I get the opportunity to try out quite a few guitars. Some are good and some are not. I have found that when it comes to guitar models in the $100 - $500 range which are made by not so well known companies, most are substandard beyond even being playable. However, every once in awhile there is a gem that seems to come out of nowhere. In this case, my newest surprising acquisition came in the form of a CraigsList guitar that caught my attention recently.

This particular guitar is a copy of the ever popular Les Paul style guitar. The strange thing is that I can not seem to find any information about the manufacturer. This guitar is called the "Panache" and says San Antonio, TX on the headstock. I searched for a website for this company and came up with a single webpage that simply said "Coming Soon". Further research revealed that these guitars have been getting rave reviews from players who own real Gibson Les Paul's. Everything I read told me that this guitar had the sound, playability, and feel of the real deal. It also seemed that the price paid for these guitars was ranging from $150 - $350. The strange part is that nobody seems to know who is making them, or if they are really coming out of San Antonio, TX as the headstock implies. I use the word imply becasue it does not say “Made in San Antonio, TX”. There is nothing anywhere on the guitar with the country of origon.

Based on the reviews I read, I decided to get this guitar to check it out. I have to admit that I was very surprised by the quality. For a guitar in this price range it definitely went beyond any expectation that I had. I wouldn't put it on par with a LP, but it is a great guitar nonetheless, and at a fraction of the cost. The low E string had an intonation problem, but a simple setup would take care of that. Also, the tuning keys and one scratchy pot were the only hardware issues I found. The tuners seemed a little lackluster in quality and seemed to slip a little on the mid range strings. These are easily replaceable with higher quality machine heads. The scratchy pot will be easily replaceable if contact cleaner does not work to solve this issue. The pickups had great output, and overall the guitar sounded incredible. The action and playability were awesome.

I would be interested in finding out who is behind this instrument. Whoever they are, they are turning out a great guitar, especially if you take the time to do a few small and relatively inexpensive upgrades. I do have to admit that I have a hard time believing that a guitar company could be building a guitar of this quality in this price range in the United States. The mystery remains unsolved. If you have any further details or contact information for the San Antonio Guitar company, please feel free to pass it on to me.

Gary Allen

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.

Gary Allen

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.

Gary Allen

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.

Gary Allen

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.

See the XXXV 9-String at http://www.taylorguitars.com/guitars/ … /35thAnniversary/9String/

By: Gary Allen

Recently I received a set of Boxwood bridge pins from Planet Waves. This was perfect timing since I recently broke a bridge pin on my "Greg Bennett Rio Grande". I had a spare to use for the interim, but it was black in color while the originals were white. While it worked, it just didn't look right. I also had the problem with the old pins in that some sat very low against the bridge and were wedged very tight in the pin holes while others stuck out to much giving the bridge an overall sloppy finish.

The set of wooden bridge pins from Planet Waves consists of seven bridge pins and a single strap pin for the bottom of the guitar. The bridge pins are fairly standard and should fit just about any guitar. The addition of an extra pin shows the consideration Planet Waves show for the guitar player. You get one extra in case you break or loose one, or for the rare case that you may have a seven string acoustic. The addition of a strap pin makes sure that your guitar has an all around consistent look.

I started by removing the strings and old bridge pins from the Rio Grande. This became more of a task than I anticipated since some of the pins were so tightly wedged. I broke the heads on a few trying to get them out, and ultimately ended up scratching the bridge as can be seen in the final picture. This was partly from not having the proper pin pulling tool, and partly because I was getting frustrated. The scratches however do not look as prominent on the actual guitar as they seem in the picture. To avoid my careless mistake, I recommend that you protect the bridge wood with a cloth and make sure to have a quality bridge pin puller on hand.

Before Picture

Once I had polished the guitar and conditioned the fretboard and bridge with lemon oil, I installed the new wooden bridge pins with a set of D'Addario EXP coated strings. The pins went in easily but establish a firm fit. They also set on the bridge in an even consistent manner giving a very professional finish to the look of the bridge area. I really like the small offset ridge on the bottom of the pin head that makes it easier to pull these pins without marring the finish, although you should still be cautious and protect the bridge wood. On the Rio Grande, I had to opt out of using the strap pin because of the plug jack in the end of the existing strap pin. I saved it for future use along with the spare bridge pin.

After Picture

Since the Rio Grande is a beautiful guitar that consists of all wood construction including the inlayed ovangkol pick guard, the addition of wood bridge pins really complimented the overall look of the guitar itself. Wood being a natural product resonates better than plastic, so the use of wood for bridge pins makes sense not only in the look, but in the tonal aspects. I did notice an improvement in the sound of the guitar, although not hugely significant. Any advancement however is welcome when it comes to tone. This is a simple yet effective way to affordably upgrade your acoustic guitar. Check out these bridge pins at http://store.daddario.com/category/148546/BridgeEnd_Pins

Gary Allen

One of the great benefits of the NAMM show is the opportunity to see not only new products from well known companies, but also the chance to meet people who are just beginning to make a name in the industry with a new company. In January I had the pleasure of meeting Larry Post who was showing his brand new product at the GuitarGuard(TM) booth. Larry is the CPO (Chief Protection Officer) at GuitarGuard(TM), and his product is an eco friendly sleeve for your guitar which protects the finish. Larry was very excited and passionate about his product, so he gave me a sample to take home and test out.

The GuitarGuard(TM) product is a very durable sleeve that fits over the back and upper bout of a Strat® of Les Paul® style guitar body. Larry told me that other body styles will be available in the future, but for now these two are the only ones available. This skin protects the finish on your prized or coveted guitar from the scratches and abrasions that can happen with constant use. The fabric used on the GuitarGuard(TM) is extremely durable, and is billed as being waterproof, scratch proof, and dent proof, as well as gig proof. The material reminds me of the substance used in wetsuits. There are holes in the skin for the strap pins, and this holds the GuitarGuard(TM) in place so that it will not slip or come off while you are playing.

I received the Strat® style GuitarGuard(TM), and decided to put it on my G&L S-500. I noticed right away that the skin was very tight on this guitar, but the body is a little thicker and heavier than most Fender Strat® models. It did fit, but was a little harder to put on than I expected. I decided to try it on my American Deluxe Stratocaster® and the results were a much better fit and ease of installation. The GuitarGuard(TM) conforms to the shape of the body including the contours on most guitars. With the skin on, the Fender still fit in the molded case, although it was much tighter, however, the G&L did not quite want to fit in the case with the GuitarGuard(TM) installed.

For the most part, the front of the guitar remains uncovered, and access to all of the playing surfaces and controls remain easily accessible. My biggest concern however was whether the GuitarGuard(TM) was going to affect the resonance of the instrument itself. Surprisingly, I could not discern any affect on the overall sound of the guitar. This is pretty incredible for something that seems like it could have a smothering affect on the guitars body.

My assessment of this product is for the most part very positive although I feel I would be remiss to not mention two minor details. First off, the fat that it is a relatively tight fit on some models. Secondly, because the GuitarGuard(TM) takes some space on your strap pin, it is hard to attach straps that have thicker fabric or leather at the strap holes. This can easily be overcome if you use the Dulop Straploc® system which I highly recommend anyway. I would have to say that the GuitarGuard(TM) is a great product for anyone who wants to preserve the condition of their guitar while still being unafraid to take it to a gig. www.guitarguard.net

Strat®, Stratocaster®, Les Paul®, and Straploc® are Registered Trademarks of their respective owners and are not affiliated with GuitarGuard(TM).

As many of you may remember, my last (and best) guitar purchase was a deal I got on eBay for a sweet 24-fret Les Paul DC Standard. I got this baby for a grand straight up, and it came in perfect condition. To date, it is still my favorite guitar (although it shares considerable time with my G&L ASAT Semi-hollowbody with Seymour Duncans!).

The only trouble is that it came in a beat up case (not in the “beat up vintage” sort of way, more like the “beat up crappy” sort of way). I’ve lived with it for awhile, but ultimately decided that my baby really deserved to ride around in a bit more style.

I looked a number of options, including a used Gibson case on eBay - but ultimately decided to go with a case from Gator Cases. Looking all around, I just decided it was the best deal in terms of quality and visual appeal. It even included the old style “flamingo” color interior!

Funny thing now is - I’ve actually had a more compliments about the case lately than the guitar…which boggles my mind, but at least it validates my decision!

(We did do a review on Gator Cases electric guitar cases a while back - check it out: http://www.guitargearheads.com/module … s/article.php?storyid=199 )

When it comes to guitar playing and effects, compressors have been one of the most controversial issues for many years. Each guitar player has his own ideas on whether a compressor should be in the signal chain or not. One thing I have noticed is that no matter which side guitar players take on this issue, they are very passionate on their opinions. In fact they become so strong minded in their opinion that they sometimes come across as being very critical of other players who do not share their view. I should point out that this is not just a guitar player issue. I have read interviews with record producers and engineers where they came across as downright rude toward their colleges in the business who did not hold their personal belief. The key word here is "personal".

With these very strong opinions flying around, it can be confusing for a new guitar player to know what to do when they are working on building their effects pedal board or rack. It really comes down to personal choice, and what sound you are trying to achieve. I was fortunate enough to talk to a couple guitar players over the years that landed in the middle of the great compression debate. One player put it to me this way. "If you can use compression in a way that allows your sound to still be musical, and gives the results you are looking for, then by all means use it. If compression takes the musicality away from your tone and playing, then turn the dang thing off."

Taking this advice on my guitar playing journey, I have learned that compression like any effect is a tool that is not intended to define your sound, but to augment it. I use compression in some of my music, but I use it sparingly for the most part, and only when it enhances the sound. Compressors are a balancing act that is learned over time. They can be used to give more gain to a distortion or overdrive pedal, but they can also ruin many of the dynamics in your playing style. Finding that balance of dynamics and compression is something you learn over time, and sometimes you will find that compression just will not work for certain musical parts you create.

In my humble opinion, everyone should have a compression pedal in their signal chain, but they should also not be afraid to turn it off when the opportunity for more lively performance can be achieved without it.

Gary Allen

Tonight I was messing around with my acoustic guitar and discovered drop D tuning. I know that a lot of you are probably thinking that drop D tunings are used on a lot of songs in popular music, but the drop D tuning I discovered tonight was not the tuning down of the low E string. It was the tuning down of the high E string. Let me explain.

I recently received some video lessons from the "Lick Library" for review. I was on their site watching some of the sample video's when I ran across one on how to play "Stuck In The Middle With You" by Stealers Wheel. This is a popular song with a very signature vibe, and as Mike Casswell was explaining in the video, the little known trick to getting this vibe is the tuning down of the high E to D on all guitars in the song. At the time I thought it was a pretty cool sound, so as I was just running through some of my own finger picking chord progressions, it suddenly struck me to try tuning down the high "E" string in this fashion for these progressions. The results were amazing. I was getting some very cool sounds with the open D, G, C, Am and other chords. I was able to play these chords and get cool sounding almost harmony type sounds from the higher D.

I know that some of you probably already know and use this tuning, but I also do not believe that this is as popular to most players as the drop D tuning on the low E string. I thought I would throw this out there for anyone who would like to give it a try and see what they can come up with. I will admit that it was inspiring to me to have this new tonal palette to play with, and I will use it more in my own personal musical journey. You can never have too many options for creating your own sound, and this is a very simple way to add to your playing arsenal.

I also encourage everyone to stop by the" Lick Library" and check out their sample videos. I have done a quick once through on the full version video's I have received, and I will admit that I am quite impressed with their lesson video's. My review on the lessons I received will be coming soon. Check them out at www.licklibrary.com /tutorials