While some try to make it as exact science, it is not, there are things you still cannot put a number on and it works ...
All other electronic instruments, with the one exception being the Theramin, have a fundamental problem with human expression. There is an unsolvable disconnect between what the performer's actions and their audience.
See: https://www.scribd.com/document/55134776/48787070-Bob-Ostert...
With an electric guitar you get the physicality and dynamism of an acoustic instrument with the complex timbres and extended technique possibilities of an electric/electronic instrument.
There are complex and musically significant feedback loops occurring across many dimensions that lead to extremely complex transformations of timbre via both traditional music theoretical techniques and the physics of a tube amplifier combined with an inductive load (the guitar pickup).
Its really crazy how much more dynamic and complex this can be then even a highly sophisticated modular synthesizer or whatever. Even the way you over load the power supply in a tube amplifier can be manipulated on the fly to enhance and transform timbre.
Then on top of all that it is so incredibly physical that a performer like Jimi Hendrix can manipulate these systems and have the audience intuitively understand what he is doing. Never in a million years would THAT be possible with any other electronic instrument.
DSP, Control Engineering, Circuit Design, understanding pipelining and caching, and other fundamentals are important for people to understand higher levels of the abstraction layers (eg. much of deep learning is built on top of Optimization Theory principles which are introduced in a DSP class).
The value of Computer Science isn't the ability to whiteboard a Leetcode hard question or glue together PyTorch commands - it's the ability to reason across multiple abstraction layers.
And newer grads are significantly deskilled due to these curriculum changes. If I as a VC know more about Nagle's Algorithm (hi Animats!) than some of the potential technical founders for network security or MLOps companies, we are in trouble.
> and the component was the Octavia guitar pedal, created for Hendrix by sound engineer Roger Mayer.
So, Roger was the engineer. And, Jimi was the artist.
One of the great things about a hi-gain setup like Hendrix's is how the feedback loop will inject an element of controlled chaos into the sound. It allows for emergent fluctuations in timbre that Hendrix can wrangle, but never fully control. It's the squealing, chaotic element in something like his 'Star Spangled Banner'. It's a positive feedback loop that can run away from the player and create all kinds of unexpected elements.
The art of Hendrix's playing, then, is partly in how he harnessed that sound and integrated it into his voice. And of course, he's a force of nature when he does so.
A great place to hear artful feedback would be the intro to Prince's 'Computer Blue'. It's the squealing "birdsong" at the beginning and ending of the record. You can hear it particularly well if you search for 'Computer Blue - Hallway Speech Version' with the extended intro.
Further down there is a sentence: "First, the Fuzz Face is a two-transistor feedback amplifier that turns a gentle sinusoid signal into an almost binary “fuzzy” output." But the figure does not match this - there is no "gentle sinusoid" wave shown on the first fuzz face plot.
I think LLM's lack of "theory of mind" leads to them severely underperforming on narration and humor.
Electric bass? Heck, even in synthesizers, you have the EWI or the Haken Continuum.
I often lament the lack of other electric instruments.
I’m curious because to tell you the truth the novelty struck me as similar to comparisons I’ve toyed with using LLMs on my own. The AI-generated logic between comparing two dissimilar things is too sterile for my liking.
I understand that this is appearing in technical publication, but for some reason that invites even further scrutiny on my behalf.
Please share more reasons behind your suspicions.
In a sluggish economy
Inflation, recession
Hits the land of the free
Standing in unemployment lines
Blame the government for hard time
We just get by
However we can
We all gotta duck
When the shit hits the fanArtistic endeavors come from lots of places, not just people with an analytical mindset. Historically those two are seen as opposing tendencies, which I think is unfair, but it points to the importance of intuition and navigating perception and emotion for artists.
Any guitarist in a 1940s big band would have a big hollowbody guitar and an amp. That combination is incredibly prone to feedback. Everyone worked to reduce feedback and avoid it. That's what I do with my hollowbody when I play with a big band. It's the first thing that happens when you turn up.
Hendrix did not "discover" feedback, and in fact he did not discover the musical uses of feedback - you can hear it in BB King records that predate Hendrix, where feedback makes his notes "sing."
What Hendrix did was turn feedback into an intentional musical creation that he treated as a melodic voice.
The guy built his own guitar as a teenager and has played it for the rest of his career: https://en.wikipedia.org/wiki/Red_Special
3 February 1967 is a day that belongs in the annals of music history. It’s the day that Jimi Hendrix entered London’s Olympic Studios to record a song using a new component. The song was “Purple Haze,” and the component was the Octavia guitar pedal, created for Hendrix by sound engineer Roger Mayer. The pedal was a key element of a complex chain of analog elements responsible for the final sound, including the acoustics of the studio room itself. When they sent the tapes for remastering in the United States, the sounds on it were so novel that they included an accompanying note explaining that the distortion at the end was not malfunction but intention. A few months later, Hendrix would deliver his legendary electric guitar performance at the Monterey International Pop Festival.
“Purple Haze” firmly established that an electric guitar can be used not just as a stringed instrument with built-in pickups for convenient sound amplification, but also as a full-blown wave synthesizer whose output can be manipulated at will. Modern guitarists can reproduce Hendrix’s chain using separate plug-ins in digital audio workstation software, but the magic often disappears when everything is buffered and quantized. I wanted to find out if a more systematic approach could do a better job and provide insights into how Hendrix created his groundbreaking sound.
My fascination with Hendrix’s Olympic Studios’ performance arose because there is a “Hendrix was an alien” narrative surrounding his musical innovation—that his music appeared more or less out of nowhere. I wanted to replace that narrative with an engineering-driven account that’s inspectable and reproducible—plots, models, and a signal chain from the guitar through the pedals that you can probe stage by stage.
Each effects pedal in Hendrix’s chain contributed to enhancing the electric guitar beyond its intrinsic limits. A selection of plots from the full-circuit analysis shows how the Fuzz Face turns a sinusoid signal from a string into an almost square wave; how the Octavia pedal inverts half the input waveform to double its frequency; how the wah-wah pedal acts as band-pass filter; and how the Uni-Vibe pedal introduces selective phase shifts to color the sound.James Provost/ Rohan S. Puranik
Although I work mostly in the digital domain as an edge-computing architect in my day job, I knew that analog circuit simulations would be the key to going deeper.
My first step was to look at the challenges Hendrix was trying to address. Before the 1930s, guitars were too quiet for large ensembles. Electromagnetic pickups—coils of wire wrapped around magnets that detect the vibrations of metal strings—fixed the loudness problem. But they left a new one: the envelope, which specifies how the amplitude of a note varies as it’s played on an instrument, starting with a rising initial attack, followed by a falling decay, and then any sustain of the note after that. Electric guitars attack hard, decay fast, and don’t sustain like bowed strings or organs. Early manufacturers tried to modify the electric guitar’s characteristics by using hollow bodies fitted with magnetic pickups, but the instrument still barked more than it sang.
Hendrix’s mission was to reshape both the electric guitar’s envelope and its tone until it could feel like a human voice. He tackled the guitar’s constraints by augmenting it. His solution was essentially a modular analog signal chain driven not by knobs but by hands, feet, gain staging, and physical movement in a feedback field.
Hendrix’s setups are well documented: Set lists, studio logs, and interviews with Mayer and Eddie Kramer, then the lead engineer at Olympic Studios, fill in the details. The signal chain for “Purple Haze” consisted of a set of pedals—a Fuzz Face, the Octavia, and a wah-wah—plus a Marshall 100-watt amplifier stack, with the guitar and room acoustics closing a feedback loop that Hendrix tuned with his own body. Later, Hendrix would also incorporate a Uni-Vibe pedal for many of his tracks. All the pedals were commercial models except for the Octavia, which Mayer built to produce a distorted signal an octave higher than its input.
Hendrix didn’t speak in decibels and ohm values, but he collaborated with engineers who did.
I obtained the schematics for each of these elements and their accepted parameter ranges, and converted them into netlists that ngspice can process (ngpsice is an open source implementation of the Spice circuit analyzer). The Fuzz Face pedal came in two variants, using germanium or silicon transistors, so I created models for both. In my models, Hendrix’s guitar pickups had a resistance of 6 kiloohms and an inductance of 2.5 henrys with a realistic cable capacitance.
I chained the circuit simulations together using a script, and I produced data-plot and sample sound outputs with Python scripts. All of the ngspice files and other scripts are available in my GitHub repository at github.com/nahorov/Hendrix-Systems-Lab, with instructions on how to reproduce my simulations.
Plotting the signal at different points in the chain with different parameters reveals how Hendrix configured and manipulated the nonlinear complexities of the system as a whole to reach his expressive goals.
A few highlights: First, the Fuzz Face is a two-transistor feedback amplifier that turns a gentle sinusoid signal into an almost binary “fuzzy” output. The interesting behavior emerges when the guitar’s volume is reduced. Because the pedal’s input impedance is very low (about 20 kΩ), the pickups interact directly with the pedal circuit. Reducing amplitude restores a sinusoidal shape—producing the famous “cleanup effect” that was a hallmark of Hendrix’s sound, where the fuzz drops in and out as desired while he played.
The Jimi Hendrix Experience, (left to right) Mitch Mitchel, Jimi Hendrix, Noel ReddingFred W. McDarrah/Getty Images
Second, the Octavio pedal used a rectifier, which normally converts alternating to direct current. Mayer realized that a rectifier effectively flips each trough of a waveform into a peak, doubling the number of peaks per second. The result is an apparent doubling of frequency—a bloom of second-harmonic content that the ear hears a bright octave above the fundamental.
Third, the wah-wah pedal is a band-pass filter: Frequency plots show the center frequency sweeping from roughly 300 hertz to 2 kilohertz. Hendrix used it to make the guitar “talk” with vowel sounds, most iconically on “Voodoo Child (Slight Return).”
Fourth, the Uni-Vibe cascades four phase-shift sections controlled by photoresistors. In circuit terms, it’s a low-frequency oscillator modulating a variable-phase network; in musical terms it’s motion and air.
Finally, the whole chain became a closed loop by driving the Marshall amplifier near saturation, which among other things extends the sustain. In a reflective room, the guitar strings couple acoustically to the speakers—move a few centimeters and you shift from one stable feedback mode to another. To an engineer, this is a gain-controlled acoustic feedback system. To Hendrix, it was part of the instrument. He learned to tune oscillation with distance and angle, shaping sirens, bombs, and harmonics by walking the edge of instability.
Hendrix didn’t speak in decibels and ohm values, but he collaborated with engineers who did—Mayer and Kramer—and iterated fast as a systems engineer. Reframing Hendrix as an engineer doesn’t diminish the art. It explains how one person, in under four years as a bandleader, could pull the electric guitar toward its full potential by systematically augmenting the instrument’s shortcomings for maximum expression.
This article appears in the March 2026 print issue as “Jimi Hendrix, Systems Engineer.”
There are always some people who get extremely defensive whenever I say that techno didn't click for me until I heard this kind of "techlow" music. Specifically about the part where I think that the reason is also a human expression problem, because of limitations imposed by the electronic media used.
EDIT: having said that, I don't think I would agree with your premise, because it is colored by a subtle form of survivor bias. None of us remember what it's like to not know electronic guitars or what they sound like, so claiming "the audience intuitively understands what Jimmy Hendrix is doing" is like saying everyone "intuitively understands" their native language. On top of that there's nothing about the workings of an electronic guitar that wouldn't in principle work for something like an electronic violin or whatever.
[0] https://www.youtube.com/watch?v=-0gED3rn2Tc
Is that really true though? If I watch a cellist play I can pretty clearly see all the things they are doing and it will correlate neatly to the timbre of the sound.
Secondly I think it's important to note the tube amp and the guitar are seperable, and I don't think that their connection is particularly magical. I can reamp a sound from my synthesizer (or maybe a keytar?) into a guitar chain, and if I manipulate the mic and other controls in the same way I might manipulate the pickup, I can also get all manner of interesting feedback effects. My inputs will have different harmonic characteristics of course, and the tube amp's effects are mostly transformations of harmonics; you'll still get some cool tones and they will be subject to a lot of the same rules as if a guitar was being played.
I remembered learning about similar MIDI controllers when I was in school.
But is it one of the most versatile instruments? You can do signal transforms with any kind of audio input, although it's done more with the electric guitar than any other instruments.
I would say it in practice, it has the most versatile sonic profile.
I suppose if I were going to recommend a single episode to Hacker News though, it would be https://500songs.com/podcast/episode-146-good-vibrations-by-... which begins with at least a half hour on the amazing (if not happy) life of the guy who invented the Theremin, Lev Sergeyevich Termen.
Isn't Nagle usually introduced in a networking class typically taken by CS (non-CE/EE) undergrads?
Just because EEs are exposed to some mathematical concepts during their training doesn't mean that non-EEs are not exposed through a different path.
And if we can call ourselves software engineers, where our day-to-day (mostly) involves less calculus and more creative interpretation of loose ideas, in the context of a corpus of historical texts that we literally call "libraries" - are we not artists and art historians?
We're far closer to Jimi than Roger, in many ways. Pots and kettles :)
Synth music elevated electric bound tones to anything ever heard.
I remidn you that most of the rock and roll and rock music was about speed and mimicking the sound of a rumbling car engine, as it was a symbol of the freedom in America, being able to run away from your toxic communities to find yourself better anywhere else.
That was the message for the young with rock and roll: a speedy engine for your ears.
Electronic music was like replacing a car with UFO evoking you a space travel.
With the progressive subgenre of techno music you got the same feeling, but with no subtle hints. Heck, one of the most known songs in Spain ever, "Flying Free", literally remixes the sounds of drifting cars between the melodies, making the listener really happy in a very direct way as tons of youngs in the 90's got into the outskirt night clubs... by car. So they felt as driving an infinite highway rave with no end for days.
Seriously there's no LLM stuff in here. Only emdashed which were used in journalism decades before AI was even a thing.
Networking, OS, and Distributed Systems is increasingly treated as CompE or even EE nowadays in the US.
> Just because EEs are exposed...
That's the thing - I truly do not believe that EE and CS should be decoupled, and I believe ECE as a stopgap is doing a disservice to the talent pipeline we need for my verticals to remain in the US, especially when comparing target American CS and EECS programs to peer CEE, Indian, and Israeli CS programs [0].
There is no reason that a CS major should not be required to take a summary circuits, DSP, computer architecture, and OS fundamentals course when this is the norm in most CS programs abroad. Additionally, I do not see any reason for EEs and ECEs to not take Algorithms, Data Structures, and Compilers as well.
> Just because EEs are exposed to some mathematical concepts during their training doesn't mean that non-EEs are not exposed through a different path
Mind you, I'm primarily in Cybersecurity, AI/ML infra, DefenseTech, and DeepTech adjacent spaces - basically, anything aligned with the "American Dynamism" or Cyberstarts thesis.
From what I've seen, the most successful founders are those who are able to adeptly reason and problem solve, but are also able to communicate to technical buyers because you are selling a technical product where those people make the decision.
Just because an approach isn't useful today doesn't necessarily imply it isn't in the future and being exposed to those kinds of knowledge and foundational principles makes it easier for one to evaluate and reason through problem spaces that are similar but not necessarily the same - for example, going to the Nagle's example - this was a bog standard networking concept that has now become critical in foundation model training because interconnect performance is a critical problem which can impact margins.
A lot of foundational knowledge is useful no matter what, and is why we fund founders and hire talent at competitive salaries.
I've never needed or benefited from most of the EE curriculum. There is an opportunity cost in learning things you don't need.
I was speaking with my 14 year old nephew via messaging last month. It was about a deep topic, synthetic consciousness. He wrote such an intelligent reply that I asked him: hey, was this from an LLM? He was insulted. I did research with his parents and found out that 90% no, he's just a very smart kid.
Is there a name for this this mode of confusion yet?
And just to clarify: I don't dislike electronic instruments. I just think that on some subconscious level the human brain can detect other humans playing a live instrument. Like there's something "embodied" in the sound that is likely missing from a pure electronic instrument. And I needed that element to "unlock" access to techno.
> Secondly I think it's important to note the tube amp and the guitar are seperable, and I don't think that their connection is particularly magical. I can reamp a sound from my synthesizer (or maybe a keytar?) into a guitar chain, and if I manipulate the mic and other controls in the same way I might manipulate the pickup, I can also get all manner of interesting feedback effects.
The story is not quite so simple. Your synthesizer is going to have a buffered output so it wont have the complex impedance loading interactions with the amplifier as the guitar pickup.
This is actually critical to how early distortion effects such as the classic Fuzzface work and imo is essential for the kind of complex timbres you can produce with a guitar + tube amp.
In fact you can take an electric guitar, put a buffer pedal in the chain between your fuzz pedal and amp and completely destroy the ability to produce wild feedback and distortion.
With the right interface, I think the synth can be more expressive. Look at the Haken Continuum or ExpressiveE Osmose - both can be used with something like the Expert Sleepers FH-2 to get MPE data to the modular.
I do see your point, and agree the amount of articulation you can do with guitar is hard to beat, but I do think a synth can win, if the setup is built for it.
I'm a guitarist, but there's nothing particularly magical about a high impedance signal, other than they tend to lead to noise and make really obnoxious things matter, like how low capacitance your cable is. Also, a TON of modern guitars are low(ish) impedance out because they use active pickups.
The pedals and system being dependent on the high impedance was always a bug, not a feature, and make the setup incredibly dependent on variables that really wouldn't be that hard to just buffer then recreate deterministically. Like, if your pedal should react to that impedance just buffer the front, put a big inductor (or a transformer using only half, or, - and I've actually seen this - just a whole guitar pickup) in the pedal. Then you're not dependent on the pickups of the guitar or the capacitance of cable or anything else and you can make sure the effect sounds good regardless of pickup type.
That is going to be something like a transformer to step down your line level signal and some series resistance to match the load to help drive the amp.
An actual coil pickup has reactive impedance that is frequency dependent and will result in a more complex interaction between the devices.
> The pedals and system being dependent on the high impedance was always a bug, not a feature
Sure if you think like an engineer, but everything you are complaining about is what allows someone like Jimi Hendrix to do what he did with a guitar.