I remember watching an interview with the guy who runs Charvel, and he was saying there's a spot between where all bridge pickups go, and the neck pickup.. and there's a natural harmonic there.
I guess that makes sense, sort of. They may be concentrated in an area, but they're still going to be 1/2, 1/3, 1/4, 1/5, 1/6, 1/7 the distance from the fretted note to the bridge, and those nodes are going to move, depending on the note being fretted.I remember watching an interview with the guy who runs Charvel, and he was saying there's a spot between where all bridge pickups go, and the neck pickup.. and there's a natural harmonic there.
If you place a pickup there, it will be rich with harmonic content.. but no guitar manufacturer ever does it.
I've only ever seen a couple of examples of this being done.
No because they are generated by the instrument itself entirely. Amplifying them after the fact is just that.
The car analogy is BS, it is still the instrument and then amplify it.
"Harmonic distortion is measured by applying a spectrally pure sine wave to an amplifier in a defined circuit configuration and observing the output spectrum....Harmonic distortion may be measured by looking at the output spectrum on a spectrum analyzer and observing the values of the second, third, fourth, etc., harmonics with respect to the amplitude of the fundamental signal.
This is a different subject .
I mean, when you define the subject as "what creates the harmonics that are only created by the guitar, the guitar or the amp?" then yeah, its a different subject. But that's also a stupidly defined subjectThis is a different subject .
Next goal-post shift from Eagle: "Increasing strength of harmonic vibrations on a string relative to fundamental by placing the guitar in front of a loud distorted amp, thus creating a feedback loop, also doesn't count as "more harmonics" either.Hahaha ok fella.
Take a guitar and play it through a Fender Twin. You'll hear a ton of fundamental notes, but minimal harmonics.
Take that same guitar and play it through a Peavey 5150's gained up lead channel. You'll hear an almost even balance fundamental notes and harmonics.
Yes both instruments will literally produce the same harmonics at their source, but you'll hear more of them through the 5150 rig due to the compression and distortion.
To continue the completely valid car analogy I made, you're insisting the equivalent of "well the engine can still technically produce horsepower even if you take the wheels off and the car can't go anywhere, so it still counts because the engine is the only thing that matters in the discussion!"
Nah, not really.
No it's not. Just because you decided in your own head what kind of "harmonics" are being discussed here doesn't mean you're right. You have no idea what the OP meant by the question, or to what the OP was specifically referring when they used the term. This is a discussion to try and figure that out AND teach the OP about harmonics.
Feel free to keep advertising "how open minded and reasonable" you are though, you know, so people will know how to treat all your posts moving forward.
I mean, when you define the subject as "what creates the harmonics that are only created by the guitar, the guitar or the amp?" then yeah, its a different subject. But that's also a stupidly defined subject
You’re not adding , it’s just boosting what is already happening.What about adding?
I can easily add 8KHz, 10KHz, 12KHz and up to a guitar track in my mix, for example - to give it air. And it is definitely audible.
...even though a given Celestion speaker's freq response (say Greenback) lo pass starts at 3.3KHz and plummets from there.
Alternatively, here's a Celestion Greenback's freq response (from Celestion's website):
As you can see, there is existing (something that is there) audio information from 20Hz all the way to 20KHz - if you were to amplify things (that side of the coin).
