in great music into equally great prose. But even among literary titans, depictions of the music-making process tend to be as bogus as that clichéd Hollywood montage: Composer paces room. Furiously crumbles aborted manuscript page. Howls at moon. And then — Eureka! — a Masterpiece is born. [CUT TO END OF CONCERT, STANDING OVATION.]
Writers seem to do better depicting the worlds that surround music. For example, Jennifer Egan’s 2011 novel A Visit from the Goon Squad includes scenes set in the old San Francisco punk scene, and she nails the vibe. Many fine younger writers — Egan, Dave Eggers, Jonathan Lethem — are obvious rock geeks who skillfully evoke the experience of music consumption. There are also memorable depictions of fandom, notably Nick Hornby’s 1996 novel High Fidelity. But few books attempt to provide glimpses into the musicianly mind. (Actually, I haven’t yet read Lethem’s You Don’t Love Me Yet, which is set in the indie rock scene. Have any of you? I sure love his Motherless Brooklyn and Fortress of Solitude.)
At worst, smart writers sound stupid when attempting to write knowingly of music creation. I dig most Salman Rushdie I’ve read, but man, his 2000 “rock” novel, The Ground Beneath Her Feet is a stinker. Rushdie attempts an alternate rock history via his signature South Asian magic realism, and the result isn’t fantastical — it’s bunk. Sorry, partying with members of U2 doesn’t automatically afford vast insight into the musicianly mind. Or at least that’s been my experience. 😉
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Tonefiend Book Week is simple: I discuss a few titles I’ve found particularly enlightening, useful, or entertaining, and then you jump in and do the same. I’ve organized the days of this week by subject matter. Today’s topics are musical biographies and autobiographies.
Classic rock fans have been rewarded with many cool autobiographies in recent years: Keith Richards’ Life, Patti Smith’s Just Kids, Bob Dylan’s Chronicles, Neil Young’s Waging Heavy Peace, and Pete Townshend’s Who Am I: A Memoir, to name a few. I’ve read Richards and Smith, and I plan to read the others. Any thoughts about those and similar titles?
And then there are the great jazz autobiographies, such as Miles Davis’s Miles and Duke Ellington’s Music is My Mistress. Despite their alleged omissions and inaccuracies, both are epic accounts of epic lives dedicated to epic music. (So which is better: a lively, lying-through-the-teeth autobiography, or a dry but truthful biography?)
But my favorite musical autobiography is Hector Berlioz’s Mémoires, first issued in 1865.
 Hector Berlioz: total punk! This, admittedly, isn’t a book for all musicians, or even most musicians. It concerns the explosive classical music scene of 19th-century Europe. If that topic holds no interest, the Mémoires probably won’t either.
But consider: Berlioz (1803-1869) is, along with Debussy, France’s greatest composer. He was a founder of Romanticism, and the first composer to fuse literature and instrumental music on a grand scale. He helped create the modern concept of orchestration and wrote the first orchestration manual. And of all the great composers, Berlioz is hands-down the best writer. He is arrogant, irreverent, sarcastic, and blisteringly funny. If you enjoy, say, the acidic humor of Mark Twain’s essays, you’ll dig Berlioz’s voice.
And like Twain, Berlioz played guitar. (More on that in a bit.)
The Mémoires drip attitude from page 1:
Needless to say, I was brought up in the Catholic faith. This charming religion (so attractive since it gave up burning people) was for seven whole years the joy of my life, and although we have long since fallen out, I have always kept the most tender memories of it.
 Berlioz’s music was often less than subtle. Here’s one contemporary caricature. …and it never lets up. We meet the era’s greatest composers and performers and learn what it was like to be a professional musician in an era before recorded music. Concerts were longer. Audiences were more passionate. Wars were waged in the music journals. If you think going on tour today is demanding, imagine it in an era of unpaved roads and horse-drawn carriages.
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Tonefiend Book Week is simple: I discuss a few titles I’ve found particularly enlightening, useful, or entertaining, and then you jump in and do the same. I’ve organized the days of this week by subject matter. Today’s topics are repair and DIY.
 I’m indispensable. Sorry in advance if my faves in this category are a bit predictable!
For any repair topic, I turn to the redoubtable Dan Erlewine. Dan knows his stuff like no one else, plus he’s a terrific writer, with a rare talent for explanation and a charming sense of humor.
Dan has serviced the instruments of countless great players. (I’d insert a list, but it might wear out my comma key.) Better yet, he makes comprehensive notes and measurements. You learn much about, say, Albert King, just by studying Dan’s numbers.
Now, I’m the furthest thing from a guitar tech. (Just ask San Francisco’s brilliant Gary Brawer, who regularly rescues my guitars from clumsy abuse and ill-considered DIY attempts.) But for players who simply need help with basic setup, maintenance, and modification tasks, Erlewine’s books — The Guitar Player Repair Guide and How to Make Your Electric Guitar Play Great — are godsends. Get ’em both. You won’t be sorry. (The digital versions live on my iPad for workbench reference.)
 I’m indispensable too! I never had the pleasure of editing Dan’s columns when I worked at Guitar Player — Jas Obrecht jealously guarded that privilege. But the entire staff would laugh itself silly over Dan’s April Fools columns, like the one where he explained how to install a Floyd Rose tremolo on a pre-War Martin. (If I recall correctly, the process involved filling the body with cement.) Another year, he suggested using kitchen objects as lutherie tools. The photos included a kitchen table used as a clamp for a glue job on some über-valuable axe. (Touch of genius: The pic showed the poor guitar being crushed by a weighty trestle table, where Dan’s kids sat enjoying large bowls of breakfast cereal.) That one prompted a very famous guitar maker to write a shrill letter to the editor. (“It’s highly irresponsible for Mr. Erlewine to recommend using a heavy kitchen table as a clamp. Proper clamps don’t even cost that much!”) The luthier followed this with a frantic phone call, explaining that someone had alerted him to the joke, and begging us not to run the letter. We didn’t. (Dagnabbit!)
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This week we’re talking about our favorite guitar/music books. The plan is simple: I discuss a few titles I’ve found particularly enlightening, useful, or entertaining, and then you jump in and do the same. I’ve organized the days of this week by subject matter. Today’s topic is guitar gear.
Guitar gear books seem to fall into three categories:
- Pornographic. Lavish publications featuring beautiful photos of rare instruments, often focusing on a single manufacturer or collector.
- Encyclopedic. Thick reference books covering wide swaths of guitar history.
- Pragmatic. Books that explain the inner workings of guitar technology, with an emphasis on how to turn this info to your musical advantage.
Even if I weren’t a jaded former guitar mag editor, I doubt I’d have much interest in coffee-table guitar porn books (and the occasional guitar porn magazine). Or at least, no more interest than I’d have in photos of, say, beautiful watches, speedboats, or nutcrackers. I’m not a guitar collector.
 Not on my coffee table, you don’t! Hey — stop laughing! Yeah, I own more than 20 guitars. (The exact number depends on whether I count guitars I’ve loaned out indefinitely and ones I’ve borrowed indefinitely.) I appreciate my instruments greatly, and I am very aware of how fortunate I am to have access to so many musical tools. But in the end, they are just tools to me, with little significance beyond their musical applications.
I realize this is a pretty weird attitude for a guitar dude, and one reason why I was probably never a perfect fit as a guitar mag editor. (I must be missing some crucial male gene, because I’m equally blasé about cars and sports. With rare exceptions.)
 The classic reference book. Reference books are a different story, especially the books of George Gruhn and Walter Carter, and those of Tom Wheeler. Sure, some of their weightier works have guitar porn aspects, but always paired with vast historical knowledge and the expertise of longtime industry insiders. Gruhn and Carter may know more about American guitars than anyone. But I always gravitate to Tom Wheeler’s books, and not just because he’s a longtime friend and mentor. Tom is a fine writer, an impeccable researcher (he’s been a journalism prof for the last 20 years), and he still conveys a teenager’s passion for the instrument. Tom is my hero.
(Bonus question: Has Wikipedia rendered the guitar reference book obsolete?)
But these days, the gear books that excite me most are the technically slanted, nuts-and-bolts titles. It’s one thing to ogle pretty instruments, and another to explain how they work, why they sound the way they do, and what that all means for the music we make today. And that’s why I love the books of Dave Hunter.
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This week we’re talking about our favorite guitar/music books. The plan is simple: I discuss a few titles I’ve found particularly enlightening, useful, or entertaining, and then you jump in and do the same. I’ve organized the days of this week by subject matter. Today’s topics are theory and technique.
Tonefiend Book Week 2013 is an entirely selfish project. I expect to reap tons of great new info from you, smart readers. So don’t be shy about chiming in.
1. Ted Greene’s complete works
 This week on Finding Bigfoot, the BFRO team visits Encino, California. Ted Greene’s jazz guitar books have haunted me since the ’70s. Chord Chemistry, Modern Chord Progressions, and Jazz Guitar Single Note Soloing Vols 1 & 2 remain in print, and are available in both paper and digital editions.
Ted’s books helped me understand the fretboard, tackle jazz harmony, and perhaps most of all, grasp the concept of voice-leading — that is, the ability to perceive chords not as static blocks, but as volatile structures resulting from dynamic melodies. Ironically, even though Ted’s books are divided into chordal and single-note topics, they go a long way toward erasing such distinctions. Melody generates harmony, Ted teaches, and harmony generates melody.
Not that I’ve completely digested Ted’s books. Has anyone? These tomes are dauntingly dense and complex. I just cracked open Modern Chord Progressions at random, and this confronted me:
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Next week at tonefiend we’ll be talking about our favorite guitar/music books. I’ll write about some of the titles I find especially useful, inspiring, or entertaining, and I hope you’ll chime in with some of your recommended reading.
Since there’s so much potential material here, I suggest we focus on a different book category each day. Here’s my proposed schedule:
Tonefiend Book Week is strictly an experiment, and a selfish one at that. If the past is any guide, the obsessive geeks experienced and sophisticated players who frequent this site will introduce us to lots of lively lutherie-linked literature. And I’ll do my best to keep up!
So scour your bookshelves, real and virtual. This shit is about to get real promises to be a most edifying conversation.
 Holy crap! Now THAT’S a guitar string! Man, it pays to curate a blog frequented by smart people!
I wrote last week about my experiment with silk-and-steel strings.
It’s the latest chapter in my ongoing search for the right acoustic strings. Most available options simply sound far too harsh and bright to my ears, especially for fingerstyle playing on the small-bodied guitars I favor. Even though the Martin silk-and-steels I used were dramatically quieter than most bronze strings, I dug their warmth and strong fundamentals — and the absence of the hyped sizzle of bronze.
Several of you responded in comments with string suggestions, including several types I barely knew existed. Despite some rather shocking expenditures for these high-end, imported strings, I found much to love. Now I’m rich in tone, if nothing else.
Since I’m hot on the trail of a cool new fuzz circuit, I haven’t yet had time to record demos (and besides, I’d rather wait till the strings wear in a bit). But I’d like to share details about several products that impressed me.
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Saw this today on the Guardian‘s site: A clever programmer named Joe Cannatti decided to visualize the fretwork of a 22 well-known players. He used Ruby on Rails code to search the internet for tablature files, and then depicted the data as “fretboard heatmaps” — fretboard graphics with frequently played notes depicted in red. (The redder the note, the more frequently the player uses it.)
You can also view these visualizations on Cannatti’s website, which includes more details about how they were created.
I predict that, like me, you’ll find the results interesting but not surprising. Dave Mustaine and James Hetfield chunk a lot of low E. (James once told me that he could never play a guitar without a low E-string, adding that the only features he finds lacking in his guitars are beer holders of the type found on boats.) Dave Matthews loves open-position D chords. B.B. King doesn’t play many low notes — he’s got a band for that. Satch and Vai are busy beavers, their fretboards a smear of pink.
No less predictable: Damn, we guitarists can be argumentative know-it-alls! Check out the Guardian’s comments section, where dozens of players screech that the data is either meaningless or faulty.
I disagree. These results ring true to me. I’d be shocked if you were to examine the instruments of the guitarists in question and not find exactly the fret-wear patterns suggested here.
So what would your fretboard heatmap look like?
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