First of all, thanks for all the effort to research and model this!
A friend of mine did some modeling as well, and came to the conclusion that there should be a treble increase, rather than the perceived decrease:
Even though the exact values differ from your (probably more correct) model, the effect is clear.
So, what could we really conclude from all this? That our models are too simplistic? It seems like they contradict your empirical tests? One indication of the complexity is the fact that in your real recording example, the 12th and 13th component is really louder in the rolled-off case, right?
Most people know him from the films, but he is one of the greatest songwriters for the guitar in history! Incredibly talented, funny and musical. He saw himself more as a "guitar writer" than "guitar player".. he said.. "I wrote it, now YOU play it!" :) But man,.. could he play... amazing!
Congrats! That's a nice guitar. In the future, just go out and play them. If you want to know the difference between two of these track them down at a guitar shop and play them. Nothing is better than your own hear. :)
Thank you Emil!
I've looked it up. It's 44 mm. Good to know!
I've started experimenting with an acoustic guitar which has a 42 mm wide nut. It feels too small for my hands but! .... the problem with the unclean muted sound is gone. Apparently i have to try other sizes too untill i have found the right one.
It is a huge relief for me now!
@emilernebro I am working on Banjo Rolls. Just worked my way through the Cycle Solo and can more or less keep up at 1/2 speed. I posted a question regarding technique on a particular passage in the piece in another post. Cheers.
The tritone substitution concept does not always include only dominant 7th chords. The most obvious choice of chords (using tritone substitution) for A7 and D7 would be Eb7 (instead of A7) and Ab7 (instead of D7). However, you can always try other chord qualities as well, such as maj7 chords in this case. The original progression is just G7 going back home to C. I added a D7 (dominant V chord of G7) before the G7, and an A7 (dominant V chord of D) before the D7.
Instead of keeping it that way, I then used the tritone sub on the A7 and D7, finding the chords Ebmaj7 and Abmaj7.
Original progression: G7 ---> C...
New progression: Ebmaj7 ---> Abmaj7 ---> G7 ---> C...
Now, you could look at this progression from another angle too;
The Ebmaj7, Abmaj7 and G7 chords can be found in the key of C minor. So you might analyze this as borrowed chords from the C minor tonality, rather than C major.