If ever there was a candidate for compression, bass is it. This instrument has a wide dynamic range (even more so when slap techniques are employed), but it usually needs to sit at a very steady level in the mix. But should compression be applied during recording, to control the levels going down, or later, during the mix, to insure the best blend in the track? Well, the answer is probably both, but with potentially different approaches to squashing the signal. During recording, a Limiter might be the ticket, to control transient peaks that might overload ADCs, producing pops and spikes that can ruin a take. A classic fast VCA compressor/limiter (like the dbx 160) could be employed to handle peaks, without really reducing the player’s dynamics at this early stage. Then when mixdown rolls around, more gentle compression can be introduced (like the smooth squash of an optical compressor like the LA-2A), to tighten up the dynamics, as needed for that particular mix. Applying the right kind, and amount, of compression/limiting at all stages will assure you get nice clean recordings, that can be properly squeezed into the mix when the time comes. 
Another +1 for shreddage. I have the PRS version and was trying it out through BIAS and TH3 the other day. Had an absolute ball, and was able to achieve somewhat realistic results with very little effort. I also love pretty much everything I have from Amplesound, though results through effects engines can be hit and miss. Their Taylor acoustic is lovely if that's what you're looking for. I've not found a really fantastic strum engine/option yet but then I will fully admit I haven't put the time into mastering what I already have in that department. I have heard demos using the guitar VIs that I have that do sound convincing so it is possible though maybe not easy.
WahWah ('Filter' category): What's a guitar rack without a Wah? Cubase's is really quite good: not only can you vary the band‑pass filter frequency, you can set high‑ and low‑frequency limits, and the Q at those limits. The frequency responds to host automation, but if you want to do real‑time pedalling, the WahWah shows up as a destination in any inserted MIDI track, so you just need a MIDI foot controller. Because insert four comes before the amp simulator, adding a wah there more faithfully duplicates the traditional rock wah sound, where guitarists patched it between the guitar and (usually overdriven) amp. The filter changes thus occur before distortion, which gives a very different sound compared to placing it after distortion. For more emphasis on the wah sound, you could remove the StereoDelay or StereoEnhancer effect, and place the WahWah in one of those slots instead.

The first guitar amplifiers were relatively low-fidelity, and would often produce distortion when their volume (gain) was increased beyond their design limit or if they sustained minor damage.[3] Around 1945, Western-swing guitarist Junior Barnard began experimenting with a rudimentary humbucker pick-up and a small amplifier to obtain his signature "low-down and dirty" bluesy sound. Many electric blues guitarists, including Chicago bluesmen such as Elmore James and Buddy Guy, experimented in order to get a guitar sound that paralleled the rawness of blues singers such as Muddy Waters and Howlin' Wolf,[4] replacing often their originals with the powerful Valco "Chicagoan" pick-ups, originally created for lap-steel, to obtain a louder and fatter tone. In early rock music, Goree Carter's "Rock Awhile" (1949) featured an over-driven electric guitar style similar to that of Chuck Berry several years later,[5] as well as Joe Hill Louis' "Boogie in the Park" (1950).[6][7]
In some small to mid-size venues, such as bars and nightclubs, the PA system may not have the capacity to provide the bass sound for the venue, and the PA system may be used mainly for vocals. Bass players in bands that play at a variety of venues, including these types of small to mid-size venues, may need to be able to provide the bass sound for the venue, and so they will require a large combo amp or bass stack with this capability.
A friend lent me this banjo and I got it working and sampled it. Its a 5 string closed back banjo. The fifth string being tuned to a high "g" note (half the length of the neck). Its this string and the closed back that helps give you the bluegrass sound (the high string ringing the "g" note throughout each of the chords with syncopated fingerpicking patterns). This has a standard mapping with variations of long release (to hear the whole sample) and reverb.
The beauty of the Yamaha FG800 Acoustic goes way beyond skin deep with its solid Sitka spruce top complemented by a Nato back and side. The mellow, well balanced tone offers excellent note definition, worthy of dreadnoughts costing far more. Quality materials such as a rosewood bridge and fingerboard, black and white body binding and more make FG Series acoustics sweet buys with a great reputation.
By 2001, Michael Kelly Guitars added its first acoustic guitars and electric guitars. These collections have evolved and are now sold around the world. To this day, Michael Kelly remains focused on our vision statement to be "Built On Sound" and each time we put the cherry on top by giving the musician a bold look. We are proud that we do not offer the cookie cutter boring guitars that are readily available from so many brands. We know there are players that prefer classic simplicity and we very much respect that. However, Michael Kelly will continue to be the brand of choice for those that prefer something more boutique and unique.
custom made guitars luthier services alvarez ampeg benedetto boss breedlove collings danelectro ,dean,digitech eastman electro-harmonix ,grinning elk, electro-harmonix epiphone fender- fender-custom-shop fender-usa fulltone g&l gibson godin gretsch guild hagstrom hal-leonard hamer harmony heritage hofner ibanez jackson kay line-6 marshall martin mxr national orange ovation paul-reed-smith peavey prs prs-paul-reed-smith rickenbacker roland silvertone suhr takamine taylor vox washburn yamaha 000-18 00-18 4001 asat-classic catalog champ classic custom-22 custom-24 d-18 d-28 d-35 deluxe es-125 es-175 es-335 flying-v j-45 j-50 jaguar jazz-bass jazzmaster l-00 lap-steel legacy les-paul- les-paul-classic les-paul-custom les-paul-deluxe les-paul-jr les-paul-junior les-paul-special les-paul-standard les-paul-studio lg-1 lg-2 melody-maker mustang precision- precision-bass sg sg-special sg-standard strat,bass guitar,speakers,parts,effects pedals stratocaster- telecaster telecaster-custom telecaster-deluxe telecaster-thinline..Greg's Guitars is the only author of "The Vintage Guitar News and Views.
It seems like Taylor have been around forever, but compared to most big name acoustic guitar brands, Taylor are a relative newcomer on the scene having been founded by Bob Taylor and Kurt Listug in 1974. They started out as an acoustic guitar company and that is their primary focus to this day and are now renowned the world over for the tone and quality of their instruments..

Extremely eclectic, Page has a diverse array of guitaristic influences, which includes blues guitarists Otis Rush, Buddy Guy and Hubert Sumlin as well as early rockabilly guitarists Cliff Gallup and Scotty Moore. He combined these influences with a strong interest in the occult and plenty of his own studio savvy to paint a musical landscape within every Led Zeppelin song. Page’s landmark use of echo effects in tracks like “How Many More Times” and “You Shook Me,” bizarre tunings in cuts like “Friends” and “Bron-Y-Aur Stomp,” and excursions with a violin bow in songs like “Dazed and Confused” yielded textures that were unparalleled at the time.
When people ask "What are the guitar string sizes?" they really want to know about the gauges, the term referring to the diameter of the string.  The answer is... that's not quite how it works.  Yes there are standard gauges but in several standard sizes like light, medium, and heavy.  Each, when properly tuned, will exert a different tension on the guitar's neck and if you jump to another size you'll probably need to adjust the truss rod and get used to the new action of the fingerboard.
My live rig for years has been a multi FX floor pedal (currently, and for the past seven years, using a BOSS GT-8) running the left and right outputs into the effects RETURN of a small amp on stage and through a speaker cab simulator (lately, a “CABTONE” by Digital music Corp, at other times a Hughes & Kettner “RED BOX”) We often play as a ten piece band, with trumpet, trombone, three saxes… and here am I with a 30 watt Behringer amp with an 8 inch speaker, my BOSS GT-8 and a CABTONE direct box/speaker simulator going to the PA. Sounds great. (I’ve substituted bigger amps at times… a Tech21 Power Station… but to my ears, the Behringer sounds better.) You’re probably thinking… a 30 watt Behringer? That’s a “toy,” right? It’s enough. Well, that and the fact that the other “direct” channel is in our monitors, making for a rich 3D stereo sound on stage between the amp and the monitors. I am looking to upgrade to a multi effect processor that allows different cab simulations per patch – maybe the Eleven Rack… (I would have a hard time justifying the expense of the Fractal system) but honestly, I’ve been very happy with the setup I just described. Been happy with it the past seven years, and before that, it was different amps (actually bypassing everything but the power amp and speaker) and different floor processors (Digitech, Rocktron, BOSS…) but the same idea… one output to the board, the other to a small amp.
Gretsch re-emerges with this awesome rex acoustic-like electric guitar that defines quality and perfection in terms of style and elegance. Te Jim Dandy Flat Top G9500 is one of the Gretsch best electric guitars which effectively brings back the quality and sound that characterize one of their most famous guitars throughout the 30’s, 40’s and the 50’s era.
How are acoustic guitars and electric guitars different? Several ways. Most notably, acoustics don’t need to be plugged in to be heard. Acoustic guitars are generally larger and have a hollow sound chamber. This sound chamber "magnifies" the resonance of the guitar’s wooden top and body as you pluck or strum the strings. The bridge helps transmit the strings’ vibrations to the body.
The earliest Teisco Spanish guitar of which I’m aware was the EO-180 from around 1952. This was basically a glued-neck folk-style acoustic guitar with a three-and-three slothead, round soundhole, bound top and glued-on bridge. Essentially dissecting the soundhole was a large triangular round-cornered pickguard with a white insert shaped like a sock, toe pointing toward the head, with a white-covered pickup situated on the ankle of the sock, just behind the soundhole on the bridge side. The cord appeared to come out of the side on the lower bout.
Each option has a unique tonal quality, some may not seem all that useful in some situations.  2 adjacent pickups that are out of phase, can sound very tinny and weak but often cut through better in the mix as they occupy a different placement in the spectrum.  Consider Brian May's (Queen) tone as some of his selections rely on 2 single coil pickups being out of phase
To me the easiest way to learn to play songs on the guitar is to learn a few basic chords. You can even start with power chords. It may be helpful to set a goal of learning the I - IV and V chord of a particular key and then learning to transition between those three. In the key of C that would be I = C IV = F and V = G. Once you learn the basic I - IV and V chords and develop the ability to transition between them, you will know how to play all the chords required to play literally thousands of songs.

When I was a kid in the 60s, all of the Japanese brands (probably ALL made by Teisco) had a really bad rap and only kids ended up with them. Some were very cheaply made, with weak metal, thin chrome plating, funky finishes and thin pickups. I owned a Rodeo, which was terrible. But then, who knew much about guitars then? Nowdays, anything has character.
Though comfortable playing many styles, Atkins was most often associated with country music and the acoustic guitar. By using a combination of his fingers and a thumb pick, he created his signature “fingerpicking” sound—a style somewhat inspired by fellow guitarist Merle Travis. Atkins even recorded a duo album with Travis, as well as with other respected guitarist like Doc Watson, Les Paul, Jerry Reed and Mark Knopfler.
I built me my own custom guitar in high school shop class and it was simple i made an Ibanez RG styled body and a Randy Rhodes/Alexi Laiho styled body just so i can swap the 2 when ever i want and i can say the cons are waaaaaaay over exaggerated cause it was VERY cheap to do it i spent a total of $350 to do it and thats even with the the EMG 81's i have in them. I mean yes its only a 1 pickup guitar on each but its how i want the wood was only $60 for an Ash body (thats for both of them not each) and i have a hook up to get free mahogany that i used on the neck for it and mine noooo one could tell the difference between an actual Ibanez RG or ESP Alexi Laiho's signature guitars the only thing that they were able to know it was custom was the head stock being my signature and the parts that were on it and color option i used is NOT used by ether of them but the time is spot on it took 3 months for me to do them but this was of course all during the course of 45 mins for 3 months so it would of been much faster without it being in school but then again i also sort of cheated with mine cause i have been doing carpentry work since i was 8 so i already knew how to do everything professionally

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A hillock appeared again, but at 350Hz. This is really into the human voice range now. The curve is no longer a curve, but a flat line, and the -10dB point shifted at 800Hz. the guitar will sound dark, moody, the kind of muted tone they use in clean guitar stereotypical rhytmic jazz chords. On the oscilloscope, we will barely see the small fringes of the higher order magnitude signals, and a more sine-like wave.

At the core of this pedal is the Line 6 HX technology, which emulates the behavior of actual amp and stompbox components. This means that instead of merely copying the sound, it recreates the entire pedal or amplifier in digital format, allowing the models to respond to guitar tone and adjustments much like the real thing. While it originally had 70 effects, firmware updates have raised this number to 104, which is more than enough to keep you busy for months, if not years. Amp, cab and mic models were also increased to 115. Since Line 6 is well known for providing updates, it is reasonable to expect more expansions in the future. It does everything that the Helix LT can, with some extras, most notable of which is the LED scribble strips for labeling each footswitch. The Helix Floor also comes with expanded input/output options to work with mics and other instruments.
Longworth also illustrates yet another Martin amplifier offered in 1966, the SS-140. Again, little is known of this, except it’s a huge monster tower with a pair of side handles to help you hoist it. Both the appearance and prefix suggest it was solid state. The 140 might suggest the output wattage. It’s highly unlikely Martin only offered this one model, so there are probably a few other OEM Martin amps floating around.
In some ways, the Champion 20 isn’t quite as versatile as the other digital amps. For example, the Line 6 Spider Classic 15 has two effects selector knobs, allowing a guitarist to mix modulated effects such as phaser, flanger, and chorus with different types of reverb and echo. However, our panelists generally felt the Champion 20’s ease of use outweighed this disadvantage, and the Champion 20 does offer 12 different amp models as opposed to 4 on the Spider Classic 15. The Champion 20 also doesn’t play as loud as the Stage Right 611800, but all of our panelists thought it played plenty loud enough for beginners.
Beavis Audio Research – started in 2005 as a hobbyist site to share information on DIY guitar electronics. From the initial few pages of questionable designs, it has grown to a popular place for DIY freaks to visit and learn. Along the way, beavis has evolved into a small company. They strive to advance the DIY ethic and provide resources, tools, kits and products to the worldwide community of gearhounds.
Fall 1954: both models have 2 volume and tone knobs, $39.95 and $59.95 respectively. The single cutaway bodies were made of solid Poplar wood, and are known as the "peanut" body shape at 11.25" wide. Then used a solid aluminum bar running from the peghead to the bridge for strength. "Coke bottle" pegheads are used that are 5/8" wider across the two "E" tuners than the later "Coke bottle" peghead shape. This model was also available under the Silvertone brand name with the "lightening bolt" peghead.
Many guitarists have chosen this iconic axe for its versatility and capability to sound great in any genre of music, but the Les Paul is most widely known for its heavy duty rock ‘n’ roll vibe.  A great example of this would be Jimmy Page of Led Zeppelin fame.  Once Page began using Les Pauls, he never looked back and helped to give the instrument its indelible place in the history books of music.
Hybrid picking is a technique that makes use of both the pick and the remaining pick hand fingers. On the surface, it’s more versatile than playing with just with a pick. Digging deeper, you’ll learn hybrid picking has the same, yet different mojo than fingerpicking as well. At the end of the day, this technique is a very powerful one that will enable you to play things that would be otherwise impossible. Be it oddly accented phrases to wide interval licks to more intricate chordal ideas, hybrid picking opens up in credible options.
If you plan to be the more lead-orientated guitarist, good for you. You’ll get more chicks and a higher place in the band pecking order. You shouldn’t however, neglect your chordal playing. A song can exist without lead lines, but not without rhythm. Don’t be fooled, every one of your guitar heroes is invariably a demon on rhythm guitar too. It’s a prerequisite: you have to understand the chords, rhythm, and harmony of a song before you can play any meaningful melody on top of it.
1959 is widely considered to be the pinnacle year for Gibson’s mid-century solid body electric guitars, and no 1959 Gibson model is more famous than the sunburst Les Paul Standard. At first a commercial failure, the model was eventually adopted by some the world’s greatest guitarists – Jimmy Page, Duane Allman, Mike Bloomfield, Keith Richards, Eric Clapton, and Billy Gibbons, to name a few. The rarity and celebrity association of the model has pushed the values of original examples into the stratosphere. Gibson Custom’s 1959 Les Paul Standard is a painstakingly-accurate replica of these highly-valuable guitars rendered in detail so intricate that even the chemical composition of the parts has been scientifically examined and re-engineered – and that’s just one small example. Sonically, visually, and tactilely, owning a 2018 Gibson Custom Historic ’59 Les Paul Standard is as close as one can get to owning a priceless original!
For many people who pick up the guitar for the first time, learning scales is often not at the top of their priority list. This is normal and as a beginner guitarist, there is other more important foundation knowledge that should first be acquired. However, at the point when you start learning scales as a guitarist is when you know you’re starting to get serious about playing. Learning guitar scales is a fantastic way to practice your technique and theory. Scales also come in handy for a variety of purposes such as: Writing music Improvising/jamming with others Understanding how music

In 1952, Alfred Dronge – co-owner of small New York City music shop Sagman & Dronge – registered the Guild Guitar Company. The following year, they began producing deep hollow body guitars, a reflection of Dronge’s love for jazz music. The brand grew steadily through to the 70s – when Alfred Dronge died unexpectedly in a plane crash – getting their instruments in the hands of musicians such as Buddy Guy, Muddy Waters, and Bonnie Raitt. In the 80s, Guild began producing signature guitars for musicians Hank Williams Jr. and Brian May of Queen. The brand moved around frequently and it wasn’t until 2014 that they settled in their present headquarters in Oxnard, California – where all of their line of USA made guitars are now produced. To this day, they still produce a wide variety of hollow, semi-hollow, and solid body guitars that look as beautiful as they sound.
.From its G logo cattle brand on top, to the fence rail pickguard graphic, the Chet Atkins Gretsch cowboy'd up big time with cactus, cattle, rifle and arrow inlays inscribed right into the mother of pearl. This 6120W  Reissue combines many of the most desirable features of this longtime favorite. Twin Filter-Tron pickups offer lively, hum-free performance, with master volume and tone controls for ease of operation. See pics,pricing and info here
The brand’s biggest boom through the fifties and sixties was largely down to the birth of rock n’ roll. Thanks to their excellent hollow and semi-hollow models, Gretsch guitars were used by icons including Chuck Berry, Chet Atkins, Bo Diddley, and George Harrison. Since 2002 the production side of things has been run by Fender, although the Gretsch family still own the company.
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