Tone quest: exploring the (ir)resolvable paradoxes and infinite (im)possibilities of “epic tone” in (rock ‘n’ roll) musical consumption constellations

ABSTRACT

One of the driving forces for consumer-musicians in the market of rock ‘n’ roll musical creation is the quest for “epic tone” (i.e. production of a distinct and unique sound). Such tone is not the result of a single product or practice, but of a complex consumption constellation composed of a multitude of cultural processes and material factors in which the sum is often greater than the parts. The purpose of this paper is to explore how the market forces that directly impact these musical consumption constellations have exposed (and exacerbate) the inherent paradox in the quest. To help consumers create virtually any possible tone, the marketplace has increased the focus on the structural and functional components that compose these constellations, while subsequently decreasing the focus on the anti-structural and anti-functional aspects that underlie actual sound production. Consequently, the marketplace both stimulates and inhibits the (im)possible quest for epic tone.

KEYWORDS:

• Consumption constellation
• epic tone
• musical heritage
• popular music
• rock ‘n’ roll
• sound production

View correction statement:

Erratum

Acknowledgements

The authors would like to thank the editor and guest editors for choosing our article to include in the special issue on music, culture and heritage. The authors would also like to thank the anonymous reviewers for their constructive feedback.

Disclosure statement

No potential conflict of interest was reported by the authors.

ORCID

Clinton D. Lanier http://orcid.org/0000-0003-0479-5616

Notes

1 Although conceptual in nature, the perspectives presented in this paper are based on the over 60 years combined experience of the authors within the (rock ‘n’ roll) music marketplace both as avid collectors and amateur performers. Starting in the late 1970s and early 1980s, we have collected over 2,000 musical products (including guitars, basses, amps, keyboards, drums, effects, and recording gear). It is not a stretch to say that our gear alone amounts to tens of thousands of U.S. dollars (though combined, we are probably reaching six figures). We have taken countless hours of music lessons (including piano, guitar, bass, and drums) and have poured over innumerable books on the styles and techniques of famous musicians. In addition, we have played in a variety of bands ranging from classic rock, heavy metal, hardcore, electronica, and even surf. Though modesty and discretion prevent us from “name dropping,” we have played with musicians who have gone on to international fame and are friends with other who are associated with famous performers and bands in more technical roles.