I can remember even having this argument with my brother. I always said that I would much rather buy a single effect pedal over a multi pedal effect board any day, and our debating went round and round. So what are the perks of each one and which route is right for the every day guitarist consumer?
A single effect pedal has its rewards in the fact that they are typically of high quality, can be modeled after a famous guitar players set up, and have an exclusive sound, effect, or tone. The bad thing about them is the mullah. Single effect pedals can cost a fortune. The other bad part, and this is very common, is that people often grow instantly tired of their new effect pedal, and never use it again. Swooosh! two hundred dollars of fine craftsmanship out the window.
Multi pedal effect boards have their pros and cons too. The good parts about them is that they can be very cheap, sometimes less than a hundred dollars, and that these multi effect pedals can sport a large array of sounds. The bad news is that a lot of these sounds are just garbage and useless as some of them are over the top. The good news once again is that multi pedal effect technology has improved, or at least been taken more seriously, and now most of the effects sound pretty awesome.
Another good thing about the multi effects is that you can have plenty to work with to mix and match and create your own tone. These boards are also good for freeing up space, and are excellent for cable management.
I look at effect pedals as candy bars. They all have distinct packaging, and if you've never tried a certain candy bar before, then you're going to be curious about it. Pedals unfortunately are designed to visually make your mouth water, and not necessarily perform. So if your curiosity is driving you to make that choice, why not do it with a multi effect pedal board? This way, you can be guaranteed that you will walk away with at least twenty or so effects that you do like, and you may discover great combinations in the future.
What I really like about the multi boards is that it feels good and empowering, by arming you with the effects resources of a small studio, so in the long run your cup is quite full.
No effect can work without your willingness to master guitar playing. Learning guitar and having a good sound are a must, and it starts with the choice to learn and master guitar in every possible way.
Article Source: http://EzineArticles.com/?expert=John_Sibbs
Monday 23 November 2009
Thursday 19 November 2009
Choosing Your First Tube Amplifier
For decades, it's been a general opinion that tube (or valve) amplifiers sound better than solid state amps.
First of all - what is a tube amp? A tube amp is a type of guitar amplifier that operates on valves (or vacuum tubes) instead of transistors. The sound you get from a tube amp is warmer and fuller that what you'd get from a solid state amp.
Valve amplifiers range from a few hundred dollars to a few thousand dollars, so the choice is really confusing! If you're reading this article, you've probably decided that it's time that you want to crank your volume past the 10 mark on your current practice amp or the tone just isn't satisfying you anymore.
There are a few things you have to know in order to make your decision. First of all, the type of music that you play, so that you can decide on the amount of gain that your amp needs to have. What is gain? Gain is basically a synonym for distortion. If you play mostly "clean" music (virtually, no amount of distortion), you won't need a lot of gain. If the music you play is blues or rock, you'll need a mild amount of gain, depending on how distorted you want the sound to be. If you play metal, you'll need a high-gain tube amp.
The most notable clean amp of all tube amp history is the Fender Bassman, the holy-grail of clean sounds. Generally, you'll want to look at Fender and Vox. Most tube amps have the amount of gain necessary for blues or rock (Marshalls, the expensive Buddas, the budget Blackhearts). Finally, if we're talking metal, you're going to want to look at Peavey, Mesa Boogie, ENGL.
The second aspect of a tube amp, why many people crave them, is the dynamic. Dynamic is the ability of the tube amp to sound clean when you're hitting the strings softly, and distorted when you're hitting them hard. This allows a great amount of expression. You're going to have to listen to an amp to see if it has this quality.
You'll also have to listen for definition, which is the ability to amplify every single note your play clearly. This is very important, otherwise you'll sound all muddy. The best way to test this is to play some chords, even fewer amps possess this quality.
Lastly, you'll just have to listen if it possesses the basic tonal characteristics that fit you. If the basic sound of the amp is bad, it will sound bad anyway you will adjust the equalizer, amount of gain, anything. It's not uncommon that you find bad tube amps made by prestigious brands. There's no such thing as "not knowing" if it sounds good or not, and although store employees can help you with various information such as amounts of gain, number of tubes, etc. they always want to convince you to buy the products you're trying. If you don't buy it, you can always come back another time and try it again, but if you do, you'll just lack motivation and it will harm your playing. This is important because tube amps aren't as cheap as a practice amp. Always try before you buy!
My name is Andrei Popa, and I've been playing electric guitar for 6 years now. I've bought and sold a lot of gear over the years, filtered all the guitar playing information I've received and have generally been through a lot of trial and error. I maintain a gear reviews website at http://guitar-gear-demos.blogspot.com
Article Source: http://EzineArticles.com/?expert=Andrei_Popa
First of all - what is a tube amp? A tube amp is a type of guitar amplifier that operates on valves (or vacuum tubes) instead of transistors. The sound you get from a tube amp is warmer and fuller that what you'd get from a solid state amp.
Valve amplifiers range from a few hundred dollars to a few thousand dollars, so the choice is really confusing! If you're reading this article, you've probably decided that it's time that you want to crank your volume past the 10 mark on your current practice amp or the tone just isn't satisfying you anymore.
There are a few things you have to know in order to make your decision. First of all, the type of music that you play, so that you can decide on the amount of gain that your amp needs to have. What is gain? Gain is basically a synonym for distortion. If you play mostly "clean" music (virtually, no amount of distortion), you won't need a lot of gain. If the music you play is blues or rock, you'll need a mild amount of gain, depending on how distorted you want the sound to be. If you play metal, you'll need a high-gain tube amp.
The most notable clean amp of all tube amp history is the Fender Bassman, the holy-grail of clean sounds. Generally, you'll want to look at Fender and Vox. Most tube amps have the amount of gain necessary for blues or rock (Marshalls, the expensive Buddas, the budget Blackhearts). Finally, if we're talking metal, you're going to want to look at Peavey, Mesa Boogie, ENGL.
The second aspect of a tube amp, why many people crave them, is the dynamic. Dynamic is the ability of the tube amp to sound clean when you're hitting the strings softly, and distorted when you're hitting them hard. This allows a great amount of expression. You're going to have to listen to an amp to see if it has this quality.
You'll also have to listen for definition, which is the ability to amplify every single note your play clearly. This is very important, otherwise you'll sound all muddy. The best way to test this is to play some chords, even fewer amps possess this quality.
Lastly, you'll just have to listen if it possesses the basic tonal characteristics that fit you. If the basic sound of the amp is bad, it will sound bad anyway you will adjust the equalizer, amount of gain, anything. It's not uncommon that you find bad tube amps made by prestigious brands. There's no such thing as "not knowing" if it sounds good or not, and although store employees can help you with various information such as amounts of gain, number of tubes, etc. they always want to convince you to buy the products you're trying. If you don't buy it, you can always come back another time and try it again, but if you do, you'll just lack motivation and it will harm your playing. This is important because tube amps aren't as cheap as a practice amp. Always try before you buy!
My name is Andrei Popa, and I've been playing electric guitar for 6 years now. I've bought and sold a lot of gear over the years, filtered all the guitar playing information I've received and have generally been through a lot of trial and error. I maintain a gear reviews website at http://guitar-gear-demos.blogspot.com
Article Source: http://EzineArticles.com/?expert=Andrei_Popa
Saturday 14 November 2009
How To Choose A Guitar Amp
Here are some things to keep in your head when you are going out to buy your first guitar amp. There are different amps to suit different styles of guitar music. Blues, jazz and blues based rock are best served by the so-called "vintage" sound. This is the sound of the sixties, brought to the world by the likes of Led Zeppelin, Hendrix and Cream. You can get that authentic sound by getting yourself an effects program that can replicate many of the vintage amp sounds. For playing heavy metal high gain amps are the way to go. These amps give you greater distortion than the vintage amps.
Let's go onto the possibility that sometime in the near future you are going to be a professional or semi-professional guitar player. You will be getting paid to play the guitar on stage. People will enjoy hearing you play at your gigs but don't get the idea that your family will be enjoying listening to your guitar practice. The message here is to get a practice amp or an amp that's small enough to play through without making your family and neighbors mad. Either that or make sure the place you practice is separated by distance or thick walls from the rest of the world. If you must practice in your bedroom, get some headphones.
To use for practice or for small gigs you need a low wattage amp. It's best to go for a good tone so that your relationship with your amp will always be one of mutual respect. Don't let a guy in a guitar store sell you a big bad amp with a boatload of effects. You won't be needing any of that for quite a while, if ever. You will eventually become disenchanted with loudness but a good sound is a joy forever. So get a thirty watt amp and start working on being a serious musician.
The thing that makes the sound of your electric guitar into a nice tone is your pre-amp. You plug your guitar into it and it works on the noise from the strings to give it bass, treble and a number of other qualities that go into a great tone. You will find some pre-amps using MIDI technology to generate your tone. Using this kind of setup you can save your settings and access your preset effects with a pedal. It is best to get yourself a separate effects box. This will give you better quality effects and greater versatility.
Newbie guitar players are flocking to Guitar How-To for the free articles, tutorials and videos on every aspect of guitar playing you can think of. Fast track your guitar expertise now at http://guitar-how-to.com/
Let's go onto the possibility that sometime in the near future you are going to be a professional or semi-professional guitar player. You will be getting paid to play the guitar on stage. People will enjoy hearing you play at your gigs but don't get the idea that your family will be enjoying listening to your guitar practice. The message here is to get a practice amp or an amp that's small enough to play through without making your family and neighbors mad. Either that or make sure the place you practice is separated by distance or thick walls from the rest of the world. If you must practice in your bedroom, get some headphones.
To use for practice or for small gigs you need a low wattage amp. It's best to go for a good tone so that your relationship with your amp will always be one of mutual respect. Don't let a guy in a guitar store sell you a big bad amp with a boatload of effects. You won't be needing any of that for quite a while, if ever. You will eventually become disenchanted with loudness but a good sound is a joy forever. So get a thirty watt amp and start working on being a serious musician.
The thing that makes the sound of your electric guitar into a nice tone is your pre-amp. You plug your guitar into it and it works on the noise from the strings to give it bass, treble and a number of other qualities that go into a great tone. You will find some pre-amps using MIDI technology to generate your tone. Using this kind of setup you can save your settings and access your preset effects with a pedal. It is best to get yourself a separate effects box. This will give you better quality effects and greater versatility.
Newbie guitar players are flocking to Guitar How-To for the free articles, tutorials and videos on every aspect of guitar playing you can think of. Fast track your guitar expertise now at http://guitar-how-to.com/
Tuesday 10 November 2009
Eight Popular Guitars
There are literally dozens of guitar brands on the market, some good, some bad and some unbelievably excellent If you want the best sound and quality, then it really does pay to choose a good brand name
There are literally dozens of guitar brands on the market, some good, some bad and some unbelievably excellent. If you want the best sound and quality, then it really does pay to choose a good brand name. You''ll pay more initially, but it''s worth it since you''ll just have to replace a cheap guitar pretty quickly.
Going with an established name will pretty much ensure you''re getting great quality. If you''re serious about playing, then you should definitely take a look at one of the following guitars.
Fender
This company is probably the best known when it comes to top of the line guitars. This is where the famous Stratocasters come from . . . the original guitars in this line are now worth hundreds of thousands of dollars. Fender also produces custom guitars, many of which can be seen in the hands of famous musicians like Santana.
Gibson
Another very popular guitar brand is Gibson, running almost neck in neck with Fender for quality. This brand has pretty much cornered the upper levels of the electric guitar market, though they also produce high quality acoustic instruments. Among musicians who use Gibson brand guitars are Soundgarden, Smashing Pumpkins and the Allman Brothers Band.
Yamaha
Well known as a musical company, Yamaha isn''t just a keyboard brand. They also turn out some great guitars that are sturdy and well suited to the life of a musician. Many of their designs are actually copies of more popular designs from the US, but they also have some original designs of their own that sell very well. It''s a brand name that is trusted, so many new musicians opt for this brand.
Ovation
These guitars are quite distinctive in how they look. With a rounded back and fibrglass body, Ovation guitars can''t be mistaken for any other brand. Besides the bowl-like back of the instrument, the sound holes are also different. Rather than one large hole, as other guitars have, these instruments tend to have groupings of smaller holes. Despite the odd looks, they are considered precision and provide great sound.
Martin
This brand is also known for its superiority in the world of guitars. Martins are usually more affordable than the top of the line guitars, but still produces excellent instruments. These guitars tend to be larger than the average acoustic guitar and are very popular among players who enjoy playing acoustic.
Alvarez
When it comes to acoustic guitars, Alvarez is certainly one of the first guitar brands that comes to mind. With over 60 years of experience in making precision instruments, Alvarez actually comes from a long Japanese line of well made classical instruments.
Jackson
Best known for the unique design of their guitars, Jackson instruments were originally meant to look like the Fender Strat, but quickly became a hardcore version made for rockers. The Jackson guitar line is usually associated with rock and metal music.
Guild
While perhaps not as well known as some of the above guitar brands, this is a good, solid company with years of excellent guitar making behind it. Guild is 100% American and has been around since the 1940''s. They are best known for making jazz guitars, but have since expanded into other areas, providing distinctive musical instruments and guitars.
There are plenty of different guitar brands to choose from, but if you want an instrument that will give you the quality of sound that you want and something that will last for a good long time, then it''s worth looking at the best in the business. The brands above are all top of the line and excellent guitars.
Music School offering Grand Pianos Toronto, voice, guitar and voice lessons Oakville and the GTA area. Visit our music store to find new and used pianos in Toronto.
Music School offering voice, drum and Voice Lessons Oakville, and in the GTA area. Visit us to learn more about Grand Piano Toronto.
Copyright (c) 2009 Free Online Library
This article can be reproduced subject to these terms. Syndicate this article. More free articles for syndication
There are literally dozens of guitar brands on the market, some good, some bad and some unbelievably excellent. If you want the best sound and quality, then it really does pay to choose a good brand name. You''ll pay more initially, but it''s worth it since you''ll just have to replace a cheap guitar pretty quickly.
Going with an established name will pretty much ensure you''re getting great quality. If you''re serious about playing, then you should definitely take a look at one of the following guitars.
Fender
This company is probably the best known when it comes to top of the line guitars. This is where the famous Stratocasters come from . . . the original guitars in this line are now worth hundreds of thousands of dollars. Fender also produces custom guitars, many of which can be seen in the hands of famous musicians like Santana.
Gibson
Another very popular guitar brand is Gibson, running almost neck in neck with Fender for quality. This brand has pretty much cornered the upper levels of the electric guitar market, though they also produce high quality acoustic instruments. Among musicians who use Gibson brand guitars are Soundgarden, Smashing Pumpkins and the Allman Brothers Band.
Yamaha
Well known as a musical company, Yamaha isn''t just a keyboard brand. They also turn out some great guitars that are sturdy and well suited to the life of a musician. Many of their designs are actually copies of more popular designs from the US, but they also have some original designs of their own that sell very well. It''s a brand name that is trusted, so many new musicians opt for this brand.
Ovation
These guitars are quite distinctive in how they look. With a rounded back and fibrglass body, Ovation guitars can''t be mistaken for any other brand. Besides the bowl-like back of the instrument, the sound holes are also different. Rather than one large hole, as other guitars have, these instruments tend to have groupings of smaller holes. Despite the odd looks, they are considered precision and provide great sound.
Martin
This brand is also known for its superiority in the world of guitars. Martins are usually more affordable than the top of the line guitars, but still produces excellent instruments. These guitars tend to be larger than the average acoustic guitar and are very popular among players who enjoy playing acoustic.
Alvarez
When it comes to acoustic guitars, Alvarez is certainly one of the first guitar brands that comes to mind. With over 60 years of experience in making precision instruments, Alvarez actually comes from a long Japanese line of well made classical instruments.
Jackson
Best known for the unique design of their guitars, Jackson instruments were originally meant to look like the Fender Strat, but quickly became a hardcore version made for rockers. The Jackson guitar line is usually associated with rock and metal music.
Guild
While perhaps not as well known as some of the above guitar brands, this is a good, solid company with years of excellent guitar making behind it. Guild is 100% American and has been around since the 1940''s. They are best known for making jazz guitars, but have since expanded into other areas, providing distinctive musical instruments and guitars.
There are plenty of different guitar brands to choose from, but if you want an instrument that will give you the quality of sound that you want and something that will last for a good long time, then it''s worth looking at the best in the business. The brands above are all top of the line and excellent guitars.
Music School offering Grand Pianos Toronto, voice, guitar and voice lessons Oakville and the GTA area. Visit our music store to find new and used pianos in Toronto.
Music School offering voice, drum and Voice Lessons Oakville, and in the GTA area. Visit us to learn more about Grand Piano Toronto.
Copyright (c) 2009 Free Online Library
This article can be reproduced subject to these terms. Syndicate this article. More free articles for syndication
Friday 6 November 2009
All Amped About Guitar Amps: Which One Goes Where?
An important part of creating your own home recording studio requires understanding how the amp works, but more importantly, what job each type of amp has. This is, however, a simple concept to understand. For example, electric guitars require the use of an electric guitar amp whereas electric bass guitars require the bass amp. Acoustic-electric guitars use acoustic amplifiers, and, of course, acoustic guitars do not use amps. This basic information, however, is not all that is needed for a successful amp set up. Let's take a closer look.
Amps are a very tricky subject as there are just so many out there. The basic idea of them is to take the ultra low voltage coming from the pickups and bring them up to line level. Seems simple, but there is a lot that goes into how that signal is boosted.
The main two types of amps are tube and solid state. Tube amplifiers are the grand daddies of amplifiers and use vacuum tubes as their main amplifier. Solid state amplifiers use modern chips in place of the tubes. The difference is that tubes tend to add a warmth and smoothness to the sound but can also add a good amount of noise too. Solid state amps are more clean and solid, but can sound cold. All amps, whether for guitar, bass, or acoustic work the same but differ in where they focus their characteristics. This is not to say that you should plug a guitar into a bass amp. Sometime it will work, and sometimes it just won't.
The Relationship between Electric Guitars and Electric Guitar Amps
Electric guitars work on pickups. A pickup works by using a magnet that is wrapped in wire. The magnetic field rides just through the strings so when the string is strummed or plucked, it alters the magnetic field and produces an electrical signal at the same frequency as the note being played. The "tone" of the pickup is determined by how many times the wire is wound around the magnet. A standard electric pickup is wrapped around 5000 times, which is nothing to sneeze at.
A Humbucker pickup uses 2 of these wrappings to reduce the amount of noise that can be produced by the pickup. This, obviously, increases the quality of any guitar using Humbucker pickups.
Bass Electric Guitars and Their Amps
Bass guitars work pretty much the same way that an electric guitar does. The reason for a bass sounding so deep is the fact that they use thicker strings, which vibrate at a lower frequency by nature. Specifically, a bass amp is specially designed to focus on the lower frequency spectrum and boost it. A normal guitar amp focuses more on the mid to high frequency spectrum.
Furthermore, a guitar wire is wound around 5000 times using #42 wire. The more times it is wound, or the more tightly wound it is, the more the lower frequencies get tapered off. To exaggerate this effect, a bass uses thicker wire as well. Sometimes the pickup is split so that it looks like a z on the body. This way the two higher strings have a boosted sound and the lower ones produce a thicker sound because of the unique shape.
Acoustic-Electric Guitars and Acoustic Guitar Amps
Acoustic-Electric guitars and their amps work entirely different from electric guitars and amps as they use what is called a "piezo pickup."
A piezo pickup is essentially a dynamic microphone that only reacts when the string is plucked. This creates a more natural sound in relation to the actual acoustic sound. Today, even some electric guitars have piezo pickups added to them because they are so unique.
Now that you have the know how, you should also know that some amps are inter-compatible between guitars. What you can't know, however, is how well one guitar type, like a Fender, will be compatible with a different brand, like Line6, as I mentioned above. As Soundetta.com has suggested many times, ample amount of research can benefit you in decision making but I still insist that there is nothing better than pulling up a seat in your local guitar store with your girl in one hand and line into one amp at a time. Rock on.
For more information about guitar amplifiers and guitars, visit my blog Soundetta.com: Your Music Arena!, which is all about music!
Amps are a very tricky subject as there are just so many out there. The basic idea of them is to take the ultra low voltage coming from the pickups and bring them up to line level. Seems simple, but there is a lot that goes into how that signal is boosted.
The main two types of amps are tube and solid state. Tube amplifiers are the grand daddies of amplifiers and use vacuum tubes as their main amplifier. Solid state amplifiers use modern chips in place of the tubes. The difference is that tubes tend to add a warmth and smoothness to the sound but can also add a good amount of noise too. Solid state amps are more clean and solid, but can sound cold. All amps, whether for guitar, bass, or acoustic work the same but differ in where they focus their characteristics. This is not to say that you should plug a guitar into a bass amp. Sometime it will work, and sometimes it just won't.
The Relationship between Electric Guitars and Electric Guitar Amps
Electric guitars work on pickups. A pickup works by using a magnet that is wrapped in wire. The magnetic field rides just through the strings so when the string is strummed or plucked, it alters the magnetic field and produces an electrical signal at the same frequency as the note being played. The "tone" of the pickup is determined by how many times the wire is wound around the magnet. A standard electric pickup is wrapped around 5000 times, which is nothing to sneeze at.
A Humbucker pickup uses 2 of these wrappings to reduce the amount of noise that can be produced by the pickup. This, obviously, increases the quality of any guitar using Humbucker pickups.
Bass Electric Guitars and Their Amps
Bass guitars work pretty much the same way that an electric guitar does. The reason for a bass sounding so deep is the fact that they use thicker strings, which vibrate at a lower frequency by nature. Specifically, a bass amp is specially designed to focus on the lower frequency spectrum and boost it. A normal guitar amp focuses more on the mid to high frequency spectrum.
Furthermore, a guitar wire is wound around 5000 times using #42 wire. The more times it is wound, or the more tightly wound it is, the more the lower frequencies get tapered off. To exaggerate this effect, a bass uses thicker wire as well. Sometimes the pickup is split so that it looks like a z on the body. This way the two higher strings have a boosted sound and the lower ones produce a thicker sound because of the unique shape.
Acoustic-Electric Guitars and Acoustic Guitar Amps
Acoustic-Electric guitars and their amps work entirely different from electric guitars and amps as they use what is called a "piezo pickup."
A piezo pickup is essentially a dynamic microphone that only reacts when the string is plucked. This creates a more natural sound in relation to the actual acoustic sound. Today, even some electric guitars have piezo pickups added to them because they are so unique.
Now that you have the know how, you should also know that some amps are inter-compatible between guitars. What you can't know, however, is how well one guitar type, like a Fender, will be compatible with a different brand, like Line6, as I mentioned above. As Soundetta.com has suggested many times, ample amount of research can benefit you in decision making but I still insist that there is nothing better than pulling up a seat in your local guitar store with your girl in one hand and line into one amp at a time. Rock on.
For more information about guitar amplifiers and guitars, visit my blog Soundetta.com: Your Music Arena!, which is all about music!
Thursday 5 November 2009
Taming High Gain Distortion Noise
Noise is a demon that plagues all high gain distortion pedals. It's a fact of life that there's just no escape from... or is there?
Before we begin lets take a moment to define the word 'noise' as we use it in this article. When we use the word noise we're referring to the hum & hiss you hear when you are not playing. The moment you strike a note, the noise is 'gone', but in reality it is simply overcome by the note having been played. The note is passing trough the distortion circuit and being amplified in the same way the noise is, but being that the note is intentional and, as such, a much louder source than whatever is causing the noise in the first place. As the struck note decays the noise slowly becomes more apparent until it overcomes the decaying note, as the noise never left, it was simply overpowered by the note.
Why are distortion pedals noisy?
Many distortions use cascading gain stages to create their sound. While this creates some great distorted tones, each gain stage also amplifies all background noise.
Not all distortion pedals use this design, but the long and short of it is that a distortion pedal will amplify and distort any signal it is fed; even if you can not hear the noise causing signal source before activating the pedal.
What could be causing the noise?
Many times, the noise accentuated by distortion pedals can be tracked to environmental issues. This is why professional recording studios are so expensive to design and construct. Painstaking measures are taken to ensure that every power source is pristine, ever power line is shielded and kept far from physical audio paths, all of the walls are shielded against stray radio frequencies, and so on.
That being said; let's take a quick look at what might be causing your noise and a few things you can do to clean up your signal.
Power
The first thing to look at is how you're powering the unit. Batteries will deliver a quieter performance, as they are not subject to some of the issues that affect AC power, but they have a downside as well. Batteries will steal your tone as they die, at such a subtle rate, you might not notice until your tone is truly not the same anymore.
AC power eliminates the gradual tone theft caused by dying batteries but they open the door to other noise causing possibilities. AC power directly from the wall is wrought with noise. The power is not delivered in a conditioned or filtered manner which is perfectly acceptable for most worldly applications, but not in the audio realm. If you rely heavily on pedals of any kind to create your tone, we highly recommend investing in a good power supply for them. Here in our shop we use the PA9 power supply from Godlyke, but there are many others on the market.
Another power distribution possibility could be that you have too many pedals on your power supply's chain. Noise occurs when you overload your power supply's capacity. The rated output of your power supply might indicate it can handle 4 or 5 pedals (after doing the math of course), and in fact it can- it just can't handle it well. That output rate is there to tell you where the failure point would be, not where the optimum operating level is. To keep your pedal board sounding clean stay well under your power supply's rated output. Some pros suggest you cut the rated output in halve and use that as your load guide. I say use your ears. If you hear degradation, even while within the specs of your power supply, ease back on its load.
Cables
Why are you plugging your $1000 guitar into your $1500 amp with a $9 cable? And DO NOT get me started on those $3 patch cables you're using in between each pedal on your board. C'mon guys... your cables are essential to your tone, so skimp someplace else.
Our good friend Mark Stoddard over at Lava Cable chimes in with this angle:
"Noise or microphonics is caused by cable movement or contact as small voltages are generated from this that interrupt the signal path. If the cable does not have the correct amount or type shielding the noise will be greater. Also, the lower in capacitance a cable is, the easier the noise will be heard as more signal is passed. Typically, with static cable such as pedal jumpers noise is not an issue as there's no movement. It's important for cable jumpers to be solidly built as a loose solder connection or loose solder-free connection can cause noise when the pedal or cable is moved."
This is good info, lets expand on it a bit- pedal jumpers or patch cables actually take some serious abuse if you're a heavy footed pedal user. Every time you're stepping on the switch you're causing that whole unit it shift, unless your using mounting screws to keep your pedals on your board, and that slight shift with each stomp causes your patch cables to move and flex as well. So each time you engage your boost pedal for a solo, lets say once per song multiplied by 10 songs a set, thats 20 stomps... that can add up to some sizable movement over the course of the evening, not to mention the movment your cable plugging your axe into your pedal board is seeing. So you want to be sure that these are well constructed.
The other topic Mark touched on is capacitance. Over at Lava Cables web site they have a great write up on capacitance, and cables in general, I encourage you to check it out. But in a nut shell, capacitance sucks the high end out of your signal. The longer the cable the higher the capacitance, which is why 40 foot cables sound dark and muddy. So, stick to the correct cable length. If you're a bedroom rocker, a couple of 5-8 foot cables is probably all you need. If you're gigging try 12-15 footers, they'll probably do you well for most venues.
Shielding
Do you have any quiet spots in the room you currently play in? Meaning- if you move around in the room do you have spots that are less noisy? If you do that tells us you've got something floating around in the air which might be quieted by shielding your guitars cavities.
Shielding the cavities of your guitar is not all that difficult, it can be time consuming, but not hard; however, the end results can be amazing. What shielding does is it prevents radio frequencies and other 'noise' from entering your pick ups. The shielding doesn't make the 'noise' signals bounce away, it actually absorbs the noise. The conductive material in the cavities attracts the signal and sends it to ground rather than letting it float around your pick ups. There are a lot of different methods to shield your guitar, so do your research. You can probably start and stop at GuitarNuts.com. GuitarNuts has been offering tips and guidance for shielding and pickup re-wiring for years, and they're a great resource. I've rewired more than my fair share of instruments using their diagrams, check them out!
Pedal board config
Heres a real example from a customer that had horrible noise issues with his Body Rot II. His pedal signal chain was a GE7 EQ to 'scoop' his tone, then running into the Body Rot II, then some reverb and delay. Here is exactly what I told him via Email:
One thing I would recommend right off the bat- put the GE7 at the end of your chain (before your delay or reverb) to sculpt your entire tone. If not at the end, certainly after the BRII. Essentially the BRII will take the boosted signals produced by the GE7 and distort it. Causing noise when there otherwise not be any.
With the tone 'scooped' by the EQ, the highs are boosted, then feeding those boosted highs into the BR2 to further boost and distort, caused hellacious noise. Simply moving the EQ cured his problems.
Another common noise causing problem the fact we use the volume knob on our distortion pedals as a master volume. Yes its handier to use the volume control on your pedal to turn your amp up and down, but its causing more noise than you need to hear. Let the amp do the heavy lifting. Set your pedals volume to the same level on or off (unity gain-ish) and use your amp to give you more volume when you need it, this will clean you up greatly.
The obvious
Do you have any computer monitors in the room- the older big monitors, not a flat panel? If so, you're probably going to get noise.
Any fluorescent lighting in the room, either overhead or on a wall? If so, you're probably going to get noise. Even the new compact fluorescent bulbs that are going to be the only types of bulb we can buy in the near future are noisy. The best cure for both the old monitor noise and the fluorescent light noise is to shield your guitar, but even the best of shielding can't eliminate the noise those sources cause.
One last thought- noise gates are always useful in high gain situation. Sometimes there's just no way around them.
Dennis M.
Dennis Mollan is the founder of Pro Tone Pedals. With 20 years experience as a practicing guitarist coupled with his formal education in music theory and audio engineering Dennis has become a noted resource in all things rock guitar related. Pro Tone Pedals was founded in 2004 to provide hand built high quality guitar effects to modern hard rock guitarists. In the five years following, the Dallas Texas based company has had the opportunity to work with some of the biggest names in modern rock music.
Pro Tone Pedals have been on tour and in the studio with Velvet Revolver, Alice In Chains, Camp Freddy, Flickerstick, Ministry, Peter Murphy, Rusty Cooley, Richie Kotzen, Jeff Loomis, Nevermore, Prong, Mission UK, Poison, Overkill, Fear Factory, Mob research, and the Cult.
Website: http://www.ProTonePedals.com
Blog http://blog.ProTonePedals.com
Article Source: http://EzineArticles.com/?expert=Dennis_Mollan
Before we begin lets take a moment to define the word 'noise' as we use it in this article. When we use the word noise we're referring to the hum & hiss you hear when you are not playing. The moment you strike a note, the noise is 'gone', but in reality it is simply overcome by the note having been played. The note is passing trough the distortion circuit and being amplified in the same way the noise is, but being that the note is intentional and, as such, a much louder source than whatever is causing the noise in the first place. As the struck note decays the noise slowly becomes more apparent until it overcomes the decaying note, as the noise never left, it was simply overpowered by the note.
Why are distortion pedals noisy?
Many distortions use cascading gain stages to create their sound. While this creates some great distorted tones, each gain stage also amplifies all background noise.
Not all distortion pedals use this design, but the long and short of it is that a distortion pedal will amplify and distort any signal it is fed; even if you can not hear the noise causing signal source before activating the pedal.
What could be causing the noise?
Many times, the noise accentuated by distortion pedals can be tracked to environmental issues. This is why professional recording studios are so expensive to design and construct. Painstaking measures are taken to ensure that every power source is pristine, ever power line is shielded and kept far from physical audio paths, all of the walls are shielded against stray radio frequencies, and so on.
That being said; let's take a quick look at what might be causing your noise and a few things you can do to clean up your signal.
Power
The first thing to look at is how you're powering the unit. Batteries will deliver a quieter performance, as they are not subject to some of the issues that affect AC power, but they have a downside as well. Batteries will steal your tone as they die, at such a subtle rate, you might not notice until your tone is truly not the same anymore.
AC power eliminates the gradual tone theft caused by dying batteries but they open the door to other noise causing possibilities. AC power directly from the wall is wrought with noise. The power is not delivered in a conditioned or filtered manner which is perfectly acceptable for most worldly applications, but not in the audio realm. If you rely heavily on pedals of any kind to create your tone, we highly recommend investing in a good power supply for them. Here in our shop we use the PA9 power supply from Godlyke, but there are many others on the market.
Another power distribution possibility could be that you have too many pedals on your power supply's chain. Noise occurs when you overload your power supply's capacity. The rated output of your power supply might indicate it can handle 4 or 5 pedals (after doing the math of course), and in fact it can- it just can't handle it well. That output rate is there to tell you where the failure point would be, not where the optimum operating level is. To keep your pedal board sounding clean stay well under your power supply's rated output. Some pros suggest you cut the rated output in halve and use that as your load guide. I say use your ears. If you hear degradation, even while within the specs of your power supply, ease back on its load.
Cables
Why are you plugging your $1000 guitar into your $1500 amp with a $9 cable? And DO NOT get me started on those $3 patch cables you're using in between each pedal on your board. C'mon guys... your cables are essential to your tone, so skimp someplace else.
Our good friend Mark Stoddard over at Lava Cable chimes in with this angle:
"Noise or microphonics is caused by cable movement or contact as small voltages are generated from this that interrupt the signal path. If the cable does not have the correct amount or type shielding the noise will be greater. Also, the lower in capacitance a cable is, the easier the noise will be heard as more signal is passed. Typically, with static cable such as pedal jumpers noise is not an issue as there's no movement. It's important for cable jumpers to be solidly built as a loose solder connection or loose solder-free connection can cause noise when the pedal or cable is moved."
This is good info, lets expand on it a bit- pedal jumpers or patch cables actually take some serious abuse if you're a heavy footed pedal user. Every time you're stepping on the switch you're causing that whole unit it shift, unless your using mounting screws to keep your pedals on your board, and that slight shift with each stomp causes your patch cables to move and flex as well. So each time you engage your boost pedal for a solo, lets say once per song multiplied by 10 songs a set, thats 20 stomps... that can add up to some sizable movement over the course of the evening, not to mention the movment your cable plugging your axe into your pedal board is seeing. So you want to be sure that these are well constructed.
The other topic Mark touched on is capacitance. Over at Lava Cables web site they have a great write up on capacitance, and cables in general, I encourage you to check it out. But in a nut shell, capacitance sucks the high end out of your signal. The longer the cable the higher the capacitance, which is why 40 foot cables sound dark and muddy. So, stick to the correct cable length. If you're a bedroom rocker, a couple of 5-8 foot cables is probably all you need. If you're gigging try 12-15 footers, they'll probably do you well for most venues.
Shielding
Do you have any quiet spots in the room you currently play in? Meaning- if you move around in the room do you have spots that are less noisy? If you do that tells us you've got something floating around in the air which might be quieted by shielding your guitars cavities.
Shielding the cavities of your guitar is not all that difficult, it can be time consuming, but not hard; however, the end results can be amazing. What shielding does is it prevents radio frequencies and other 'noise' from entering your pick ups. The shielding doesn't make the 'noise' signals bounce away, it actually absorbs the noise. The conductive material in the cavities attracts the signal and sends it to ground rather than letting it float around your pick ups. There are a lot of different methods to shield your guitar, so do your research. You can probably start and stop at GuitarNuts.com. GuitarNuts has been offering tips and guidance for shielding and pickup re-wiring for years, and they're a great resource. I've rewired more than my fair share of instruments using their diagrams, check them out!
Pedal board config
Heres a real example from a customer that had horrible noise issues with his Body Rot II. His pedal signal chain was a GE7 EQ to 'scoop' his tone, then running into the Body Rot II, then some reverb and delay. Here is exactly what I told him via Email:
One thing I would recommend right off the bat- put the GE7 at the end of your chain (before your delay or reverb) to sculpt your entire tone. If not at the end, certainly after the BRII. Essentially the BRII will take the boosted signals produced by the GE7 and distort it. Causing noise when there otherwise not be any.
With the tone 'scooped' by the EQ, the highs are boosted, then feeding those boosted highs into the BR2 to further boost and distort, caused hellacious noise. Simply moving the EQ cured his problems.
Another common noise causing problem the fact we use the volume knob on our distortion pedals as a master volume. Yes its handier to use the volume control on your pedal to turn your amp up and down, but its causing more noise than you need to hear. Let the amp do the heavy lifting. Set your pedals volume to the same level on or off (unity gain-ish) and use your amp to give you more volume when you need it, this will clean you up greatly.
The obvious
Do you have any computer monitors in the room- the older big monitors, not a flat panel? If so, you're probably going to get noise.
Any fluorescent lighting in the room, either overhead or on a wall? If so, you're probably going to get noise. Even the new compact fluorescent bulbs that are going to be the only types of bulb we can buy in the near future are noisy. The best cure for both the old monitor noise and the fluorescent light noise is to shield your guitar, but even the best of shielding can't eliminate the noise those sources cause.
One last thought- noise gates are always useful in high gain situation. Sometimes there's just no way around them.
Dennis M.
Dennis Mollan is the founder of Pro Tone Pedals. With 20 years experience as a practicing guitarist coupled with his formal education in music theory and audio engineering Dennis has become a noted resource in all things rock guitar related. Pro Tone Pedals was founded in 2004 to provide hand built high quality guitar effects to modern hard rock guitarists. In the five years following, the Dallas Texas based company has had the opportunity to work with some of the biggest names in modern rock music.
Pro Tone Pedals have been on tour and in the studio with Velvet Revolver, Alice In Chains, Camp Freddy, Flickerstick, Ministry, Peter Murphy, Rusty Cooley, Richie Kotzen, Jeff Loomis, Nevermore, Prong, Mission UK, Poison, Overkill, Fear Factory, Mob research, and the Cult.
Website: http://www.ProTonePedals.com
Blog http://blog.ProTonePedals.com
Article Source: http://EzineArticles.com/?expert=Dennis_Mollan
Wednesday 4 November 2009
The History of Fender Guitars
Fender® is currently one of the premier electric guitar manufacturers out there. The instrument manufacturing aspect of the company had its beginnings in 1946 when Leo Fender began building them. However, the company actually started in 1938 and was called Fender’s Radio Services. He was actually a skilled technician who repaired radios, phonograph players, amplifiers, and other electronic instruments.
His experience repairing amplifiers actually marked the beginning of the Fender® manufacturer as we know it today. As a technician he had first hand knowledge of the design problems and issues. He began building his own amps in an effort to solve some of these problems.
He then partnered with Clayton Orr Kauffman to form a company called K & F Manufacturing Corp. which specialized in various electric devices and instruments (they made and designed them as well as sold them). Together they created an electric Hawaiian steel guitar. It was shortly after this that Fender and Kauffman had different visions for the business. Kauffman wanted to focus more on repair and Fender wanted to focus on the design aspect. This is when Fender started his company, the Fender Electric Instrument Manufacturing Corporation and is now called the Fender Musical Instruments Corporation.
Fender® played a huge role in creating solid body guitars and making them widely available. One of their most popular models, the Fender® Stratocaster, or “Strat” for short was the first electric guitar with a solid body. Each year, they expand on their current guitar line while still making those old favorites available.
Now, there are over 26 styles of Fender® electric guitars available. The Stratocaster line has expanded to include special series modeled after celebrity artists such as David Gilmour of Pink Floyd, Eric Clapton, Eric Johnson, and Stevie Ray Vaughn. Other models include other Stratocaster models, the Toronado, the Jazzmaster, the Bronco, and the Mustang. For a complete list, visit the official Fender® website.
Fender® also boasts a list of artists who play their electric guitars. These include Sting, Eric Johnson, the late Stevie Ray Vaughn, Yngwie Malmstein, Roscoe Beck, and Robert Cray. For a complete list of artists and their profiles you can visit the Fender® website.
Here is what some users have to say about their Fender® guitars:
Fender ’62 Stratocaster Reissue
The tone is fantastic. you really get those screaming highs and the piano like projection of the low strings is gorgeous. through my line 6 flextone II amp it's just a HUGE tone. great looks. great neck, great pickups, no shoddy parts anywhere! refreshing at this price. its an utterly brilliant package and it's the business. epiphone, ibanez...they cant rival this. great super 250's strings. oh yeah...free deluxe gig bag too...winner!
Fender Deluxe Fat Strat
I love the array of sounds. The texas special pickups are hot, and between the 5 pickup combinations with a little tweaking on the tone adjustment, i can't think of a tone you can't get out of this guitar. The neck is smooth, and construction is solid. The Floyd Rose tremelo is easy to make quick tune adjustments with…
Bill McRea is the publisher of Guitar Warehouse the best place to Buy Guitar and learn Guitar Playing Techniques. Visit our site for over 60 Free Guitar Lessons and Information about playing Guitar.
Article Source: http://EzineArticles.com/?expert=Bill_McRea
His experience repairing amplifiers actually marked the beginning of the Fender® manufacturer as we know it today. As a technician he had first hand knowledge of the design problems and issues. He began building his own amps in an effort to solve some of these problems.
He then partnered with Clayton Orr Kauffman to form a company called K & F Manufacturing Corp. which specialized in various electric devices and instruments (they made and designed them as well as sold them). Together they created an electric Hawaiian steel guitar. It was shortly after this that Fender and Kauffman had different visions for the business. Kauffman wanted to focus more on repair and Fender wanted to focus on the design aspect. This is when Fender started his company, the Fender Electric Instrument Manufacturing Corporation and is now called the Fender Musical Instruments Corporation.
Fender® played a huge role in creating solid body guitars and making them widely available. One of their most popular models, the Fender® Stratocaster, or “Strat” for short was the first electric guitar with a solid body. Each year, they expand on their current guitar line while still making those old favorites available.
Now, there are over 26 styles of Fender® electric guitars available. The Stratocaster line has expanded to include special series modeled after celebrity artists such as David Gilmour of Pink Floyd, Eric Clapton, Eric Johnson, and Stevie Ray Vaughn. Other models include other Stratocaster models, the Toronado, the Jazzmaster, the Bronco, and the Mustang. For a complete list, visit the official Fender® website.
Fender® also boasts a list of artists who play their electric guitars. These include Sting, Eric Johnson, the late Stevie Ray Vaughn, Yngwie Malmstein, Roscoe Beck, and Robert Cray. For a complete list of artists and their profiles you can visit the Fender® website.
Here is what some users have to say about their Fender® guitars:
Fender ’62 Stratocaster Reissue
The tone is fantastic. you really get those screaming highs and the piano like projection of the low strings is gorgeous. through my line 6 flextone II amp it's just a HUGE tone. great looks. great neck, great pickups, no shoddy parts anywhere! refreshing at this price. its an utterly brilliant package and it's the business. epiphone, ibanez...they cant rival this. great super 250's strings. oh yeah...free deluxe gig bag too...winner!
Fender Deluxe Fat Strat
I love the array of sounds. The texas special pickups are hot, and between the 5 pickup combinations with a little tweaking on the tone adjustment, i can't think of a tone you can't get out of this guitar. The neck is smooth, and construction is solid. The Floyd Rose tremelo is easy to make quick tune adjustments with…
Bill McRea is the publisher of Guitar Warehouse the best place to Buy Guitar and learn Guitar Playing Techniques. Visit our site for over 60 Free Guitar Lessons and Information about playing Guitar.
Article Source: http://EzineArticles.com/?expert=Bill_McRea
Tuesday 3 November 2009
The Electric Guitar - How To Buy The Right One
One of the most challenging tasks facing any guitarist is selecting the right electric guitar for their musical needs. Whether you are young or old, a beginner or a master musician, there is no sound in the world like a finely tuned electric guitar. The thing is that it can be overwhelmingly difficult to choose the right guitar.
The basic construction for a guitar is the same for almost all of the different types of guitars. All electric guitars are comprised of the same parts: a body, a neck, a head stock piece, electrical pickups and a bridge.
Unlike an acoustic guitar, electrical guitars require an amplifier to broadcast the guitar's sound. The sound for an electric guitar is generated when a musician plucks the strings and the vibration of the strings is transmitted through the pick-ups to the amplifier.
Now, there are two very important considerations when purchasing the perfect electrical guitar: price and sound.
Electrical guitars can be priced as low as ninety-nine dollars all the way up to twenty thousand dollars, so knowing your budget is crucial. A beginning guitarist should look for starter kits that will include a guitar, amplifier and some instruction books.
Electric guitars are divided into four different categories: Acoustic-Electric, Electric, Hollow Body Electric and Steel Electric and each one is designed to generate a different sound.
Acoustic-electric guitars are acoustic guitars with pick-ups installed so that they can be wired into an amplifier or a public address system. These are some of the most popular types of guitars for touring bands as they are well built and last a long time.
An electric guitar is typically made of a solid wood body and sound is only generated through the pick-up system. An amplifier is required to increase or decrease volume. These are the most popular models of guitars for beginning enthusiasts and prices can range from $99 and up. Most manufacturers like Fender and Gibson have beginner electrical guitar kits that come with a guitar, an amplifier and training manuals to get started.
A hollow body electric guitar is constructed in the same way as a traditional electric guitar with one exception. A hollow-body guitar has 2 chambers cut out of the body. The end result is that the guitar generates additional sonic resonances because of the chambers and delivers a completely unique sound. These guitars are most often played by Jazz enthusiasts and are available in many different sizes and tones.
The last type of electrical guitar is the steel guitar. Steel guitars are so different in design from traditional guitars that it requires many years of specialized training to learn to play them properly. The steel guitar was made famous by Jeff Healey and is played on its back as opposed to being strung around the player's neck. The strings are often elevated above the fret board and allow for the use of a 'tone bar'. A tone bar is a cylindrical tube that is worn over the middle finger of the fret hand, and provides the classical steel guitar 'whine'. The steel guitar is most often used with country and western style music.
Regardless of whether you are looking to purchase an acoustic guitar or an electric guitar it is always advisable that you research thoroughly. Speak with employees of guitar shops and test every guitar you may be buying. Search the internet to decipher between the different manufacturers and models available until you are certain you have found the electric guitar of your dreams and then buy it!
If you're considering buying an electric guitar, then have a look at the esteban electric guitar To learn more, visit our as seen on tv music site.
Copyright 2007. You may reprint this article on your site provided you include author's resource box and active links.
Article Source: http://EzineArticles.com/?expert=Jay_G
The basic construction for a guitar is the same for almost all of the different types of guitars. All electric guitars are comprised of the same parts: a body, a neck, a head stock piece, electrical pickups and a bridge.
Unlike an acoustic guitar, electrical guitars require an amplifier to broadcast the guitar's sound. The sound for an electric guitar is generated when a musician plucks the strings and the vibration of the strings is transmitted through the pick-ups to the amplifier.
Now, there are two very important considerations when purchasing the perfect electrical guitar: price and sound.
Electrical guitars can be priced as low as ninety-nine dollars all the way up to twenty thousand dollars, so knowing your budget is crucial. A beginning guitarist should look for starter kits that will include a guitar, amplifier and some instruction books.
Electric guitars are divided into four different categories: Acoustic-Electric, Electric, Hollow Body Electric and Steel Electric and each one is designed to generate a different sound.
Acoustic-electric guitars are acoustic guitars with pick-ups installed so that they can be wired into an amplifier or a public address system. These are some of the most popular types of guitars for touring bands as they are well built and last a long time.
An electric guitar is typically made of a solid wood body and sound is only generated through the pick-up system. An amplifier is required to increase or decrease volume. These are the most popular models of guitars for beginning enthusiasts and prices can range from $99 and up. Most manufacturers like Fender and Gibson have beginner electrical guitar kits that come with a guitar, an amplifier and training manuals to get started.
A hollow body electric guitar is constructed in the same way as a traditional electric guitar with one exception. A hollow-body guitar has 2 chambers cut out of the body. The end result is that the guitar generates additional sonic resonances because of the chambers and delivers a completely unique sound. These guitars are most often played by Jazz enthusiasts and are available in many different sizes and tones.
The last type of electrical guitar is the steel guitar. Steel guitars are so different in design from traditional guitars that it requires many years of specialized training to learn to play them properly. The steel guitar was made famous by Jeff Healey and is played on its back as opposed to being strung around the player's neck. The strings are often elevated above the fret board and allow for the use of a 'tone bar'. A tone bar is a cylindrical tube that is worn over the middle finger of the fret hand, and provides the classical steel guitar 'whine'. The steel guitar is most often used with country and western style music.
Regardless of whether you are looking to purchase an acoustic guitar or an electric guitar it is always advisable that you research thoroughly. Speak with employees of guitar shops and test every guitar you may be buying. Search the internet to decipher between the different manufacturers and models available until you are certain you have found the electric guitar of your dreams and then buy it!
If you're considering buying an electric guitar, then have a look at the esteban electric guitar To learn more, visit our as seen on tv music site.
Copyright 2007. You may reprint this article on your site provided you include author's resource box and active links.
Article Source: http://EzineArticles.com/?expert=Jay_G
Monday 2 November 2009
Where to Find Cheap Electric Guitars?
The electric guitar is an instrument that is liked by millions of people worldwide. The sound an electric guitar produces is just awesome.
All music lovers want to own an electric guitar, but the price keeps them by purchasing their favorite musical instrument. For all those people, the cheap electric guitar is the solution.
Yes, today any person can buy these guitars at a price that is really affordable.
First, you have to make a decision about the instrument that fits your needs perfectly. There are different kinds of electric guitars like hollow body, solid body and electric-acoustic. Then, there are one-string, four-string, seven-string, eight-string, nine-string, twelve-string guitars. You have to be specific about your choice.
The most important factor while choosing a guitar is the body style. What kind of neck, the number of frets, the pickups, the kinds of bridges and what wood is the instrument made of? So, first do this task before going out to buy a guitar.
About cheap electric guitars, the best part is that a person can buy these instruments from big brands like Ibanez, Fender, Dean, Gibson and Washburn guitars. Yes, all these companies are known for manufacturing quality products at high-end price, but now they also produce cheap guitars. They are able to provide cheap guitars because of the low cost labor and raw material available to them in the Asian countries.
Also, in the cheap guitar market, there are second hand instruments that used for sometime and then sold by the owners. You may find the condition of these guitars very good, though with some obvious signs of usage for a time.
With a little research, you should find your guitar very easily. But, make sure that you do not settle for anything that is less than $150 as below this price, you will get poor quality that won't last even for a couple of months.
Now, the first thing is that where to find these guitars?
Well, you have many options for that. First, hit the local stores. You will find electric guitars from different brands and for different prices. You may check out the ads in daily newspapers and magazines.
Then, internet is the biggest source for looking for cheap guitars. There are hundreds of sites that are selling electric guitars at low prices. These guitars include both new and second hand instruments.
There are some websites that are classified as 'Auction' sites where people bid for their desired guitars at low prices, so you may want to check those sites.
Then, there are sites where people place classified ads. They advertise with the details of their instrument and the price.
One thing is sure that you will find more options on the internet compared to the retails or any other source, as there are hundreds of sites displaying hundreds of offers.
But, whatever you choose, online or any other source, the trick is that you have to search for your electric guitar with some patience and you will surely get your instrument.
A cheap used guitar is a great deal for the beginners. The used instruments will surely have some scratches on them, but the quality and sound in most cases are excellent and that's what really counts.
So, stay patient while you search for your favorite electric guitar at a price that is under your budget.
Get cheap electric guitars for sale from 5k+ electric guitar collection. Know more about where you can get cheap guitars.
Article Source: http://EzineArticles.com/?expert=Amber_Ray
All music lovers want to own an electric guitar, but the price keeps them by purchasing their favorite musical instrument. For all those people, the cheap electric guitar is the solution.
Yes, today any person can buy these guitars at a price that is really affordable.
First, you have to make a decision about the instrument that fits your needs perfectly. There are different kinds of electric guitars like hollow body, solid body and electric-acoustic. Then, there are one-string, four-string, seven-string, eight-string, nine-string, twelve-string guitars. You have to be specific about your choice.
The most important factor while choosing a guitar is the body style. What kind of neck, the number of frets, the pickups, the kinds of bridges and what wood is the instrument made of? So, first do this task before going out to buy a guitar.
About cheap electric guitars, the best part is that a person can buy these instruments from big brands like Ibanez, Fender, Dean, Gibson and Washburn guitars. Yes, all these companies are known for manufacturing quality products at high-end price, but now they also produce cheap guitars. They are able to provide cheap guitars because of the low cost labor and raw material available to them in the Asian countries.
Also, in the cheap guitar market, there are second hand instruments that used for sometime and then sold by the owners. You may find the condition of these guitars very good, though with some obvious signs of usage for a time.
With a little research, you should find your guitar very easily. But, make sure that you do not settle for anything that is less than $150 as below this price, you will get poor quality that won't last even for a couple of months.
Now, the first thing is that where to find these guitars?
Well, you have many options for that. First, hit the local stores. You will find electric guitars from different brands and for different prices. You may check out the ads in daily newspapers and magazines.
Then, internet is the biggest source for looking for cheap guitars. There are hundreds of sites that are selling electric guitars at low prices. These guitars include both new and second hand instruments.
There are some websites that are classified as 'Auction' sites where people bid for their desired guitars at low prices, so you may want to check those sites.
Then, there are sites where people place classified ads. They advertise with the details of their instrument and the price.
One thing is sure that you will find more options on the internet compared to the retails or any other source, as there are hundreds of sites displaying hundreds of offers.
But, whatever you choose, online or any other source, the trick is that you have to search for your electric guitar with some patience and you will surely get your instrument.
A cheap used guitar is a great deal for the beginners. The used instruments will surely have some scratches on them, but the quality and sound in most cases are excellent and that's what really counts.
So, stay patient while you search for your favorite electric guitar at a price that is under your budget.
Get cheap electric guitars for sale from 5k+ electric guitar collection. Know more about where you can get cheap guitars.
Article Source: http://EzineArticles.com/?expert=Amber_Ray
Friday 30 October 2009
Types of Guitars
If you have not yet purchased a guitar or have already done so but are not be sure if you have made the right choice, this guide should help.
Guitars come in all shapes and sizes and are produced by many different manufacturers so choosing one can seem a little intimidating at first. The wealth of choices and price ranges alone can make it a daunting task. Let’s first simplify things by breaking it down to the general categories of guitars. As an overall rule there are three basic styles of guitars. Acoustic, electric and classical.
Acoustic Guitars are also known as box, folk or hollow body guitars. They are constructed of wood and normally have a sound hole cut into the top. An acoustic guitar produces sound naturally and does not require the use of amplification to be heard (unless played in a band setting). They typically use “bronze wound” guitar strings and can be strummed with a pick or played finger style. These are by far the most common guitars played by beginning students due to the availability of lesser expensive models and ease of use and transportation.
Electric Guitars are, for the most part, solid body instruments and are wired with “pickups” that magnetically reproduce the sound. As a result, an electric guitar typically requires the use of an amplifier to be heard. An electric guitar normally uses “nickel wound” strings that are usually lighter in gauge than acoustic guitar strings thereby making the electric guitar easier to play. There are good models available at an affordable price but one must also purchase an amplifier to go along with it. Electric guitars are often preferred by players interested in playing rock, blues, metal and lead country styles.
Classical Guitars are similar to acoustic guitars in that they are of a hollow body design and, as a result, do not require the use of an amplifier. They typically use nylon strings which produce a more mellow tone than an acoustic guitar, and tend to have a wider neck, which make them more conducive to a finger style type of playing. They can be easily identified by the “slotted” headstock and slightly smaller body. Classical Guitars are favored by guitarists pursuing classical and flamenco music and are the common choice for students in college guitar programs. We would not recommend this guitar to students interested in playing rock, blues or country music that requires strumming or the use of a pick.
Your choice of guitar is, of course, ultimately up to you and according to what your preferences are. Although the acoustic guitar is the choice of many just starting out, if you know for sure that your goal is to play lead guitar in a rock or blues band then the electric might be a better pick. The classical guitar may not be your final choice but if you have access to one in the early days you will find that the nylon strings are easier on the fingers until you develop your calluses.
At the end of the day the important thing is that you get a guitar that meets your musical goals, budget and that you are comfortable with. Many veteran guitarists have several guitars in their arsenal and I can personally attest to that. I have acoustics, electrics and classical guitars and I play them all according to what type of gig or venue I am playing. If you play guitar for any length of time you will probably accumulate several yourself.
It’s great to save some money in the beginning but try to find a happy medium between thrift and quality. I have seen students who buy a cheap guitar starting out and end up losing interest in playing because they purchased an inexpensive model. These can often be poorly constructed and much more difficult to play. Many of the guitars that are sold at the “big box” discount stores fall into this category. Our recommendation would be to go to your local music store where you can actually “lay hands” on various models.
I know you can save a few dollars buying a guitar online but guitars, by nature, are fickle, and each one plays a little differently, each tends to have it’s own personality. As a result, there is no substitute for picking one out that you can touch and play at a music store with the help of a trained pro.
Wednesday 28 October 2009
PRS guitars tube amp line unveiled At NAMM.
PRS....
AFTER NEARLY FOUR years of close collaboration with architect and amp design master Doug Sewell, PRS Guitars has developed a line of tube amps that meet the needs of various playing styles while
Producing clean tones that overdrive nicely, the Dallas harkens to the classic American reverb
amps with more useable gain and slightly fuller midrange. Its percussive attack, sweet highs, and solid lows produce open, three-dimensional tone and huge clean sounds.
Guitarists seeking classic British and American tones with what Sewell calls "Texas attitude" will likely latch onto the Blue Sierra. Gain structured for equally great clean sounds to medium gain overdrive tones, the Blue Sierra works well with both single coils and humbuckers. Medium gain settings allow aggressive clean sounds to crunch that are easily controllable with pick attack.
Recalling '50s American amps but with very wide gain structure, the Original Sewell model amp provides expressive tone centering in the medium to medium-high range. Tones are warm and harmonically rich, giving an expressive quality to lead work. Smoothness was emphasized with sweet highs and tight lows surrounding a fat, warm midrange.
(410) 643-9970
www.prsguitars.com
Tuesday 27 October 2009
Custom Guitar Video - Ulrich Teuffel - The New Leo Fender
Ulrich Teuffel, German guitar maker, par excellence, is probably the only guitar maker who is as close to Leo Fender and at the same time as far from Leo Fender as somebody could truly be. "My great-grandfather was an engineer, my grandfather was an engineer, my father is an engineer, my other grandfather was a cabinetmaker, my uncle is a cabinetmaker, my granduncle was a painter, so what can I say: becoming an accountant has never been my ambition. An inventor is a bit more my style!"
No one else on the planet builds or designs guitars like Ulrich Teuffel, and the Teuffel "Birdfish" is considered the Porsche of custom electric guitars. Does it actually work? And, what does it sound like? The Reverend Billy Gibbons of ZZTop used it extensively on their album Mescalero and claims that it is second only to his 1959 Les Paul Sunburst Standard, affectionately known as the "Pearly Gates." Any other questions? Ulrich Teuffel never advertised the "Birdfish", and it is limited to 500 guitars. Still, you can find it in every serious book about guitars.
Find out more about the concept behind his "Tesla" guitar: perfecting imperfection. Teuffel's custom electric guitars provide the demanding guitar player with the possibility of opening doors to a new realm of sound. Avantgarde guitarist Henry Kaiser's music gives listeners an idea of what that could mean.
"While the 20th century had Les Paul and Leo Fender paving the way for guitar innovations and cost reductions, Ulrich Teuffel can certainly lay claim to being the most innovative and influential guitar designer so far in the 21st century. All of his designs are completely unique, and they are not just guitars. They become musical artwork, no different than a painting or a sculpture. I have a lot of guitars, but whenever people see my Birdfish, it's all they can talk about!" S.P. Fjestad, Publisher, Blue Book of Electric Guitars
Ulrich Teuffel started a top-secret collaboration with Fender Guitars a couple of years ago. Let me simply call it the "under-cover" project... The plan was to release a new affordable custom electric guitar that is a combination of a lifestyle item and an electric guitar. The Fender R&D department stated that - if there is a new Leo Fender - it truly has to be Ulrich Teuffel.
What happened to that project? Who knows? Maybe it got stuck in the "hoe-zone". I assume it is like this super secret Air Force Aurora fighter plane project. Nobody has ever seen it, but everybody believes that it exists. I have held a prototype in my own hands. I know it exists. I am a true believer, and as well as I know Ulrich, his ideas and projects have all come true eventually.
Custom Guitar Video
Ulrich Teuffel Custom Guitar Video
Article Source: http://EzineArticles.com/?expert=Cindy_Newman
No one else on the planet builds or designs guitars like Ulrich Teuffel, and the Teuffel "Birdfish" is considered the Porsche of custom electric guitars. Does it actually work? And, what does it sound like? The Reverend Billy Gibbons of ZZTop used it extensively on their album Mescalero and claims that it is second only to his 1959 Les Paul Sunburst Standard, affectionately known as the "Pearly Gates." Any other questions? Ulrich Teuffel never advertised the "Birdfish", and it is limited to 500 guitars. Still, you can find it in every serious book about guitars.
Find out more about the concept behind his "Tesla" guitar: perfecting imperfection. Teuffel's custom electric guitars provide the demanding guitar player with the possibility of opening doors to a new realm of sound. Avantgarde guitarist Henry Kaiser's music gives listeners an idea of what that could mean.
"While the 20th century had Les Paul and Leo Fender paving the way for guitar innovations and cost reductions, Ulrich Teuffel can certainly lay claim to being the most innovative and influential guitar designer so far in the 21st century. All of his designs are completely unique, and they are not just guitars. They become musical artwork, no different than a painting or a sculpture. I have a lot of guitars, but whenever people see my Birdfish, it's all they can talk about!" S.P. Fjestad, Publisher, Blue Book of Electric Guitars
Ulrich Teuffel started a top-secret collaboration with Fender Guitars a couple of years ago. Let me simply call it the "under-cover" project... The plan was to release a new affordable custom electric guitar that is a combination of a lifestyle item and an electric guitar. The Fender R&D department stated that - if there is a new Leo Fender - it truly has to be Ulrich Teuffel.
What happened to that project? Who knows? Maybe it got stuck in the "hoe-zone". I assume it is like this super secret Air Force Aurora fighter plane project. Nobody has ever seen it, but everybody believes that it exists. I have held a prototype in my own hands. I know it exists. I am a true believer, and as well as I know Ulrich, his ideas and projects have all come true eventually.
Custom Guitar Video
Ulrich Teuffel Custom Guitar Video
Article Source: http://EzineArticles.com/?expert=Cindy_Newman
Friday 23 October 2009
Make your own Tube amp, book review
This article is a book review on a series of six books that is the most comprehensive and lucid explanation of guitar tube amp architecture, circuits, tone, components and construction technique for DIYers I have ever found. The review deals with each book separately and recommends purchasing them in a specific order to grow your knowledge in step with your building experience.
Kevin O'Connor of London Power has created a series of books under the main title of "The Ultimate Tone." These books are truly unique and carefully tailored for the Do-It-Yourself (DIY) guitar tube amp hobbyist and boutique amplifier builder. The books have a home-made 'feel' as well... all the illustrations are done by hand and the books are photocopy-printed on 8.5″x11″ paper and bound with plastic spines and clear plastic covers. There are six books in the series now with the most recent being released in the late spring of 2008. You may want to buy the entire series all at once and get a modest savings, but I think you should consider buying them one at a time and digest as you go, building projects along the way. A key point though... you don't necessarily want to buy them in numerical order. I recommend the following sequence:
The Ultimate Tone Volume 3 - Generations of Tone
The Ultimate Tone Volume 5 - Tone Capture
The Ultimate Tone Volume 2 - Systems Approach to Stage Sound Nirvana
The Ultimate Tone Volume 4 - Advanced Techniques for Modern Guitar Amp Design
The Ultimate Tone - Modifying and Custom Building Tube Guitar Amps
The Ultimate Tone Volume 6 - Timeless Tone Built for the Future Today
The Ultimate Tone Volume 3 - Generations of Tone
This is the most important book in the series for the beginning tube amp builder.
Chapters 2 through 4 lay down the foundation of good DIY tube amp construction, filling you in on good electrical connections, grounding technique, lead dress and other wiring techniques, and mechanical layout including assembly methods like terminal strips, turret and eyelet boards.
The subsequent chapters each pick a particular 'iconic' amplifier, each iconic amplifier being a prototypical example of amplifiers of its class, and they are examined in detail as to the circuit topology, peculiar tonal characteristics that result and fatal flaws that the product is notorious for. Kevin provides the original schematics and then shows how you can apply the techniques detailed in the earlier chapters to improve the performance and reliability of the icon without harming the tone. The schematics are redrawn, layouts are provided and mechanical solutions are worked out to make each chapter a complete, self-contained, build-it-yourself amp project.
This process is repeated for several variations of the Champ in chapter 5 (this chapter greatly influenced my own single-ended amp project), then in quick succession: the Bassman, Plexi, 800, Bull Dog, AC-30, Portaflex, SVT, Bass Master, Custom Special, Guitar Mate, Herzog and Laney amplifiers are dealt with.
If you can only buy one book for your DIY guitar amp hobby I'd heartily recommend this one.
The Ultimate Tone Volume 5 - Tone Capture
Volume 5 picks up where Volume 3 left off, with a project-oriented approach and some sophisticated DIY tube amp solutions for guitar and bass.
The book starts off with a chapter overviewing vacuum tube operation called 'tube tone,' followed up by a chapter on guitar electronics and pickup characteristics.
The next two chapters are small projects: Sigma for effects switching and Triple-X for amplifier switching.
Chapters 5 & 6 are on transformers... important components but it made me yawn, sorry.
Starting with chapter 7, all the stops are pulled out and you are in project heaven... Major (200W), Soma 84 (EL84 amp), Standard (the London Power Standard Preamp from 1995 coupled to a 50W amp using four power tubes), Doppelsonde (mixing power tube types), AX84 (discussion on the original goal of a very low output power amp), Kelly (50W from 4 6V6s), and several other projects of lesser scope.
One favorite project I did was based on Kevin's reworking of the HotBox tube preamp pedal from Matchless in chapter 16. I built this pedal in a truly "true point-to-point style" (meaning terminal strips) in a tube pedal enclosure from Doug Hoffman, substituting a Baxandall tone stack and reworking the preamp values to be more Dumble-esqe (non-HRM type).
What would you do to match an amplifier to Yngwie Malmsteen's style? See chapter 18, 'Swede.'
The Ultimate Tone Volume 2 - Systems Approach to Stage Sound Nirvana
Volume 2 is not project oriented. The bulk of the book, chapters 2 through 5, deals with power supply tricks and a comprehensive overview of power amplifiers, including tube, solid-state and hybrid power amps. Chapter 3, on tube power amplifiers, has some very practical information on mods and fixes to Marshall and Fender bias circuits.
I like the 1st and last chapters of Volume 2 the best. The first chapter is a short discussion of sound stages and how you might setup your gear on stage for the best audience/band experience. The last, chapter 6, is called "Pillars of Tone" and in this chapter the major contributors tone at the block-level of a guitar tube amplifier system design are discussed one by one and Kevin provides some very valuable insight into tone shaping throughout the preamp/amplifier.
The Ultimate Tone Volume 4 - Advanced Techniques for Modern Guitar Amp Design
This is the book you'll want to buy if you feel the need to get deeply involved with the power scaling technology that Kevin has developed. Power Scaling, coined and trademarked by Kevin, is the way you can get aspects of power amp distortion (as opposed to preamp distortion) into your tone at bedroom volume levels. Volume 4 is not DIY project oriented but explores the issues, including attenuation, power scaling (both down and up), sag, and power management, tackled by modern guitar tube amp designers.
That said, the second-to-last chapter in Volume 4 might be important for a broader group of enthusiast builders... design philosophy. In this chapter Kevin provides a hierarchical design process that could be used to make key decisions on how you approach your next project.
The Ultimate Tone - Modifying and Custom Building Tube Guitar Amps
There is no volume number in the title of this book, it was the 1st. Personally, I bought it for completeness. I specifically wanted to have the 'perfect effects loop' information, although the loop itself is incorporated into a project in Volume 5. TUT also has some excellent material on reverbs and signal switching methods that is not explained in the other volumes. The first half of TUT introduces/overviews tube amp systems, power supplies & grounds then focuses on preamp and power amp modifications to commercial amplifiers (e.g. Marshall / Fender)... if you are totally new to tube electronics you may want to buy this 1st volume at the same time as Volume 3.
The Ultimate Tone Volume 6 - Timeless Tone Built for the Future Today
In many ways, Volume 6 is a continuation and extension of the material in Volume 4, where Power Scaling is introduced. In Volume 6 a new 'direct control' version of Powerscaling is featured which was introduced in Vol 4 but flushed out with comprehensive circuits and applied to 'sag' and sustain control as well in Vol 6. The new scaling circuits have many advantages for a DIY builder like greater noise immunity and less sensitivity to layout, etc.
I applied the new DC Power Scaling to a Trainwreck clone project and was really impressed with the improvement in 'playability' at lower volumes... the unmodified Trainwreck Express circuit is just too loud for domestic use, needing to be cranked to get the sweet tones it is renowned for.
One of the chapters in Volume 6 is dedicated to the Dumble amplifiers... something I was really looking forward to since many of my hobby projects focus on those circuits. I found this short chapter to be a good introduction to the overall architecture of the Dumble amps, written from the point of view of the evolution from the early modified standard amps that Alexander Dumble started out doing, but I felt the chapter fell short in discussing some of the more important subtleties of the later Dumble models.
Volume 6 also has lots of other material in it, including a great tutorial on designing really high output power amplifiers and a great chapter on high gain amplifier designs with real-world circuits referenced and detailed.
In Summary...
Kevin's books have a very empirical approach. He encourages you to set aside convention in some instances or not be afraid to try combinations of tubes or even pulling tubes and in all cases clearly explains why it is o.k. and points out any reasons why it wouldn't be o.k. All the examples in the books are very practical and he certainly has the DIYer in mind as he is writing.
Kevin's body of work is truly encyclopedic in nature, and considering that, one feature sorely lacking from his books is any kind of indexing... this is aggravated by the fact that Kevin constantly refers to previous writings rather than repeat himself in a new volume, and it is very difficult to put your finger on the reference even with the other book in hand. Perhaps search engine technology, like Google's ability to search protected content, could be put to good use in this case and provide a kind of 'auto-index' on the web of all of Kevin's books without actually giving away the book itself. Or better yet, how about an e-book format of Kevin's entire collection of TUT books... I think all of the e-book readers include searching capabilities... and Kevin's hand-drawn schematics would probably scale adequately and be very readable on the e-paper displays these devices feature.
Article Source: http://EzineArticles.com/?expert=Mark_Douglas_Roberts
Kevin O'Connor of London Power has created a series of books under the main title of "The Ultimate Tone." These books are truly unique and carefully tailored for the Do-It-Yourself (DIY) guitar tube amp hobbyist and boutique amplifier builder. The books have a home-made 'feel' as well... all the illustrations are done by hand and the books are photocopy-printed on 8.5″x11″ paper and bound with plastic spines and clear plastic covers. There are six books in the series now with the most recent being released in the late spring of 2008. You may want to buy the entire series all at once and get a modest savings, but I think you should consider buying them one at a time and digest as you go, building projects along the way. A key point though... you don't necessarily want to buy them in numerical order. I recommend the following sequence:
The Ultimate Tone Volume 3 - Generations of Tone
The Ultimate Tone Volume 5 - Tone Capture
The Ultimate Tone Volume 2 - Systems Approach to Stage Sound Nirvana
The Ultimate Tone Volume 4 - Advanced Techniques for Modern Guitar Amp Design
The Ultimate Tone - Modifying and Custom Building Tube Guitar Amps
The Ultimate Tone Volume 6 - Timeless Tone Built for the Future Today
The Ultimate Tone Volume 3 - Generations of Tone
This is the most important book in the series for the beginning tube amp builder.
Chapters 2 through 4 lay down the foundation of good DIY tube amp construction, filling you in on good electrical connections, grounding technique, lead dress and other wiring techniques, and mechanical layout including assembly methods like terminal strips, turret and eyelet boards.
The subsequent chapters each pick a particular 'iconic' amplifier, each iconic amplifier being a prototypical example of amplifiers of its class, and they are examined in detail as to the circuit topology, peculiar tonal characteristics that result and fatal flaws that the product is notorious for. Kevin provides the original schematics and then shows how you can apply the techniques detailed in the earlier chapters to improve the performance and reliability of the icon without harming the tone. The schematics are redrawn, layouts are provided and mechanical solutions are worked out to make each chapter a complete, self-contained, build-it-yourself amp project.
This process is repeated for several variations of the Champ in chapter 5 (this chapter greatly influenced my own single-ended amp project), then in quick succession: the Bassman, Plexi, 800, Bull Dog, AC-30, Portaflex, SVT, Bass Master, Custom Special, Guitar Mate, Herzog and Laney amplifiers are dealt with.
If you can only buy one book for your DIY guitar amp hobby I'd heartily recommend this one.
The Ultimate Tone Volume 5 - Tone Capture
Volume 5 picks up where Volume 3 left off, with a project-oriented approach and some sophisticated DIY tube amp solutions for guitar and bass.
The book starts off with a chapter overviewing vacuum tube operation called 'tube tone,' followed up by a chapter on guitar electronics and pickup characteristics.
The next two chapters are small projects: Sigma for effects switching and Triple-X for amplifier switching.
Chapters 5 & 6 are on transformers... important components but it made me yawn, sorry.
Starting with chapter 7, all the stops are pulled out and you are in project heaven... Major (200W), Soma 84 (EL84 amp), Standard (the London Power Standard Preamp from 1995 coupled to a 50W amp using four power tubes), Doppelsonde (mixing power tube types), AX84 (discussion on the original goal of a very low output power amp), Kelly (50W from 4 6V6s), and several other projects of lesser scope.
One favorite project I did was based on Kevin's reworking of the HotBox tube preamp pedal from Matchless in chapter 16. I built this pedal in a truly "true point-to-point style" (meaning terminal strips) in a tube pedal enclosure from Doug Hoffman, substituting a Baxandall tone stack and reworking the preamp values to be more Dumble-esqe (non-HRM type).
What would you do to match an amplifier to Yngwie Malmsteen's style? See chapter 18, 'Swede.'
The Ultimate Tone Volume 2 - Systems Approach to Stage Sound Nirvana
Volume 2 is not project oriented. The bulk of the book, chapters 2 through 5, deals with power supply tricks and a comprehensive overview of power amplifiers, including tube, solid-state and hybrid power amps. Chapter 3, on tube power amplifiers, has some very practical information on mods and fixes to Marshall and Fender bias circuits.
I like the 1st and last chapters of Volume 2 the best. The first chapter is a short discussion of sound stages and how you might setup your gear on stage for the best audience/band experience. The last, chapter 6, is called "Pillars of Tone" and in this chapter the major contributors tone at the block-level of a guitar tube amplifier system design are discussed one by one and Kevin provides some very valuable insight into tone shaping throughout the preamp/amplifier.
The Ultimate Tone Volume 4 - Advanced Techniques for Modern Guitar Amp Design
This is the book you'll want to buy if you feel the need to get deeply involved with the power scaling technology that Kevin has developed. Power Scaling, coined and trademarked by Kevin, is the way you can get aspects of power amp distortion (as opposed to preamp distortion) into your tone at bedroom volume levels. Volume 4 is not DIY project oriented but explores the issues, including attenuation, power scaling (both down and up), sag, and power management, tackled by modern guitar tube amp designers.
That said, the second-to-last chapter in Volume 4 might be important for a broader group of enthusiast builders... design philosophy. In this chapter Kevin provides a hierarchical design process that could be used to make key decisions on how you approach your next project.
The Ultimate Tone - Modifying and Custom Building Tube Guitar Amps
There is no volume number in the title of this book, it was the 1st. Personally, I bought it for completeness. I specifically wanted to have the 'perfect effects loop' information, although the loop itself is incorporated into a project in Volume 5. TUT also has some excellent material on reverbs and signal switching methods that is not explained in the other volumes. The first half of TUT introduces/overviews tube amp systems, power supplies & grounds then focuses on preamp and power amp modifications to commercial amplifiers (e.g. Marshall / Fender)... if you are totally new to tube electronics you may want to buy this 1st volume at the same time as Volume 3.
The Ultimate Tone Volume 6 - Timeless Tone Built for the Future Today
In many ways, Volume 6 is a continuation and extension of the material in Volume 4, where Power Scaling is introduced. In Volume 6 a new 'direct control' version of Powerscaling is featured which was introduced in Vol 4 but flushed out with comprehensive circuits and applied to 'sag' and sustain control as well in Vol 6. The new scaling circuits have many advantages for a DIY builder like greater noise immunity and less sensitivity to layout, etc.
I applied the new DC Power Scaling to a Trainwreck clone project and was really impressed with the improvement in 'playability' at lower volumes... the unmodified Trainwreck Express circuit is just too loud for domestic use, needing to be cranked to get the sweet tones it is renowned for.
One of the chapters in Volume 6 is dedicated to the Dumble amplifiers... something I was really looking forward to since many of my hobby projects focus on those circuits. I found this short chapter to be a good introduction to the overall architecture of the Dumble amps, written from the point of view of the evolution from the early modified standard amps that Alexander Dumble started out doing, but I felt the chapter fell short in discussing some of the more important subtleties of the later Dumble models.
Volume 6 also has lots of other material in it, including a great tutorial on designing really high output power amplifiers and a great chapter on high gain amplifier designs with real-world circuits referenced and detailed.
In Summary...
Kevin's books have a very empirical approach. He encourages you to set aside convention in some instances or not be afraid to try combinations of tubes or even pulling tubes and in all cases clearly explains why it is o.k. and points out any reasons why it wouldn't be o.k. All the examples in the books are very practical and he certainly has the DIYer in mind as he is writing.
Kevin's body of work is truly encyclopedic in nature, and considering that, one feature sorely lacking from his books is any kind of indexing... this is aggravated by the fact that Kevin constantly refers to previous writings rather than repeat himself in a new volume, and it is very difficult to put your finger on the reference even with the other book in hand. Perhaps search engine technology, like Google's ability to search protected content, could be put to good use in this case and provide a kind of 'auto-index' on the web of all of Kevin's books without actually giving away the book itself. Or better yet, how about an e-book format of Kevin's entire collection of TUT books... I think all of the e-book readers include searching capabilities... and Kevin's hand-drawn schematics would probably scale adequately and be very readable on the e-paper displays these devices feature.
Meanwhile, how do you get Kevin's books today? The best way to get the books is to directly order them from London Power Press. They now have a shopping cart on http://www.londonpower.com.
Article Source: http://EzineArticles.com/?expert=Mark_Douglas_Roberts
Tuesday 20 October 2009
I know it's only Rock and Roll, but I like it!
If you are like me the phrase “too many guitars” is not a concept I can understand. I mean the ladies like shoes and hand bags….and most have a similar feeling regarding the numbers involved. So why are we poor put apon men so hassled about our guitar gear?
I have a modest collection with a standard Fender Telecaster, a Keith Richards type Fender Telecaster with a Seymour Duncan Jazz humbucker on the neck and a Texas Special on the bridge, three Fender Stratocasters, a deluxe, a red USA Standard with Texas Specials and a Frankenstrat with a Warmoth swamp ash body and Hot Alnico Fender pickups and a Wilkinsons bridge….after that a Epiphone 335 with Seymour Duncan humbuckers last but not least a Tokai Les Paul (Japan) and again with a set of Seymours! Nearly forgot the Ovation acoustic!
To compliment a Marshall TSL602, Fender Hot Rod Deluxe, Blind Dog, and a Laney LC15 tube amps. With effects from Boss, Nady, Electro Harmonix, pedals modified with Monte Allums kits, a TC distortion, a VOX Big Ben, a modified RAT, Dunlop Wah, etc.….. plus two boards, one with two channels switching.
No that’s modest when a friend has 17, OK a lot are FrankenStrats and Teles…but still reasonable. What would I buy if I could, maybe a Suhr or an Anderson. Possible ENGL or a 57 reissue Fender twin..or even a Cornforth. Part of the fun would be looking and trying and deciding.
The biggest regret was selling my Fender 59 Bassman, without dought the best clean sound I’ve ever heard. The trouble was the clean was so good when played through pedals…good but suffered compared to the clean sound.
I’m currently trying to get back in to a band…..just got to join one who’s standards are low enough. I enjoy playing…..isn’t that why we do it.
We are not expecting to be playing at Glastonbury next year….a pub would be just fine!
Source GMP
Guitars, amps and effects
Yowza! Did you hear that hideous noise? It sounded like a combination of nails on a chalkboard, a cat in a dryer, and a baby wailing at the top of his lungs. Do you have any idea of what made that awful sound? As a long-time musician, I think I may have the answer for you. It's a guitarist fiddling for the first time with his new amp.
Before I bought my first amp, I wouldn't have thought that a human could produce such a horribly wretched sound. But, now I know better. In the process of finding the perfect settings for your guitar and amp, you are sure to discover all kinds of disagreeable screeches and squeals, shrieks and screams. And, believe it or not, these unpleasant and often other-worldly sounds are all part of the learning experience.
I've often been asked to give beginners online advice on how to dial in their amps and guitar settings. For a number of reasons, this is no easy task. As you know, the experience of sound is totally subjective. What I may like, you may not. This said, it's hard to give definitive advice about guitar and amp settings.
So much is involved in getting the sound just right for your tastes-including the room you're playing in, the gauge of your strings, the guitar you're jamming on, and the type of amp itself. All of these come together to create a playground for experimentation: a place where you can twist this knob here and turn that knob there and, before you know it, you're a musical stylist, an expert in designing the perfect sound.
I can, however, offer a few general tips that might help out as you begin playing with your amp.
Always start with your dials pointing to 12 o'clock and twist and turn from there. 12 o'clock will give you the baseline to work from and you can let your ears tell you what does and doesn't work from there.
No matter how many other bells and whistles your amp has, you're almost always looking at a four basic areas you'll be most interested in learning how to manipulate:
Treble Adjusting this setting will affect the amount of high end in your sound. If you go big with treble, you'll end up with a very sharp and crisp sound. However, if you go too big, you'll likely end up with a harsh sound.
Middle The mids can be the most important setting to your overall sound. Adjusting these settings can really impact the overall character of your sound. Low settings can give you the classic rock-n-roll sound, while higher mids will take you down the honky-tonk, bluesy path. Play around with the mids to really see how much change you can create in your sound with the simple twist of a knob!
Bass If you like that deep, booming sound, you'll definitely want to go fat on your bass. On smaller amps, however, you might not be able to get the full effect of the bass simply because of their size. But, no matter how you like it, be sure to see how the bass and treble can work with one another to create your ideal sound.
EQ / Filter / Tone/ Contour They're called by different names on various amps, but they all do the basically the same thing: adjust all of your basic settings (e.g., treble, mids, and bass) with one knob. If you want to find out what the maker of your amp considers "correct" settings, play with these knobs to hear how your treble, mids, and bass all can work together for radically differing results.
If you've got a valve (tube) amp, be sure to:
always replace the whole set when even just one tube blows
never move your amp while it's still hot
be extra careful that you line up he pins in each tube perfectly with their corresponding holes on the amp
To make sure you keep your amp in top condition, be sure to:
keep your amp in a dry location
always use the best quality leads (guitar, speaker, microphone, and effects)
always have your amp serviced by a capable technician
In the end, you have to know this one rule of amps: there is no right or wrong way to set it up. If you like what you hear, you've done a great job. If you don't like what you hear, remember the settings and the sound and don't dial those in again. Experiment, experiment, experiment and have fun!
Jon Butt is the publisher of Musical Instruments Guide , a free resource dedicated to all things musical. From electric guitars to drum sets, tubas to bagpipes, and every musical accessory in-between, the http://www.the-musical-instruments-guide.com/guitars.html">Musical Instruments Guide is packed full of informative articles, find top-rated musical instruments and online merchants
Article Source: http://EzineArticles.com/?expert=Jon_Butt
Before I bought my first amp, I wouldn't have thought that a human could produce such a horribly wretched sound. But, now I know better. In the process of finding the perfect settings for your guitar and amp, you are sure to discover all kinds of disagreeable screeches and squeals, shrieks and screams. And, believe it or not, these unpleasant and often other-worldly sounds are all part of the learning experience.
I've often been asked to give beginners online advice on how to dial in their amps and guitar settings. For a number of reasons, this is no easy task. As you know, the experience of sound is totally subjective. What I may like, you may not. This said, it's hard to give definitive advice about guitar and amp settings.
So much is involved in getting the sound just right for your tastes-including the room you're playing in, the gauge of your strings, the guitar you're jamming on, and the type of amp itself. All of these come together to create a playground for experimentation: a place where you can twist this knob here and turn that knob there and, before you know it, you're a musical stylist, an expert in designing the perfect sound.
I can, however, offer a few general tips that might help out as you begin playing with your amp.
Always start with your dials pointing to 12 o'clock and twist and turn from there. 12 o'clock will give you the baseline to work from and you can let your ears tell you what does and doesn't work from there.
No matter how many other bells and whistles your amp has, you're almost always looking at a four basic areas you'll be most interested in learning how to manipulate:
Treble Adjusting this setting will affect the amount of high end in your sound. If you go big with treble, you'll end up with a very sharp and crisp sound. However, if you go too big, you'll likely end up with a harsh sound.
Middle The mids can be the most important setting to your overall sound. Adjusting these settings can really impact the overall character of your sound. Low settings can give you the classic rock-n-roll sound, while higher mids will take you down the honky-tonk, bluesy path. Play around with the mids to really see how much change you can create in your sound with the simple twist of a knob!
Bass If you like that deep, booming sound, you'll definitely want to go fat on your bass. On smaller amps, however, you might not be able to get the full effect of the bass simply because of their size. But, no matter how you like it, be sure to see how the bass and treble can work with one another to create your ideal sound.
EQ / Filter / Tone/ Contour They're called by different names on various amps, but they all do the basically the same thing: adjust all of your basic settings (e.g., treble, mids, and bass) with one knob. If you want to find out what the maker of your amp considers "correct" settings, play with these knobs to hear how your treble, mids, and bass all can work together for radically differing results.
If you've got a valve (tube) amp, be sure to:
always replace the whole set when even just one tube blows
never move your amp while it's still hot
be extra careful that you line up he pins in each tube perfectly with their corresponding holes on the amp
To make sure you keep your amp in top condition, be sure to:
keep your amp in a dry location
always use the best quality leads (guitar, speaker, microphone, and effects)
always have your amp serviced by a capable technician
In the end, you have to know this one rule of amps: there is no right or wrong way to set it up. If you like what you hear, you've done a great job. If you don't like what you hear, remember the settings and the sound and don't dial those in again. Experiment, experiment, experiment and have fun!
Jon Butt is the publisher of Musical Instruments Guide , a free resource dedicated to all things musical. From electric guitars to drum sets, tubas to bagpipes, and every musical accessory in-between, the http://www.the-musical-instruments-guide.com/guitars.html">Musical Instruments Guide is packed full of informative articles, find top-rated musical instruments and online merchants
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