#1
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"Dry" Tone
"Dry" is often used to describe the tone of certain instruments. What does that mean to you? and... why might a dry tone be desirable?
Last edited by jtacoustic; 05-19-2022 at 09:33 AM. |
#2
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Lack of overtones
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Martin D18 Gibson J45 Martin 00015sm Gibson J200 Furch MC Yellow Gc-CR SPA Guild G212 Eastman E2OM-CD |
#3
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agree with Brooklyn Bob - or put positively, strong "fundamental" tone.
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#4
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......................Dry <-----> Lush
Fundamental tones <-----> Overtones .............Mahogany <-----> Rosewood ....................D-18 <-----> D-28
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1 dreadnought, 1 auditorium, 1 concert, and 2 travel guitars. |
#5
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"Dry" Tone
Agree - no overtones and an emphasis on the fundamental. A dry tone to my ears is when you pluck a string and the note clearly sounds then dies quickly.
Best, Jayne |
#6
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I was noticing the other day, after putting on a new set of D’Addario P/Bs, that I heard a very strong B when I plucked the low E string by itself. Mahogany J-45. That surprised me. It didn’t happen as much with other strings or fretted notes. Maybe the body resonates at B?
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1952 Martin 0-18 1977 Gurian S3R3H with Nashville strings 2018 Martin HD-28E, Fishman Aura VT Enhance 2019 Martin D-18, LR Baggs Element VTC 2021 Gibson 50s J-45 Original, LR Baggs Element VTC ___________ 1981 Ovation Magnum III bass 2012 Höfner Ignition violin ("Beatle") bass |
#7
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Yep, quick decay and lack of overtones. Any early 50s Gibson is what I immediately think of when someone says dry tone.
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#8
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If you want to hear the ultimate extreme in dry, check out a "gypsy jazz" guitar.
And if you try playing that rhythm guitar style, you'll know right away why it can be desireable. |
#9
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Quote:
I find I like dry guitars when I do some flatpicking. My Lowden is lush but there's too much natural reverb when I play fast flatpicking so you don't get that note separation. Fantastic for fingerpicking though. |
#10
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To me, a dry tone means the sound is arid, texture "y", offers sonic space between notes, with very little sustain.
The best example I can think of was a Waterloo 14L LTR I used to own. This guitar was amazing and dry just like I had hoped for. Watch a demo on Youtube. Of course, it's all subjective : )
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"If you tell the truth, you don’t have to remember anything." - Mark Twain |
#11
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Quick decay, midrange emphasis, clear up and down the fretboard
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2021 - Gibson J-45 Standard, Cherry 2003 - Taylor John Denver (JDCM) Koa 2016 - Taylor GS Mini Koa 2005 - Takamine G116 Classical 1985 - Alvarez 5021 12 (Hand Made, Japan) 1986 - Alvarez 5222 6 (Korea) 2011 - Alvarez MD711c 2010 - Ibanez A300 Quilted Maple 2013 - Martin Backpacker 1990's - Ovation Celebrity Dlx 6 - black 1990's - Ovation Celebrity Dlx 12 - natural |
#12
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dry
When it comes to sound engineering dry usually means "without reverb". vs. the term "wet" is also used in the sense "with reverb". In this context, it is a well-defined an commonly agreed upon term. I think that is where the term originally came from.
When applied to a guitar's sound, it is not quite as well defined, but means something similar: "not a lot of sustain", and/or "not a lot of echo-ey harmonics". A dry sound may be better for fast paced music, where the notes and chords are rapidly following each other. In such such case, a lush sounding guitar with a lot of sustain may not work too well. I am not sure if there is any more to it, there seem to be peronalized interpretations and embellishments. |
#13
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Always difficult to convey tone in words isn’t it.
Lack of overtones has been said a lot yet I need to hear some highs - “brittle” or “crisp” as in “dry as an old leaf” also means dry to me - like the tone I expect from an old guitar. When it’s desirable to me is when I want to be heard among other noises. On their own I prefer the tone of my sitka and rosewood Martin to my adi and mahogany Gibson which have very similar loudness but in front of a mic or among other instruments I’ll chose the “drier” J45. |
#14
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Yep, I also equate "dry" with a lack of overtones. Useful when the guitar is in a busy mix, or accompanying some vocals. Lack of sustain (quick decay of note volume) can also be useful in these settings, again to avoid a cluttered sound.
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#15
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I'm not sure I always hear it as a lack of overtones, so much as overtones that are distributed across a narrower frequency band, usually focused somewhere in the midrange rather than extending into sparkly highs. And quicker decay is a big part of it too.
I think of my Kalamazoo archtop as dry sounding - there are certain things it brings real character and attitude to, and other playing styles where it's a little like eating toast with no butter!
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Kalamazoo KG-21 1936 Eastman E1OM 2021 Cedar/Rosewood Parlour 2003 (an early build by my luthier brother) Also double bass, electric bass, cittern, mandolin... |