I have been a fan of Fender® guitars since the beginning of my guitar playing journey. My first guitar was a butterscotch Fender® Telecaster® which worked well in the beginning but was just a little to limiting to the multitude of styles I desired to play. I traded the Tele® in for an MIM Fender® Stratocaster® which became my go to guitar for the next ten years. This guitar is still in my collection today, but in recent years I have upgraded to a couple more American made Stratocasters®.
Over the years I have watched Fender® and the new instruments introduced. Most of these instruments are upgrades of their timeless Tele® and Strat® lines. Every once in awhile however, Fender does introduce new models that stretch the boundaries of traditional guitar design. For instance, the introduction of their Stratacoustic(TM) and Telecoustic(TM) models from several years ago. These are not really my thing, but I do understand the concept, and they seem to be very popular with other players.
It was this year when I was putting up the Fender NAMM press releases when I saw a new product that really made me wonder what they were thinking. This new guitar is called the Acoustasonic Tele®. It is basically a chambered Telecaster® body that is made to sound like a regular acoustic guitar. I realize that electric guitars with piezo bridges for acoustic tones are not exactly new. The difference is that these are usually guitars that function as electric guitars with magnetic pickups, but have the option of dedicated or blended acoustic tones in addition.
The press release however states that this guitar has none of the signature Telecaster® tone. In fact it has one function only, and that is to sound like an acoustic guitar. It utilizes the increasingly popular Fishman® Aura(TM) system to create the full bodied sound of an acoustic. From what I can see, this guitar has no magnetic pickups for any kind of electric sound options.
I can certainly understand the use of an electric guitar with acoustic sound as an option, but if the guitar is only for acoustic sound, I think I would personally prefer to play a regular acoustic guitar. An electric with only acoustic sound makes about as much sense to me as if I were to see a player like Zakk Wylde on stage shredding on an acoustic guitar that sounded like a highly overdriven electric guitar. It would just be odd.
I am by no means trying to put down Fender® and I am willing to admit that this guitar may do well with other players. In fact, I may contact Fender® to see if they would send me one for review. Perhaps actually playing this guitar would help me wrap my brain around the concept and I would understand it better. I would be interested in any thoughts or comments from other readers. Does a product like this peak your interest, and can you see it as a long term product?
Sometimes comething comes along that is just mind blowing. Although it looks like this video has been around for awhile, I had never seen it until it was recently sent to me. This is absolutly amazing, and I thought I would share it with you. Here is a little history of this amazing device you may want to read before you watch the video.
Turn your sound on for this. Read this first, then watch. This is almost unbelievable. See how all of the balls wind up in catcher cones.
This incredible machine was built as a collaborative effort between the Robert M. Trammell Music Conservatory and the Sharon Wick School of Engineering at the University of Iowa.
Amazingly, 97% of the machines Components came from John Deere Industries and Irrigation Equipment of Bancroft, Iowa… Yes, farm equipment!
It took the team a combined 13,029 hours of set-up, alignment, calibration, and tuning before filming this video but as you can see it was WELL worth the effort. It is now on display in the Matthew Gerhard Alumni Hall at the University and is already slated to be donated to the Smithsonian.
On November 17th, 2009, the Gibson Guitars Massman Rd manufacturing facility was raided by Federal agents from the US Fish and Wildlife Service along with local law enforcement officers. The seized guitar, computers, wood, and boxes of files. It seems that Gibson is under investigation of being a part of a scheme to import endangered rosewood from Madagascar, thus violating the Lacey Act. The Lacey Act is a vital part of environmental law. The sale of Madagascar rosewood and ebony has also been linked to international criminal activity.
It seems from what I have heard so far, Gibson's role in the scheme is unclear, but it is thought that they were a part of a bigger plot which was having this endangered wood shipped to Germany, and then on to the United States. Most of the details as far as I can see are unclear and somewhat hazy. No Charges have been brought against Gibson at this time, and a representative of Gibson stated that they were fully cooperating in the investigation. Being that Gibson Guitar Chairman and CEO Henry Juszkiewicz sits on the board of the Rainforest Alliance, the implications of this investigation could be far reaching.
As more information is made available, I will try to update this blog. I can only hope that this is a mistake, and that Gibson is able to clear their name. It would be a shame to see an icon of the guitar industry involved in such an act, especially given their ties to environmental groups. For more details and to read more on this story, please see the NashvillePost.com article at http://www.nashvillepost.com/news/200 … son_guitars_raided_by_fbi
When GuitarGearHeads.com was just getting off the ground, it was extremely difficult to get companies to work with us. This was understandable since we came out of nowhere and virtually nobody in the musical instruments industry knew who we were. It took a few years, and a few good people in the industry to give us a chance. One of those people who welcomed us and our ideas from the first time I spoke with him was Wayne Freeman.
I just learned today that Wayne Freeman passed away on Thursday November 11th, 2009 due to a massive heart attack. Wayne is survived by his wife Carol, as well as Julia and Jennifer, their two daughters. Our hearts go out to his family and friends on this sad day, and I only wish that we could offer more comfort to all who knew him.
I met Wayne about five years ago when he was with "Marshall Electronics" (Mogami Cables, and MXL microphones). He was one of the few people who always returned my phone calls and e-mails, and always made me feel like he was glad to hear from me. It seemed that anytime we talked, I came away with new knowledge about the industry and ways to approach the goals we had set out to accomplish with GuitarGearHeads.com. His advice was invaluable, and his positive attitude was always infectious. I could always count on a great conversation, and positive reinforcement from Wayne when we visited at NAMM shows. Although it has been way too long since I last talked to Wayne, I will personally miss him and his friendship. He was truly one of the good guys of the MI industry.
We all know that strings eventually loose their brightness as they corrode over time. Those rust spots can really dull the sound, and most players will opt to buy a new set of strings when they reach this point. For the guitar player, this is a relatively small investment, but for the bass player this can be fairly expensive depending on the brand and style of strings they choose. Here is a recipe to get more playing time out of your bass strings.
Ingredients: 1 pot of boiling water 1 set of corroded strings
Steps: Once the water is at a full boil, place the rusted strings loosely in the pot. Let water boil until the corrosion has worked loose and come off the strings. While the water is still boiling, carefully remove the strings from the water using a long set of tongs. The air will cause the hot water on the strings to vaporize almost immediately leaving the string completely dry and for the most part free of corrosion. Put them back on your guitar, and play your heart out.
When doing this process, you do not want to coil the strings up before adding them to the water. This will allow water to be trapped between the coils when they are removed, and this water can quickly cause rust to appear again. Keep them as loose as possible. Also, if you let the water cool before removing the strings, it may not vaporize completely, and the remaining dampness will also cause corrosion to quickly appear once again.
This boiling process will make your strings once again sound newer and brighter. It is by no means as good as a brand new set of strings, but it will give you more playing time for your invested money. While I recommend this mostly for bass strings, I have heard of guitar players who have used the same process, but for me personally, guitar strings are inexpensive enough to just buy a new set.
As an added note, I have heard of one player who adds a little cooking oil to the water. He believes that the oil coats the strings giving them even longer life. I am not convinced that this works, and I do not recommend it personally, but I am willing to hear from others who may have tried this extra step, and their experiences with it.
Lately I have been feeling as if my practice time has been somewhat stale. It seems that no matter how hard I try, my fingers want to go back to playing the same old chord or note progressions. I have tried various guitars and effects trying to break habitual playing patterns to little avail.
Recently I was browsing the musical instrument section of the local CraigsList. It has seemed that in recent months there has been very little in this section that interests me. This time however, hiding between all the unimpressive items was an ad for a US build Fender Princeton Chorus amplifier. At $130 USD, it seemed to be a very good deal, so I did a little research to see what the going price on this amplifier was. I found a few that were around $250 USD, so I quickly sent the seller an e-mail and met up to pick up the amplifier a few hours later.
I have been looking for a good sounding clean solid state amplifier to add to my collection of mostly tube amps. I had heard good things about the Princeton Chorus, although I had never experienced one in action. Most reviews seem to hone in on the clean channel of the Princeton Chorus as being it's strongest character, but most also say the overdrive channel leaves something to be desired without spending a lot of time fidgeting with the limiter. I was not too worried about the overdrive, so I took it home and plugged it in.
I had spent many of my early playing years through solid state amplifiers, mostly because of their affordability, but once I got my hands on my first tube amp, I had never looked back. I have to admit that the Princeton Chorus has extraordinary sound and tone for a solid state. The clean channel is very smooth, and the built in chorus speaks volumes in its quality. What was the most interested was the fact that I found myself experimenting with chord patterns that were way out of my usual playing patterns in recent months. The new sound was actually inspiring me to push into different areas in my playing. A new amplifier with a new sound was really all it took to break out of my old routine.
Sometimes a new piece of equipment can inspire a person to take steps forward in their playing, no matter what instrument or style they play. Even more interesting is how these new inspirations can translate back to the equipment you normally play on. It is similar to the heavy rock guitarists that I read about who write their songs on acoustic guitar or piano.
Last weekend I decided to catch up on some guitar restringing. I noticed that the strings on my G&L ASAT Special Semi-Hollow Body were getting a little rough from the corrosion on the unwound high end. I grabbed a set of strings from my stash and proceeded through the changing process. As I got down to the last string (the high E), it became apparent right away that something was wrong. As I reached into the paper envelope to pull out the string, it didn't feel quite right. When I looked at the string, there were spots of rust colored corrosion in different areas along the entire string. This was a brand new string right out of an unopened package.
I have to admit that I was slightly frustrated, but not overly so. I realize that things like this can happen, even if I only had this set of strings for a couple months. Since I did not have another set of the same strings on hand, I unstrung the entire guitar and threw the whole set away. I am kind of a perfectionist, and I don't like to mix string brands or gauges. I grabbed another set of string of a different brand which had the same plastic sleeve packaging with paper envelopes holding two strings each.
I was getting these strings out of the package while thinking about what could have happened to cause such a rare case of brand new string corrosion. This time I didn't even get the flap opened on the paper sleeve when I saw it. I immediately noticed a somewhat circular rust colored stain on the outer packaging paper. I was stunned! I pulled the string out of the sleeve only to find that this one was even worse than the string from the previous set I had just thrown away. I went back to my music room and started going through the rest of the strings I had with this same unsealed plastic sleeve packaging. Out of the five sets on hand, only one set was good.
My music room is a very dry place, and there is not a lot of humidity in the area. There is no reason whatsoever that I can think of in which two month old strings would corrode like this, especially in the environment they were stored. I am not sure what went wrong, but I can tell you one thing. I will only use strings that come in sealed packages from this point on. I made this decision based on the fact that I have fifty or so sets of D'Addario strings which are packaged in vacuum sealed plastic bags. I have had some of these sets for over two years, and these were what I ended up using on this guitar in the end. They were in perfect condition, as if they had just come off the factory floor.
This blog is not meant to be an endorsement of D'Addario strings. I understand that there are a lot of great strings on the market, and many players prefer different brands. It is my opinion however that some string makers need to rethink their packaging methods. They need to realize that even though their product is relatively inexpensive in comparison to other guitar products, in the long run, an average player will probably spend as much on strings as they did on the guitar itself. No player deserves to open a set of bad strings unless they spilled liquid on them, or stored them improperly. I just threw out about twenty-five dollars in bad strings from two different companies. I have purposely not mentioned the companies here, but I assure you that I will be sending them my complaint in writing.
While six string guitars have been the standard in both electric and acoustic guitar for decades, we have seen some interesting options made available over the years. A few notables include the Rich Bich ten string designed by Neal Moser, and the seven string electrics that became very popular several years ago. While none of these options have made inroads at throwing the king six string off the top of the hill, they have gained notoriety in niche musical markets. I would be remiss not to mention the experiments by many companies over the years in making one off models with extremely innovative and even bizarre string combinations.
I recently witnessed one of the most interesting string combinations for acoustic guitars that I have seen to date. This guitar is one of several 35th Anniversary models offered by Taylor Guitars, and boasts a nine string combination. This Limited Edition guitar is simply called the "XXXV 9-String". A "Grand Symphony" body with a Sitka Spruce top, Mahogany back and sides, and Indian Rosewood binding make this guitar a visual treat while balancing the tone and clarity to perfection which can be heard through the Taylor exclusive Expression System® pickup. The 35th Anniversary fretboard inlay adds a touch of class and lets everyone know you are playing a very special guitar.
Where this guitar really stands out from all others can be seen on the headstock where you will notice a slightly larger size to accommodate nine tuning keys. The string setup is as follows. Both the high and low "E" strings as well as the "A" string are single. The "D' and "G" strings are doubled an octave apart, and the "B" string is simply doubled. This setup adds a rich full sound to the mid range while maintaining the tonal stability without getting to deep in the lows, or too trebly on the high end. It is a well thought out setup where Taylor's quest for great sound remains at the forefront.
I have seen a nine string setup used before, mostly in the Nashville country scene, but the setup I have seen the most is a twelve string guitar strung with only nine strings. At times I have heard the nine string setup where the high "E" is doubled, and the "D" string is single, but in this configuration, I have always felt the sound was somewhat lopsided on the treble side. Even with the amount of instruments I have seen in my job at GuitarGearHeads.com, this is the first guitar that I have seen that is built specifically for nine string use, although I am sure they have been on the market before. I would love to hear from anyone who has the opportunity to play one of these special Limited Edition Taylors. I am willing to bet it sounds as good as it looks.
Like the twelve string, a guitar like this will end up for most players as a staple to add texture and dimension to a few songs in their repertoire. It will most likely not be an everyday, every song guitar, although there always seems to be a few players who can successfully define their sound based solely on a guitar like the XXXV 9-String.
I have never considered myself to be a great writer. It is not something that has ever come easy for me, but I do take pride in the fact that things I write are my own thoughts and opinions. I will at times do research on specific subjects before I write about them, but I never copy, steal, or generally plagiarize another authors material. Unfortunately, this is not how many people posting articles on the internet conduct their business.
I recently posted a couple blogs right here at GuitarGearHeads.com only to find that within twenty-four hours, these blogs showed up in another writers blog on another site. Not only was it an exact copy and paste from our site, but this writer even stole my pictures which I took the time to compile, crop, size, and post. In fact, the only thing that was different between the two sites was that the other blogger removed my signature as the author and his posting time showed as being a day later than the posting time shown on our site.
At first I thought that this may be the case of an RSS feed to this other blog, but when I realized that my name had been removed as the author, it became clear that this was a calculated and blatant case of intellectual property theft.
I sent an e-mail to the offending party explaining that I was not upset that these blog were posted on his site, but I was upset that my name had been removed. Most of the material on our websites is available to other websites through RSS feed. The RSS feed however usually only sends that first paragraph or a few sentences with a link to our site to read the full article. This is pretty standard, and works well for both websites. For the site receiving the feed, it adds content to their site, and for the site sending the feed, it brings people over to them to read the full article.
In my correspondence, I asked that this blogger do one of two things. Either add my name back to these blogs as the original author, or remove them entirely from his site. I never received a response, nor was either of these options done. Since this blogger is located in Bangladesh, I really have limited options on anything I can legally do about this, and anything I may be able do would cost me much more money than it would be worth.
As a frustrated writer, I would like to send a message to anyone who copies others material on the internet or any other intellectual property for that matter. If you need to steal others work to build a website, you should not have a website. Go find something else to do that you are good at. Imitation mat be considered by some as the highest form of flattery. In this case however, I view it as flat out thievery by a person who could not or was too lazy to come up with their own thoughts and opinions on a subject.
Here is a little money saving tip for running cables to powered monitors and PA speakers. In the past it was a firm rule that you should only use "speaker cables" for these applications. Speaker cables are built heavier to carry the boosted signal coming from a power amplifier where as line level cables such as instrument, patch, and microphone cables are not designed to handle this increased load. Since most of the studio monitors as well as many of the PA main speakers on the market today are self powered, the rule does not apply in powered speaker applications.
Since the signal in powered speakers is not amplified until after it reaches the speakers internal amplifier, you will money and get the right connection by using line level cables instead of the generally more expensive speaker cables. I personally prefer to use balanced XLR cables since their signal is stronger and much more resistant to unwanted noise and interference. If you do decide to go this route, you will want to make sure your speakers as well as your signal source are set up for XLR input or output. If this isn't the case, a TRS (Tip-Ring-Sleeve) cable will work just fine.
If you are upgrading from unpowered speakers to powered models, you really should consider switching out your old speaker cables for line level cables. Speaker cables will still work, but have an extreme likelihood of affecting the sound quality in adverse ways. Using the correct cabling for the appropriate hookup will always yield the best result in every musical application.
I would like to note that if you are still using unpowered speakers with a power amplifier, you will still need to follow the important rule of using only quality dedicated speaker cables to make the connection.
