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Anyways, it sucks to not have a camera to show stuff or even a way to measure stuff I'm describing. I'll have to obtain a few small things to set it up. like a saddle and an allen wrench that doesn't suck. Probably whatever caliper or shim they use to do real setups as well. Maybe latter frames just have tilted bridges after a while. I don't really know. The bridge is rather thick. If you lower the bridge, do you just sand it?
With over 100 effects, there's really no shortage of virtual stompboxes to play with, while the unit's complex signal routing capabilities allow for a wide variety of effects combination. Add to this Helix' acclaimed amp modeling features, which lets you mix and match 62 amp, 37 cabs and 16 mics. If that's not enough, you can also make adjustments to the amp models to better personalize your sound. To match its complexity, Line 6 designed the interface to be simple yet intuitive, courtesy of its color LCD display and colored LED rings.
Chrome ES-335 diamond trapeze tailpiece. This is a short version of the standard ES-335 style tailpiece which was also used on many arched top instruments. Overall length of Tailpiece not including hinge = 3 1/8 inches. Side to Side width at bar = 3 9/32 inches. Width of string bar = 47/64 inches. String Spacing at Bar = 1 61/64 inches. Important Hinge/Mounting Specs: Mounting Area of Hinge length = 1 1/2 inches. Mounting Area of Hinge Width - 2 inches. Mounting hole location bottom center = 11/32 inch from bottom edge Two Mounting hole locations from side edges = 5/16 inches. Two mounting hole locations Apart from eachother = 1 25/64 inches. Upper side of hinge length = 1 1/8 inches. Upper side of Hinge width = 1 25/64 inches.
Numerous sources, such as Physics by John D. Cutnell and Kenneth W. Johnson, state that the human ear can hear sounds ranging from 20 hertz to 20,000 hertz. A guitar is going to fall in this range because it wouldn’t make good business sense to produce an instrument that can only be heard by dogs. From a scientific perspective, just about everything within the normal human range would be considered effective, since the instrument accomplishes its goal. Beyond that, a researcher wouldn’t be able to designate what’s good.
Well, I’m glad you asked. Don’t be fooled by the price and the size of this thing, as it’s a veritable Pandora’s box of effects waiting to be unleashed upon the world. You have over 75 onboard effects to choose from including distortion, compression, modulation, delay and reverb modelled on some of the biggest hitters in the industry, like the Boss DS-1, Metal Zone, Fuzz Face, Big Muff, Pro Co rat and many, many more. The team at Zoom have also thrown in a simulator to allow your guitar to sound like an acoustic.
You have so many effects on this that you’ll find it difficult to get bored, all of which have been modelled on some of the most iconic sounds in effects pedal history including Boss, Line 6, Electro Harmonix, Z Vex and more. You have a huge amount of distortions, delays, reverbs, modulations, pitch/synth/filters, compressors/limiters, EQs, wahs, and even a looper to sculpt your sound with, all of which have been meticulously modelled to include the subtlest qualities and sound abnormalities that made these effects and their respective pedals so revered.

Hand built with the same precision as our larger guitars, just 25% smaller.  Great for travel, ideal for children struggling to get their arms around full size guitars, fantastic second guitar for the office.  Because it has a smaller box design our Travel will have a smaller sound (like any smaller guitar) but our Travel Electric with built in auto tuner allows you to plug into any amplifier or PA system giving you the same power as our full size guitars.
You can use similar two-mic techniques, minus the effects, on a single amp to capture a variety of larger-than-life guitar sounds. One trick that I stumbled upon involves miking a twin-speaker amp with two mics that are close in response, but not matched (see Fig. 1). The first time I tried this, on a session with guitarist Paris Slim, I used an Electro-Voice RE20 and a Sennheiser 441.

If ever there were a forensic investigation to identify the true biological father of punk rock guitar, all DNA evidence would point clearly to Johnny Ramone. The guitar style that people most associate with punk—briskly downpicked barre chords executed with blinding precision at breakneck tempos and marshaled in service of concise catchy song structures—is the invention, progeny and proud legacy of the man born John Cummings on Long Island, New York.


3,000 to 8,000 Hz - Brilliance and Presence: This is the range that can add shimmer or allow a guitar to cut through a mix when boosted. It can also be where you make cuts to keep a guitar from conflicting with a vocal. If making boosts in this range, keep an eye (ear?) out for noise, as any noise present from distortion/effects pedals will very quickly be accentuated as well
In major-thirds (M3) tuning, the chromatic scale is arranged on three consecutive strings in four consecutive frets.[83][84] This four-fret arrangement facilitates the left-hand technique for classical (Spanish) guitar:[84] For each hand position of four frets, the hand is stationary and the fingers move, each finger being responsible for exactly one fret.[85] Consequently, three hand-positions (covering frets 1–4, 5–8, and 9–12) partition the fingerboard of classical guitar,[86] which has exactly 12 frets.[note 1]

Though some sophisticated processors combine pitch detection with pitch-shifting, to generate musically correct harmonies in user-defined keys, simple pitch-shifters always change the pitch by the same number of cents or semitones. In musical terms, that means that only the octaves, parallel fourths and fifths are very useful. Other intervals tend to sound discordant, as they don't follow the intervals dictated by typical musical scales.
The only known American distributor of Lyle guitars is the L.D. Heater Music Company. A small warehouse based in Beaverton, Oregon, L.D. Heater was owned by Norlin, the parent company of Gibson, and known more for their exclusive production rights to Alembic instruments. As protection from potential lawsuits, Lyle guitars were part of the contract that stated under which brand names Gibson-licensed guitars could be produced and distributed.

With that said, it’s important to make a distinction between reverb pedals and echo pedals. These two are often time a source of major confusion. Here’s the deal. Reverb is similar to an echo in a sense that you are hearing the sound as it bounces off a surface. However, reverb is fairly quick and happens almost instantly. Echo effect, on the other hand, takes much longer to reach back to the user. One way to understand the difference is to yell in a smaller room, and then go out and yell in a canyon. Similar goes for delays. If you want to learn more about delay pedals, check out our dedicated guide here.


Dont buy too cheap. The cheaper the guitar, the harder to play and the less quality the sound. You want a rewarding feel and sound or you will get discouraged. Buy a better guitar used than a new one cheap. Are you going to learn chords or fingerpicking ? Some guitars are better sounding for one than the other. Some like Taylors are versatile and provide good sound for both. Be smart. Good luck.
Next in line after pitch shift/harmonizer and envelope follower effects are pedals that directly interact with the pickups’ output levels, such as vintage fuzz, treble booster and Octavia/fuzz octave pedals. As with the dynamic filter pedals, placing any other effects that compress the signal in front of these pedals will limit their overall performance.

There are so many great things about the small guitar amps that we miss out on. While it is no shame to admit that some issues persist in the sound and ability of smaller amps, it is also worth saying that they have a whole lot of benefits that might be the reason some people decide to pick them up. I have had many amps over the years and my small amp is possibly my favorite piece of equipment (other than all the guitars on their own). I have taken it on many a trip when I had to stay somewhere that was not my home, and it has helped me keep my workout hours up to the standard that I had gotten used to. One of the very first amps I ever had was actually a small amp, nestled in my tiny little room in between my bed and my wardrobe inside which my guitar stood. My point is, whether you are just starting out or you have been playing for a while, you will find a use for your small guitar amp, especially if it is one of the best available on the market.
I’ve been looking for a long time for information on what goes on inside a typical Strat-style 5-way switch, and this site helps me understand these switches a bit more. But I still have questions, though: 1)Why is it necessary to use jumpers from one lug to another? 2)As I understand it, a 5-way switch is 2 separate 4-lug switches wired together, each with 3 input lugs and presumably 1 output lug, OR are these lugs INPUT as well as OUTPUT lugs? (I get the impression that they are dedicated to either input or output, but looking at some wiring diagrams, it appears that inputs from pickups can come from either side of the switch.) 3) Is one side the INPUT side and the other the OUTPUT side, or are both sides of the switch mirror images of one another? In other words, must the signal from the pickup enter the switch at one side, and exit the switch at the other side? It seems I can only really understand how these switches work in terms of inputs (from the pickups) and outputs (to the output jack or volume pot). Without knowing whether a certain lug is acting as an input or an output, it can be hard to understand which way the signal is travelling.
Roger Fritz is a professional luthier who makes guitars and basses for musicians like George Harrison and Randy Jackson. Roger is also a bass player who fell in love with the old Kay 1950's bass after having a friend recommend he play one. Roger, who had worked for Gibson in Nashville on their Bluegrass instruments, created his own company, Fritz Brothers Guitars in Alabama is making custom hand-made instruments for professional players worldwide. Roger was so enamored with the sound of the Kay (K162V) Pro Bass that he developed a clone and made them available for sale under the Fritz name. Roger Fritz was the missing link that was needed to make the project a reality: a Luthier that had a love for the instruments to be produced. Roger joined our team in early 2007 to help create and develop all the parts and features that made the Kay products different from all the rest. Most of the parts and molds were no longer available so everything had to be created from scratch. The pickguards, the knobs, the hand wound pickups, the tailpiece, and even the baseball bat style toggle switch cover all had to be manufactured using original parts as templates for the new reissued versions. Finding the parts was difficult and surprisingly expensive since we needed to search stores, eBay and contact collectors to find perfect originals to reproduce. The going price for a good vintage Jazz Special Bass today is $7,000. But after finding the parts and vintage instruments from avid collectors like Gary Walko, Vintage Kay historians like Michael Wright and Jay Scott, and dozens of avid fans, the project was able to take form.
Jackson is a well-known guitar manufacturing company that was set up in the year 1980. Jackson guitars are considered as among the best guitars on the planet. Their guitars are known for its slender and refined layouts. Jackson guitars are also popular for their typical pointed headstock. The Jackson JS32 Kelly RW is an electric guitar which has won the hearts of many owing to its stylish design and great sound quality. When it comes to the sound quality of the guitars, Jackson is the best guitar brand to have.

Perhaps not as famous as its brother, the EMG 81, this awesome EMG 85 still rocks and makes a worthy appearance in our chart. Perfect for the neck position (although equally solid in the bridge), the EMG 85 features Alnico V magnet-loaded close aperture coils to deliver a natural tone with a huge output, with no loss of clarity as the volume is pushed to its highest.
Electri6ity is HUGE, like over 26 gigs, but it's like having Eddie Van Halen in your plugin bin once you figure out how to use it. The learning curve is steep, but there's no way I would ever be able to play guitar as well as I can program it not to mention afford the thousands of dollars worth of high-end guitars that are sampled. It also includes a very nice effects rack that is optimized for the library (although DI versions are included so you're free to run it through Amplitube or whatever you like).
You have to admire a YouTube channel and accompanying website that’s taken one guy on his own over fifteen years to build and offers hundreds of different lessons at all the various levels. The great thing about Justin is he gives off a cool, enthusiastic vibe all the time whether he’s teaching a basic chord for beginners or taking seasoned players through a complex solo.

We have already covered one Behringer reverb, which was the epitome of affordable and functional simplicity. However, this brand has a couple more aces up their sleeve, including the more advanced RV600 (click for full review). What this pedal offers is a significantly more versatile solution that brings you additional flexibility at a bargain price.


Our fretwork is one of the things we are most proud of. We go to the extreme to make sure that your guitar is going to play the best it can. The fingerboard is planed under tension. The fretting process is done with epoxy fretting. We use a special blend of epoxy that makes re-fretting very easy without messing up your fingerboard. This process is used for multiple reasons. One of the advantages to this type of fretting is that you lose the hollow gaps under the fret that you find with the traditional way of fretting. In traditional fretting, with each fret you put on, it is like driving a wedge into the fingerboard, which causes back tension on the neck. With epoxy fretting, all of these issues are eliminated. The epoxy under the frets helps to transfer string vibration throughout the neck to the body, and relieves all stress and tension on the neck that occurs with traditional fretting. This results in a stress-free neck, which allows the truss rod to work properly and to adjust the neck accurately.

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