Earlier quoted context omitted.
> There is an unsolvable disconnect between what the performer's actions and their audience 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…
I'm talking about electronic instruments how they are deficient in expressiveness compared to your cello example. > 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 man…
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.