A one of a kind 6 stringed electric guitar that is right handed and mostly comes in black. The body is made of bass wood where as the fret board is made of maple. The neck also consists of white dot inlay. The product price ranges from about 15,350.00 which is quite cost effective considering the adorable features of the guitar. More information concerning the product can be found by clicking on the following link.
Reverb creates a sense of space, but it also increases the perception of distance. If you need something to appear at the front of a mix, a short, bright reverb may be more appropriate than a long, warm reverb, which will have the effect of pushing the sound into the background. If you need to make the reverb sound 'bigger', a pre-delay (a gap between the dry and wet signals) of up to 120ms can help to do this without pushing the sound too far back, or obscuring it.
Compressor: Compressors make loud sounds quieter and quiet sounds louder by decreasing or "compressing" the dynamic range of an audio signal.[60] A compressor is often used to stabilize volume and smooth a note's "attack" by dampening its onset and amplifying its sustain. A compressor can also function as a limiter with extreme settings of its controls.[61]
Conceived in the early 1930s, the electric guitar became a necessity as jazz musicians sought to amplify their sound to be heard over loud big bands. When guitarists in big bands only had acoustic guitars, all they could do was play chords; they could not play solos because the acoustic guitar is not a loud instrument. Once guitarists switched from acoustic guitar to semi-acoustic guitar and began using guitar amplifiers, it made the guitar much easier to hear, which enabled guitarists to play guitar solos. Jazz guitar had an important influence on jazz in the beginning of the twentieth century. Although the earliest guitars used in jazz were acoustic and acoustic guitars are still sometimes used in jazz, most jazz guitarists since the 1940s have performed on an electrically amplified guitar or electric guitar.
There are a lot of choices out there for the prospective buyer of a fine guitar. It's no secret; a handmade instrument can cost a lot. For that matter, any of the better guitars purchased from a quality manufacturer is going to command what most people would consider to be a lot of money. Are there compelling reasons to spend your money on a handmade guitar from a custom builder rather than from a brand name factory or custom shop? There certainly are! … [Read More...]

Other than the old cranked amp or faulty preamp channel, these are the grandaddies of distortion devices. Fuzzes were also among the first of the transistorized guitar effects being built back in the early 1960s—which is no surprise when you discover the simplicity of most of them. It’s almost pointless to describe the sound of a vintage-style fuzz tone more than the name already does. They slather a slightly wooly, rounded, warm but sparkly distortion all over the guitar signal (see, you could just say “fuzzy”) to give more meat, girth, and sustain to the sound. More imposing units can be guilty of taking charge of the entire signal and bending it to their own synthetic demands—“brick-wall processing,” as Hendrix-approved effects builder Roger Mayer puts it himself (meaning your signal hits that wall and cannot pass through without a total transformation of its nature and character)—while those which many consider to be the more playable devices retain elements of your dynamics, touch, feel, and core tonality. In the case of “brick wall” type fuzzes, the resultant sound is still, usually, more processed and artificial than any of the preceding types of pedals in this category. The more dynamic fuzz pedals, however, are great for working with you and preserving the critical elements of your touch and tone. Turn a tube amp up to where it’s starting to break up and you’ve got gentle overdrive; crank it to the max and you’ve got heavy distortion. Pull out one of the pair of output tubes, use the wrong-value bias resistor on a preamp tube, or beat it senseless with a crowbar and you might just get it to sound like fuzz. It’s not a natural sound, but it can be a great one, and it’s a major part of many players’ signature tones.
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BOSS also has a few pedals that make your instrument sound like some other instrument. The AC-3 Acoustic Simulator will do the job. Some effects change your sound with filtering. This effect type can be used in different places in the signal path, so we’ll use the GE-7 Graphic EQ. A few BOSS effects defy categorization, but are nevertheless very useful in any signal path. The most common of these is the CS-3 Compression/Sustainer.
Six-point rocking tremolo: This was the original rocking vibrato designed by Fender in the 1950s. Like the two-point tremolo, it is through-body, spring-loaded, and provides individual string intonation and height adjustment. Some players feel that because this type of tremolo rocks on six screws it provides greater vibration transfer to the top and hence better resonance.
The Salamander Grand made by Alexander Holm (details above) who sampled his Yamaha C5 Grand and is quite well known for having a great sound. Most sf2/sfz versions seem to be lacking the proper dynamics, have latency problems or have been oversimplified. This sf2 version has addressed these issues yet retains its essential character including optional resonance but removes other non-essential sounds such as pedal noises.

The headstock does not come pre-carved, which is good for those who want to personalize its shape, and bad for those who can't do wood work. All needed parts are included, along with hex wrenches for the truss rod and saddle adjustment, it even comes with some solder, so you'll just need a soldering iron and a Philips head screwdriver to complete the assembly.

Most users are happy with what they got for the money, from its wood quality, to the included hardware and electronics. As expected, many of its buyers are fans of the Les Paul Jr who want to try their hand at customizing their own straightforward rock machine. Surprisingly, there are some who are happy with its default configuration, including the feel of the neck, the sound of the P-90 pickup and the quality of the tuners.

This affordable signature model for Iron Maiden guitarist Adrian Smith is an exemplary classic metal guitar for the money. It features a Jackson slim D profile neck with immaculately finished frets, while the oiled maple neck a joy to motor around on. Allied to the surprisingly good build quality, this imparts a premium feel to the SDX. Tonally, the body might not quite enjoy the snap and sparkle of Smith's alder-bodied American original, but basswood is a great tonewood anyway, particularly once you're piling on the gain. The bridge humbucker is plenty powerful, with just enough detail to prevent it sliding into the woolly morass suffered by many lower-end units, and the single coils give you more than a sniff of Strat flavour, making the SDX a versatile guitar indeed considering its heavy metal association. The Floyd Rose Special bridge also does a solid job of keeping you in tune, no matter how crazy you get. A versatile guitar capable of covering many bases, and perfect for nailing your favourite Maiden tunes? What more could you need, bar the white high tops and tight strides?
: : : Does anyone know for sure where these originated. I have been told Vox (the England years) made this flat bodied plank guitar in the skiffle days of early 60's/late 50's. Mine is painted white(by hand) with a large black pick guard that curves to envelope the two chrome "toaster" pickups ,bottom of neck, and three control knobs.The strings have a moveable maple bridge(not secured) and a small chrome hardtail heel.The neck has a zero fret at top and 19 more playing frets.There are dot inlays at the 3rd,5th,seventh,ninth,12th,and 17th frets.The headstock is of natural finish light maple with a top edge cut at a sloping angle like Hofner.It has brass tuning pegs,gears and gear plates and the keys are white plastic.The beautiful short neck is true ,natural maple.Along one of the tuning gear plates is the numbers: 35515 which are etched into the wood. Four bolts without any plate hold the neck base to the plain body and a green decal above the pegs at top face of headstock reads: Shadow. The fret board is rosewoodand is laid on neck without bindings.It has six strings and sounds like a short scale Baritone guitar. It also only has one strap peg at bottom since they used to put the other end of strap on a tuning key. No other holes are seen for any former peg at other end of body(where normally found). Please send any info on this small,early,simple but awesome sounding electric skiffle guitar from England(Vox?).Thanks!!!!! VoteinNovember