Another issue is the fact that, in this circuit, the tone pot always has a cap engaged. You could use a really tiny value for the smaller cap so there’s little perceptible cut at the minimum setting, but that can make a substantial part of the pot’s range a little too subtle. So my plan is to combine this with a Ned Steinberger-designed JackPot as the volume control. This part has an “off” setting that bypasses the tone circuit entirely for a maximum-bright sound. That way, I’d choose for the smaller cap a value that provides the minimum treble cut I’m likely to want. (I suspect I’ll wind up with something between .0022µF and .0047µF.)
Now lets talk amps. I have always felt like you could hand me a great guitar played through a bad amp and I would get a bad tone. However, I can make a bad guitar sound decent through a good amp. The amp, in my opinion is the most crucial part of your tone. I always prefer tube amps that deliver a much warmer, natural sound then the solid state counterparts. However if you are play jazz or something that requires a clean crisp sound, a solid state amp good be great. All the great rock legends used tube amps such as Marshall Plexi’s, Vox AC30, Hi Watt, Fender Twins, Fender Bassmans etc. Now days they make all kinds of boutique amps that are modeled after these classic amps. Matchless is my amp of choice which is loosely modeled after the Vox AC30.
Eddie's Guitars represents the finest in boutique amplification. We have the largest selection of quality amplifiers available today. We focus on keeping up with the industry's most current builders. Stocking guitar amp brands like Fender, Marshall, Mesa Boogie, and Orange, providing completely original designs or modern reproductions of your favorite classic amps, we truly have something for everybody.

The OM model came about due to Perry Bechtel, who was a virtuoso plectrum banjo player. Perry came to see the Martin family in the early summer of 1929. He wanted Martin to make him a guitar which he could easily adapt his banjo style (remember by the late 1920s guitar was the hot instrument, replacing the banjo). He requested 15 frets clear of the body and a 27" scale in Martin's largest standard body size (which at that time was the 000, with 12 frets clear of the neck). The 27" scale would retain the fret spacing of the plectrum banjo, and 15 frets clear of the body would closely resemble the length of a banjo neck.

Clear and easy to follow instructions. I re-wired my Gibson Les Paul 60's Tribute for new pickups after removing the easy connects and circuit board that came stock. I ended up re-using the 3 way switch that came in the guitar instead of the one in the kit since it was shorter and the guitar didn't have room for the full length switch in the kit. They were both Switchcraft so same quality. I'm very happy with the results. After shopping prices, the kit is very reasonable versus buying the components separately.
There is also a niche market for modifying or "modding" effects.[citation needed] Typically,[according to whom?] vendors provide either custom modification services or sell new effects pedals they have already modified.[citation needed] The Ibanez Tube Screamer, Boss DS-1, Pro Co RAT and DigiTech Whammy are some of the most often-modified effects.[101][102] Common modifications include value changes in capacitors or resistors, adding true-bypass so that the effect's circuitry is no longer in the signal path, substituting higher-quality components, replacing the unit's original operational amplifiers (op-amps), or adding functions to the device, such as allowing additional control of some factor or adding another output jack.[101][103][104]
According to Wikipedia, a grimoire is a magical text that instructs the user “…how to perform magical spells, charms and divination, and how to invoke supernatural entities…” In order to summon your own supernatural creations, this guitar-focused text compiles a vast selection of exercises that will help you connect patterns across the entire guitar neck.
Whereas tube amps are the traditional, solid-state amplifiers represent the modern guitar amplifier (even though they have been around for decades). While some guitarists refuse to consider solid-state amps worthy of their time, models such as the Roland JC-120 Jazz Chorus are proof that solid-state amplification is not only capable, but preferable in some cases. This high-end amp offers 120 watts of power, professional-grade tone and awesome versatility. It’s a good reflection of this segment, which offers endless versatility with affordable prices, low maintenance and incredible reliability.

Cool! Yes, this idea is definitely stolen from G&L!It would be cool to see a picture or schematic, but it’s probably going to be really close to this, if not identical. Meanwhile: Don’t be scared to open up your guitar — they’re build for it! Just be gentle till you learn what you’re doing. I always stand by the Maker’s Faire credo: If you don’t open it, you don’t own it. 🙂

Transistors are related to crystals. Their individual function is non linear and have to be arranged in compound groups to behave as a linear circuit. Solid-state amps operate at low voltages (10 - 100V). Valves amps operate at high voltages (200 - 600V). Speakers operate at approx (0 - 40V). The Output Transformer converts the high operating voltages of valves to the lower operating voltage of speakers. A transformer has 2 separate coils of wire (primary and secondary) wound around an iron core. Electricity flowing through wire causes a magnetic field around the wire and visa versa, a changing magnetic field causes electricity to flow through wire.
For more control and fine tuning of your sound, you may want to use a parametric or graphic EQ. A parametric EQ allows you to adjust the width of the frequency band that's being altered and the shape of the curve—how abruptly the boosted or cut area changes to the unmodified area. A graphic EQ divides the frequency ranges into a number of narrow bands which can each be boosted or lowered by sliders, thus giving you a visual or "graphic" representation of how the EQ is being affected. The more bands there are, the more precise your adjustments can be.

As much a sculptor as a guitarist, Pajo’s work in post-rock progenitors Slint was a frightening, seemingly rootless display of guitartistry that glided between extremes. Songs formed and dissolved without notice, turned inside out and back again, always at wildly unpredictable volumes. Pajo’s uncanny knack for both creating and shrinking spaces on tape would eventually become the blueprint for later luminaries like Tortoise, with whom he also played.
But opposites not only attract—sometimes they also make groundbreaking music together. This is certainly true of Zoom’s collaboration with Doe and Cervenka. Since that band broke up, Zoom has gone on to do session work with everyone from the late John Denver to the Raconteurs. He’s also become semi-legendary as a guitar amp hotrod guru, having tweaked circuitry for Jackson Browne, the Black Crowes, Los Lobos, L7 and Social Distortion, among many others.
Bass chorus effects use a cycling, variable delay time that is short so that individual repetitions are not heard. The result is a thick, "swirling" sound that suggests multiple instruments playing in unison (chorus) that are slightly out of tune. Bass chorus effects were more common in the late 1980s, when manufacturers such as Peavey included chorus effects in its bass amplifiers. In the 1990s and 2000s, more sophisticated bass chorus effects devices were created which only apply the swirling chorus effect to the higher parts of the bass tone, leaving the instrument's low fundamental untouched.[5]
The Pacifica family of guitars was launched years ago to address this market in particular. They’re excellent guitars for the working man and student alike. After a break-in period, these machines should provide stable, frustration-free operation for many years, with enough tone and versatility to play any style. The video below even demonstrates how, with a solid amp, you might not even know it was inexpensive.

Description: Body: Koa - Flamed - Neck Wood: Maple - Neck Construction: U-Shape - Nut Width: 43mm - Fingerboard: Rosewood - Binding: White Sparkle - Frets: 22, Jumbo, Medium - Inlay: Thumbnail - # of Strings: 6 - Scale Length: 24.6" (62.5cm) - Headstock: 3+3 - Bridge: Rocking Bar - Bridge Construction: Ebony - Cutaway: Single - Hardware: Grover Romantics Tuners, 3x Volume Control, 1x Tone Control, 3-Way Switch - Pickups: FilterTron - Pickup Configuration: H-H - String Instrument Finish: Flamed Koa
That protection, the MPA argued, ensures that people who create written music and related products earn a fair return for their efforts. They earn income from the sales of books, sheet music, lyric sheets, and other published materials. These individuals and companies work with the creators of music to produce well researched, accurate materials for sale to the public. The creation of these publications require substantial investments of time, materials, and fees. The free posting and distribution of TAB, lyrics, or other music notation, they argue, harms those who made those investments, and followed established business and legal procedures.
Reamping was originally invented as a creative tool. Instead of spending hours crafting the perfect guitar tone before hitting record, the dry signal from a DI is recorded and later “reamped”, saving time and letting the guitarist focus on nailing the performance. This allows the engineer to send the recorded dry signal through guitar amps or tone shaping devices during post production, eliminating the need for the guitarist to be present.
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Not everyone has the luxury of drum booths and separate rooms, but isolation boxes are great for isolating guitars during a rhythm track recording. They are also ideal for home recording, allowing a good  volume level without disturbing neighbours. Isolation boxes are commercially available, but can be expensive; try making your own from wood and foam.
We make our Tone Bars / Ferrule Blocks (tone slugs) out of 360 brass and use them on most all of our string through custom guitars. You will notice an enhancement in sustain and beauty.  The ones sold here are not polished. Go to to purchase slugs that are polished. Please ask any questions you might have about the Slug. I offer quantity discounts.
Gibson has produced three Jimmy Page signature models. The first was issued in the mid-1990s. It was based on a stock Les Paul Standard of the time (rather than the more prestigious and historically correct 1958/1959 re-issues issued by the Gibson Custom Shop). The modifications were based on Jimmy Page‘s “#2” 1959 Les Paul, which had been modified with push-pull potentiometers on all four control knobs, as well as mini push-pull switches under the pickguard. This first version of the Jimmy Page Signature did not have the mini-switches under the pickguard, nor did it replicate the custom-shaved neck profile of Jimmy Page’s guitar, but it did include the four push-pull pots. With all four pots pushed down, the guitar operated as normal. Pulling up the volume pot for the Bridge or Neck pickup turned the respective pickup into a single coil, rather than humbucking pickup. Pulling up the tone pot for the Neck pickup changed Bridge & Neck pickups wiring from series (stock) to parallel. Pulling up the tone pot for the Bridge pickup put Bridge & Neck pickups out of phase with each other. The first iteration of the Jimmy Page Signature utilized Gibson’s then-current high-output humbuckers: a 496R in the neck position and a 498T at the bridge.
Entwistle also experimented throughout his career with "bi-amplification," where the higher frequencies of the bass sound are divided from the lower frequencies, with each frequency range sent to separate amplifiers and speakers. This allows for more control over the tone, because each portion of the frequency range can then be modified (e.g., in terms of tone, added overdrive, etc.) individually. The Versatone Pan-O-Flex amplifier used a different approach to bi-amplification, with separate amplifier sections for bass and treble but a single 12-inch speaker. The Versatone was used by well-known bassists such as Jack Casady and Carol Kaye.
Its very obvious very few on this list have never picked up a guitar in their life as this looks like a what brand does my favorite band play list... Considering Gibson these days are garbage and only were good for a few style to begin with no way they're number one... Fender has very solid build quality, but to diversify them to play numerous styles takes heavy modification. As far as electric are concerned there is a number that can top the list, as schecter, esp and Jackson are too low on the list and I've heard good things about rickenbacker. Ibanez is also excellent. Its really a toss up for me...I haven't played much esp do I phased them out...I have extensive time with Ibanez schecter and Jackson... Ibanez is gone because the build quality is no better and the playability is pretty much the same as a Jackson but the Jackson gives you far more bang for the buck... As for schecter and Jackson they put out some fully loaded guitars that are only going to rock you maybe a weeks ...more
While production and distribution of guitars under the Ibanez brand began much earlier, the company gained notoriety outside its native Japan when it started importing Ibanez guitars to the United States in the mid-1960s. These first efforts were funky-looking creations which sold at the low end of the guitar market, primarily in department stores. But the company's products continued to move up the quality ladder until the company was perceived as a legitimate market force, selling what were essentially copies of other companies' designs in the mid-1970s. A patent lawsuit from Gibson ended the sales of those copies, but Ibanez had by then gained a foothold in the guitar market globally. (more...) is operated by Woot Services LLC. Products on are sold by Woot, Inc., other than items on Gourmet.Woot which are sold by the seller specified on the product detail page. Product narratives are for entertainment purposes and frequently employ literary point of view; the narratives do not express Woot's editorial opinion. Aside from literary abuse, your use of this site also subjects you to Woot's terms of use and privacy policy. Woot may designate a user comment as a Quality Post, but that doesn't mean we agree with or guarantee anything said or linked to in that post.
As has already become apparent, the resonator instruments which made both the National and Dobro names in the late ’20s and ’30s were not the only effort underway to increase the volume of the guitar. The ampliphonics found immediate acceptance among Hawaiian players, notably Sol Hoopii, the very first to record with them when he used a prototype in his first session for Columbia on October 18, 1926. This was used on “Farewell Blues.” But they still didn’t satisfy the desire of orchestra guitarists to get out of the rhythm section. In addition to metal resonator cones, electricity was waiting in the wings, and National, Dobro and National Dobro would play a significant role, both directly and indirectly, in that ultimately triumphant development.

PRS started off in the 1990s. At that time, it seemed Les Pauls were being swapped in favor of a PRS guitar. PRS leveraged this opportunity to continue the trend, making PRS more accessible to all. Hence, they launched another line of product with affordable price tags – the SE guitars. Nonetheless, one cannot consider SE guitars as the beginner’s guitars, since they all flaunt with high-end specs like other instruments. Through these guitars, one gets an opportunity to enjoy playing a pro guitar without causing a blow to your budget.
Durability: Unlike individual stompboxes where you might use some sparingly, since your multi-effects unit contains all your effects you’ll be using it frequently. As such, it’s important that the build quality is up to par. This is where brand reputation comes into play as well, since you want the brand to stand behind their product in case anything bad happens. Rest assured the pedals we recommend in this guide are all from very reputable manufacturers with long histories of good customer support.
I start at zero and work the bridge, stopbar, neck and pickups from there until I all feels and sounds right, takes some time but not too much. I only do this with new guitars and when I total strip one down maybe once a year. Living in the North East and having 4 season you have to adjust all the time, unless you live in a climate controled home and never go out. If you can do all these adjustments yourself and become one with your guitars I think your way ahead of the game.
The Gruhn Guitars repair shop has been world renowned for decades for its unrivaled expertise, skill, and respectful repair practices. Though our full-time staff of luthiers primarily focuses on repairing and restoring the instruments we make available for sale, beginning in 2016 we are also pleased to offer our repair services to loyal customers as an extended benefit of buying an instrument from Gruhn Guitars. Instruments purchased from Gruhn Guitars will be moved to the front of our repair queue and will be repaired at a discounted labor rate. As a sign of our appreciation for your business, Gruhn Guitars is here to help you for years to come to keep your instrument in the same prime working order as when it was listed for sale at the shop.
One difference today is the number of big-name guitar brands that make affordable acoustic and electric guitars, which are often versions of their pro-level instruments. These days, you can own a Les Paul or a Stratocaster as a beginner or intermediate player. Of course, they aren’t the same as the Gibson or Fender flagship models, but they are still darned good guitars based on those designs.
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The size and shape of the ME-80 is comparable to the Line 6 POD HD500X, though the Boss measures a few inches smaller, and also weighs a few lbs less. This is a Boss product, and as such it’s built like a tank. No worries whatsoever over the build quality of the chassis, knobs, and footswitches. Starting with the rear of the ME-80, you can see the I/O is pretty basic - mono input for your guitar, stereo output, a headphones jack, AUX in (so you can plug in your iPhone and jam along to your favorite tracks), and a USB port. Like the Zoom G3X and the Line 6 POD HD500X, you can use the Boss ME-80 as a USB interface for your computer and record your guitar straight into your favorite DAW. Oh and one small inconvenience is that you’ll need to buy the power supply separately. Why Boss doesn’t just include one for a unit of this quality and price, we don't really understand. If you do end up getting the ME-80, this is the power adapter you want. It can also use 6 AA batteries which is good if you need to use this on-the-go, but we don’t recommend it as it will suck those batteries dry in no time.
At Sam Ash, we maintain close relationships with the most prominent electric guitar brands to make sure that we always have the very best, latest selection of electric guitars in our inventory. We carry acclaimed electric guitar brands including Fender, Gibson, Paul Reed Smith, Ibanez, ESP, Gretsch, Dean, Epiphone, Yamaha, Schecter, and so much more! If you’re a discerning player or guitar aficionado looking to add a new guitar to your collection, be sure to check out all the fine, premium electric guitars featured in our exclusive Electric Guitars of Distinction collection.