Music, a universal language that transcends boundaries,has a profound brain function and development. For children, engaging in musical activities fosters skills such as critical thinking, focus & discipline, emotional regulation, improved cognitive function, and social confidence. Let's explore the multifaceted benefits of learning music for child development.has a profound brain function and development. For children, engaging in musical activities fosters skills such as critical thinking, focus & discipline, emotional regulation, improved cognitive function, and social confidence. Let's explore the multifaceted benefits of learning music for child development. In this blog, we'll explore the multifaceted benefits of learning music for child development.
"In the symphony of child development, music plays a vital role, harmonizing cognitive, emotional, and social growth."
Music education is akin to a mental workout for young minds. Learning to play an instrument or understanding musical concepts stimulates various cognitive functions. Studies have shown that children who receive musical training exhibit enhanced memory, improved attention span, and advanced problem-solving skills. The act of reading musical notes, decoding rhythms, and coordinating movements taps into multiple areas of the brain, creating neural connections that positively influence overall cognitive abilities.
Playing music activates various regions of the brain simultaneously unlike any other activity. The auditory cortex processes the sounds produced, the motor cortex orchestrates intricate movements, and the visual cortex interprets musical notations. Engaging the prefrontal cortex, musicians employ executive functions in planning and problem-solving, while the hippocampus is stimulated for memory formation. Emotional expression and regulation involve the amygdala and limbic system, and the reward system releases dopamine, reinforcing the pleasure of musical creation. The corpus callosum facilitates communication between brain hemispheres, ensuring a comprehensive neural orchestra. This intricate interplay enhances cognitive, emotional, and motor skills, making playing music a rich and dynamic experience that profoundly influences brain function.
Music is an outlet for emotional expression, allowing children to convey feelings they might find challenging to express verbally. Whether through playing an instrument, singing, or composing, children learn to navigate and regulate their emotions. This emotional intelligence gained from music not only enriches their artistic endeavors but also carries over to other aspects of life, aiding in interpersonal relationships and self-awareness.
Music serves as a powerful conduit for emotional expression, providing children with a unique medium to articulate and understand their feelings. Whether it's the joy of a lively melody, the melancholy of a soulful tune, or the excitement of creating their own musical composition, children learn to navigate a rich tapestry of emotions through their musical journey. This emotional fluency not only enhances their artistic endeavors but also equips them with a valuable tool for self-discovery and expression. Furthermore, as children engage with the emotional nuances embedded in musical pieces, they naturally develop the ability to regulate their own emotions.
Learning to play an instrument requires dedication, practice, and patience. This process instills a sense of discipline in children as they commit to regular practice sessions and work towards mastering their chosen instrument. The journey of learning music teaches them that success often comes from persistent effort, a valuable life lesson that extends far beyond the musical realm.
Music education often involves group activities such as ensemble playing or choir participation. These collaborative experiences foster crucial social skills. Children learn to listen, cooperate, and synchronize their efforts with others, promoting a sense of teamwork and camaraderie. These skills are transferable to various social settings, contributing to the child's ability to collaborate effectively in school, extracurricular activities, and future professional endeavors.
Numerous studies suggest a positive correlation between music education and academic achievement. The skills acquired through learning music, such as enhanced memory, concentration, and problem-solving, can translate into improved performance in subjects like mathematics and language arts. Music's impact on brain development contributes to a well-rounded cognitive foundation that supports academic success.
Learning to play a musical instrument involves intricate hand-eye coordination and precise motor movements. Whether plucking guitar strings, striking piano keys, or handling drumsticks, children refine their motor skills through musical practice. This improvement in coordination can extend to other physical activities, promoting overall physical development.
Who says you have to choose between tossing a football and tossing musical notes into the air? Despite what you may think, Kids can excel at both music and sports. In fact, its not uncommon to see the Drum Major conduct the band in full football pads! It's all about finding the perfect cadence between two passions which can serve as a great exercise in time management. From the strategic plays on the field to the synchronized steps on the parade route, kids learn the art of juggling responsibilities and time management, all while enjoying the best of both worlds. So, why settle for one when you can kick off your cleats on the field and then kick up the energy with some drumline beats?
Though formal music education in a school setting is beneficial, it shouldn't be the sole source. The foundation of child development is laid at home, and music can be effortlessly integrated into your domestic space. You don't have to be a musical virtuoso; even having a few musical toys readily available for your children to play and explore with, such as the ones listed below, can make a significant impact. These simple, accessible musical experiences can plant the seeds of a lifelong love for music without requiring any advanced musical knowledge on your part.
Consider creating a designated music corner where a keyboard, a set of hand drums, or even a collection of shakers reside. This invites children to experiment with sounds, fostering a sense of playfulness and creativity. Parents can also weave music into daily routines – from lullabies at bedtime to energetic tunes during playtime, establishing a musical rhythm that becomes an integral part of their lives.
In the symphony of child development, music plays a vital role, harmonizing cognitive, emotional, and social growth. From refining cognitive abilities and fostering emotional intelligence to instilling discipline and promoting social skills, the benefits of learning music are truly transformative. As parents, educators, and society at large, recognizing and supporting the importance of music education ensures that children embark on a melodious journey towards a well-rounded and enriched future.
In this article "10 Best Home Studio Recording Interfaces In 2023", we list 10 great options to get your home recording studio off the ground. We are focusing on entry-level units, as well as a few step-up interfaces, with affordability and ease of setup and use in mind. If you're looking to spend thousands on high-end rack gear, this is not the article you're looking for.
Having the right audio interface can make all the difference in capturing that perfect sound. Among the myriad of choices available, some brands have consistently stood out for their reliability, performance, and innovation. In this guide, we'll explore the 10 best home studio recording interfaces of 2023, with a focus on top-notch brands such as PreSonus, Focusrite, IK Multimedia, Rode, and Tascam.
The M-Audio M-Track Duo is a compact and versatile audio recording interface that caters to the needs of entry-level musicians and content creators. With its sleek design, the M-Track Duo offers a straightforward solution for recording high-quality audio in a home studio setting.
Compact and mighty, the Rode AI-Micro stands out as a game-changer for creators on the move. This pint-sized audio interface from Rode is designed for simplicity without sacrificing audio quality. Geared towards content creators, podcasters, and musicians seeking a portable solution, the AI-Micro impresses with its ease of use and remarkable features. Despite its small footprint, the AI-Micro boasts a transparent Class-A preamp that faithfully captures the nuances of your audio source. Its plug-and-play functionality makes it an ideal choice for those who prioritize a hassle-free setup. The single XLR input accommodates microphones or line-level instruments, while the 3.5mm headphone jack facilitates real-time monitoring. The AI-Micro is USB bus-powered, eliminating the need for an external power source and further enhancing its portability. Rode has also integrated a direct mix control, allowing users to balance the input signal with the computer playback for optimal monitoring. Whether you're recording on the go or working in a limited space, the Rode AI-Micro is a testament to Rode's commitment to delivering quality audio solutions in a compact package. It's a reliable companion for those who demand professional-grade sound in a small, efficient form factor.
Going beyond the basics, this interface offers expanded I/O capabilities, making it a versatile tool for more demanding recording scenarios. The Studio 26c features a modern USB-C connection, ensuring fast and reliable data transfer between your device and the interface. At the heart of its audio prowess are the renowned XMAX-L preamps from PreSonus, known for their transparency and low noise floor. This ensures that every nuance of your audio source is captured with precision, making the Studio 26c a preferred option for musicians and producers who prioritize professional-grade sound. Whether you're tracking instruments, vocals, or both simultaneously, the Studio 26c provides the flexibility and performance needed to meet the demands of today's diverse recording projects. It's a powerful addition to the PreSonus lineup, reflecting the brand's commitment to delivering high-quality audio solutions for the modern recording environment.
Going beyond the basics, this interface offers expanded I/O capabilities, making it a versatile tool for more demanding recording scenarios. The Studio 26c features a modern USB-C connection, ensuring fast and reliable data transfer between your device and the interface. At the heart of its audio prowess are the renowned XMAX-L preamps from PreSonus, known for their transparency and low noise floor. This ensures that every nuance of your audio source is captured with precision, making the Studio 26c a preferred option for musicians and producers who prioritize professional-grade sound. Whether you're tracking instruments, vocals, or both simultaneously, the Studio 26c provides the flexibility and performance needed to meet the demands of today's diverse recording projects. It's a powerful addition to the PreSonus lineup, reflecting the brand's commitment to delivering high-quality audio solutions for the modern recording environment.
The IK Multimedia iRig Pro I/O is a compact and versatile audio interface designed to meet the demands of musicians and content creators on the go. Boasting a sleek and portable form factor, the iRig Pro I/O is compatible with iOS, Android, Mac, and PC, providing a versatile solution for various devices. Its standout feature is the combination XLR/1/4" combo input, accommodating both microphones and instruments with ease. This flexibility makes it an excellent choice for singer-songwriters, podcasters, and mobile recording enthusiasts.
For those seeking a reliable and high-performance audio interface, the Tascam US-2x2HR proves to be a standout choice. Building on Tascam's legacy of crafting professional audio equipment, the US-2x2HR is a versatile interface designed to meet the demands of modern recording environments. Equipped with two pristine Ultra-HDDA mic preamps, it delivers an exceptional signal-to-noise ratio, ensuring that your recordings maintain clarity and detail.
The US-2x2HR features a USB-C connection, enhancing data transfer speeds and compatibility with contemporary devices. The inclusion of MIDI I/O expands its utility, allowing users to connect external MIDI controllers or sync with other MIDI-enabled gear seamlessly. This versatility makes the US-2x2HR well-suited for musicians and producers who incorporate hardware synthesizers or controllers into their setups.
The top pick on this list for pure guitarists is the IK Multimedia iRig Pro Duo I/O, boasting "Best In Class Guitar Recording" capabilities. Unique to this interface is the Active / Passive pickup switch Featuring AmpliTube 5 SE and TONEX SE software for all the tone shaping you need to create incredible guitar tones. This is the perfect interface for guitars guitars direct in through the interface. No amps or microphones needed. It does however include one XLR mic preamp for added flexibility.
At the heart of the AXE I/O Solo is its high-impedance input, optimized to capture the subtle nuances and dynamics of electric guitars and basses. This input is complemented by a JFET-based input stage, which emulates the natural response of classic tube amplifiers, ensuring a warm and authentic sound. The interface also includes a dedicated Amp Out for re-amping, allowing users to send a dry signal to an amplifier or modeler and capture the tone on the way back.
If you're looking to spend a little more for upgraded audio, the Focusrite Clarrett is a good option. Expanding on the Focusrite lineup, the Clarett 2Pre USB offers advanced features and upgraded clarett preamps which provided an ultra-low noise floor and loads of clean headroom. If you're an audiophile who cares about the quality and clarity of your recordings, this is the interface for you. As with other Focusrite interfaces, the Clarrett 2Pre comes with Pro Tools Artist and the Hitmaker Expansion plugins.
Oh My Goodness we sold so many of these last year!!! The Gretsch Jim Dandy may be a smaller guitar but it is not just for kids or beginners (although it's perfect in that role)! More seasoned players love these guitars as well. There affordability and size makes this the perfect guitar to strum on the couch or around the campfire. Throw it the back of the car and take it anywhere. Picnics! Campfires! Road Trips! Man this is a great Trucker's Guitar! Street Price $189
The Fender CD-60 has been a staple at YandasMusic.com for a decade! This full-size dreadnought guitar with a solid mahogany or spruce top under Two-Hundred Bucks! Come on, what else can you ask for. Comes in natural (spruce or mahogany) or Black (spruce only). Even a Left-Handed version is available! All models have mahogany back and sides. The Dreadnaught shape provides provides a powerful rich sound. Street Price $199
The Fender CC-60S deserves it's own place here on the list! Very similar to the above CD60s, the CC60s comes in Mahogany and Natural options. Currently it is not available as a left handed option. The main difference here is the body shape. The CC60s is the slimmer "folk" or Concert shape. It has a more focused sound and can be more articulate. Some will find the slightly smaller body more comfortable to play. Same solid top and mahogany back and sides. Street Price $199
The entry level to the Yamaha FG Series and a great guitar for most beginners! Smaller humans might find this full size dreadnought a little on the large size and may opt for the smaller CC-60S or Ibanez Talman. The full size deadnought shape does provide loads of volume and low end. At $229 Yamaha provides a solid Spruce Top with a combination Nato/Mahogany back and sides. Street Price $229
This is a true sleeper. Some may think the Ibanez Talman Acoustic Guitars look a bit odd, but they do pack a lot of tone and a lot of features. The TCM50 is an ash top model (TCM50) offered in two finishes, Vintage Brown Sunburst and Galaxy Black. We have decided to focus on the ash top TCM50 for this list as that figured top adds even more value and visual appeal. I'm a sucker for wood grain.
To round out the build, the guitar features Sapele back and sides, an Okoume neck and Purple Heart Fretboard. This is the first guitar on the list to feature built in electronics and tuner, which is a nice bonus. The Thinner body makes the Talman this ideal for a petite individual or younger beginner, but it also serves to reduce onstage feedback. These are killer guitars and Street Price is $329
With five colors available there is an AXP for anyone! This is another thinner body style, so it less cumbersome than the typical dreadnought. The APX600 comes with built electronics and tuner. This guitar sounds great on it's own, but can be plugged in for a whole other world of sound. With a spruce top and rosewood fingerboard at a Street Price of $339 how do you go wrong?!
There are so many incredible Discovery Guitars under $500 that it's hard to pick just one. Really any of them could make this list. So I decided to go with model that features Breedlove's unique "Concerto" Body shape. This body boasts the benefits of a standard concert body, Clarity and tightness, with the volume and resonance of a dreadnought.
If you want a little more eye-candy with your acoustic, this model is also offered with the Edgebursrt Finish for a hundred dollar up charge. Totally worth it!
There are a lot of Yamaha guitars on this list, maybe there's a reason for that. The Yamaha FSX820C is a Concert body style with a solid Spruce Top, Mahogany back and sides. It also sports a cut-away and electronics. It's quite a guitar for under $500 with a Street Price of $469
There are quite a few Tetons under $500 that are worth mentioning but we have to pick just one so how about the STG10NT? This guitar really stands out because of its quality tonewoods. Back and sides are Ovankgal and the top is Solid Spruce with a Mahogany neck and Purple Heart fingerboard. The Grand Concert body is good all-rounder that most people will comfortable to hold and play. One extra unique feature of the STG10NT is the open pore finish which boast a bigger, louder sound. Street Price of $480
Tagima is not a well known name but they produce some high quality, affordable guitars. The Tagima Frontier features a Solid Spruce top, Okume Back and sides and Rosewood Fingerboard for right at $499 Street Price Great Deal!
I had to include a few guitars for the kids! These next two are every impressive for very little cash. They are 3/4 scale which means the scale length is 1/4 size smaller than a full size guitar making them much easier for little fingers and bodies to hold and play.
Available in five different colors These guitars are great for any first time beginner!
These are modeled off of the popular FG Dreadnought shape just shrunk down to be manageable for either a child or for traveling. Now Yamaha wasn't cutting corners on the JR2 thinking this is just for children, but they equipped it with a spruce top and included a gig-bag for people that may use this as a traveling guitar.
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There is no better gift to put under a tree than a brand new electric guitar. Here the 10 Best options for under $500 heading into the 2023 holiday season.
Let's start this list off with the lowest priced options and work our way to the $500 price point.. There are some staples on this list that we see every year, but there are also some hidden gems that you may not be aware of. All of these are great options for a first guitar, Christmas gift, or as an extra axe to add to your collection.
Part of the RG Gio Series and might be the most inexpensive solid body full scale Electric Ibanez makes at a street price of $199-$249. These come in Six colors and even a Left-hand version is available. They have a tremolo and HSH pick-up configuration.
>View Squire Sonic Stratocasters Here
Squier released the new "Sonic" sereies in 2023. Starting at the street price of $199 they have all the models you know Fender for, Strats, Tele's, P-Basses J-Basses and even Mustangs and Jazzmasters. Non of these models go over $300 So great bang for your buck here! Especially for a young player or for that guy that can't resist modding! You know who you are! The Sonic Stratocaster is everything you need and expect from a Fender / Squier guitar. 3 single coil pickups, 5-way switch, tremolo and maple neck. All of this adds up to Huge Value!
Chances are you have never heard of Tagima brand of guitars, but maybe you need to! This Brazil based company make classic style guitars like the T-shape (Telecaster) and the S-shape (Stratocaster). Their Strat style is available in Seven colors for the 500 series and five more colors for the 530 series. The tele comes in five colors. These range in street price from $299-$329
Now this might be the first underdog on the list! You probably know Ibanez for their shredder RG sytle guitars, but do you now the AZES? Do you think of Ibanez when looking for a classic "S" style guitar? Maybe you should. This might be the best "S" style guitar available for under $500. The AZES40 comes in seven colors as well as left handed option.. The alter switch combined with the 5-way pickup toggle allows for 10 selectable pickup configurations! All of the $349.99!
Yamaha is a well known brand for many things, Band instruments, Orchestra, Drums/Marching Percussion even Motorcycles. Their guitars are often sadly overlooked, which is a real shame as they make some of the best on market. Most of their guitars are real sleepers and offer an incredible value. At least thats the story with the Yamaha Pacifica PAC112V which comes in at a street Price of $359.99. Coil Split Push / Pull pots, vintage tremolo, Alnico V HSS pickup configuration. What else do you need?
Great guitar for a rocker young or old! The Jackson JS32 DKA comes with a double locking tremolo system and is available in 5 colors plus a left handed model. You can pick this model up for $369.99 or you can drop the price even further if forgo the floating trem system for a hard-tail bridge.
>View Classic Vibe '50s Tele Here
The Squire "Classic Vibe" series is a hat-tip to time period specific recreations of vintage instruments. These are not necessarily accurate vintage reissues, they are however a good way to get a very nice vintage guitar without paying thousands. With many styles and colors available there is sure to be one you will love! This '50s Telecaster feature Alnico tele pickups, slim "C" shaped neck profile and all the tele twang you could ask for.
Any of the Gretsch Streamliner guitars would be a worthy addition to your collection, but we can't include all of them on this list. So how about the G2622. A hardtail guitar with a center block design to handle high gain settings! Street Price is $449!
>View Contemporary Jazzmaster HH Here
The contemporary series is intended to be Squier's take on more modern designs. Featuring metallic finishes and higher output humbuckers. Some contemporary series guitars even feature active electronics such as this active Jazzmaster HH. Featuring active SQR ceramic humbuckers and available in two metallic finish options. This is great if you are looking for a more modern Fender design at a great price of $469.99.
I know I know, the title of this article is "10 Best Electric Guitars Under $500", but the Yamaha Revstar is just too good to leave off the list. The RSE20 comes in at $549.99 which is close enough for me! The RSE20 Revstar Element features a chambered mahogany body, 3-piece mahogany set neck, and dual humbuckers paired with a 3-way switch. Four finish options and left handed models available.
Because kids need guitars too! These next two are short scale instruments or smaller scale for young beginners to learn on!
This guitar is for the future rock start! These look like something straight out of the 80s! The colors the design and the rock too! They are simply built smaller or smaller hands and bodies. With a street price of $169 they are a great guitar to start with!
> View Squier Mini Stratocaster
Available in the Strat or the Jazzmaster body style these scream classic! Street price of $189 these will have you Rock'n and Roll'n in no time!
]]>So Let's get driving!
Not sure what drive pedals to put on your board? We got you! check our article
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Stacking two drive pedals together is when you run one pedal into another in your signal chain, and turn them both on at the same time. The first pedal will effect the second pedal in a certain way, creating a unique sound that either pedal would not be able to create on it's own.
When stacking two pedals, you are essentially combing their gain together, so you don't need to have each one dimed. Some of you may have made this mistake already and gotten that terrible high pitch hiss. Not good. This is the result of "Too Much" gain. When you are running your pedals this way, you are NOT trying to get all of your distortion from any single pedal, but rather multiple pedals combined in different ways. So you will probably want to run your gain knobs a little bit lower than you would otherwise.
Also consider the EQ curve on each pedal. The tone of one pedal will effect the tone of the next, with the last pedal in the chain having the greatest effect on the overall tone. If you want a modern scooped mid sound, don't put a Tube Screamer style pedal at the end of your chain as these pedals tend to boost the mid range.
Pro Tip: the last pedal in your chain (closest to the amp) has the most affect on the guitars overall tone/volume.
Short answer. Whatever your ear say's sounds good!!! Almost every thread on the internet says stack low gain to high gain. I'm sorry but that couldn't be more wrong! (watch the negative comments flood in). This may be the standard approach that most people stick to, but it is not a rule! Anytime you have a hard-fast rule on pedal order you are going to miss an opportunity for fun and unique sounds. Understanding your pedals, what they do, and experimenting is the key.
I have found that a three drive system works really well for me.
Pedal 1: I want a lighter/cleaner pedal. Something like a BluesBreaker or a Klon can be get the job done. This will generally be the first pedal in the chain. Just remember that the Klon and Tubscreamer both bump the mid range. The Klons Mid is around 1k where the TS is 800hz. So when you stack the two you will get mids into mids. (not necessarily bad just be aware).
Pedal 2: I like to have one of those be a very mid forward pedal like a TS circuit. If it has a Three-Band-EQ it's even better. I'll usually have this as the second pedal in my chain.
Pedal 3: I want something that can get some attention! This is my Heaviest most saturated drive. You can substitute a fuzz here if you like, but for signal chain issues it needs it be silicon. Personally I like something that will still give me mids ( I use it less with #2 then #1) But a searing JCM800 style tone.
With this setup, I have loads of tonal options available. The key is that I don't have to run all three pedals at the same time, plus I can mix and match which ones are on / off. This setup can achieve a clean boost with just pedal one on, or full on face melting distortion!
Pedal 1: Middle Gain, We have this bad boy set-up to be full and meaty! If it has a Three-Band-EQ we want to knock out some lows, highs to taste, but make sure there are plenty of mids. Adjust the volume so that it does boost or cut the sound.
Pedal 2: Lead drive. The sear the sizzle. This beast is #3 and we set the volume the same as #2. Again, we don't wan this pedal to boost the volume, so adjust accordingly. Tone can be a little darker than #2 but that's your choice. You still want some mids and plenty of gain (just don't make it muddy - rolling off low end can help as gain goes up if you have that ability.)
Pedal 3: Light gain. I like the EQ for this pedal to be on the brighter side and gain to be at the "edge of breakup" When dialing in the volume make sure it gives you a fair boost.
Hear me out on this. If you put your main meaty drives first then finish with the Cleaner higher volume pedal you get a dirty boost that actually adds more volume and dirt to either of the other two overdrives (or both). You now have a louder dirtier version of your main overdrive tones, in other words a Lead Boost. You may want to go back and adjust the settings on the other two pedals to play well with the boost and eq properties of the third pedal, but do the math. you now have 8 possible gain stages from just 3 pedals.
You better believe it! Three drive pedals is a great place to start, and will be enough for most players. Once you have your core tones set then some obvious things to add would be an EQ pedal. You can do this before the drive pedals for a tool to level out differences between guitars. You can also put the EQ after the drive pedals for use as a main EQ for the entire drive section. Think of this as a three channel amp with a master EQ after for a real swiss army knife setup. This would be similar to the Mesa Boogie Mark V or VII.
You can also add a Fuzz! If Germanium this needs to be first in your chain. Germanium circuits like to "see" your guitar. Usually even before your tuner. Most tuners have a buffer or boosted output which the germnium fuzz circuit wont like. A silicon Fuzz gives you the flexibility to move it around like any other drive or distortion. These I tend to prefer last or closer to last. What did I say at the beginning? -Whatever your ear say's sounds good!!!
Some of you read "14" and chuckled because it was a joke. Some of you lowered your heads in shame because you have 13 on you board now and just checked the tracking on number 14.
Each drive pedal has it's own unique voice. So yes, collect those bad boys like they are Pokemon cards. But do you really need all 14 on your pedal board at all times? Most guys that have double digit drive pedals do that because they don't stack them. They typically have one drive for one tone and then go to another pedal for another tone. They want the unique voice of each pedal to it's thing. There is nothing wrong with this at all. Stacking gives you flexibility and variety while using less pedals overall.
You can cover a lot more ground with less drive pedals by stacking. A huge advantage here that you might be overlooking: gain stacking gives you more bang for you buck! IT SAVES YOU MONEY so you can afford higher quality pedals or invest that money in something like a new amp or guitar.
I hope you see some benefits to stacking. One suggestion I would give you that has helped ME through my tone journey is this. As you slim down from 14 drive pedals or you build up from scratch invest in the pedal that you feel is right for the job. You're saving money here, so don't skimp and buy the cheap knock off, get the real thing. Also understand what each pedal does, and how that fits into your pedal chain.
Drop us a line! Come see us! Let us help you build your board!
]]>Like all my other "10 best" lists all of these are currently available on the market to purchase, so no vintage, rare or discontinued pedals. And again I will also include a brief description and reasoning as to why I choose each pedal. Enjoy!
Price: $149.99
We can all take a guess at what conspiracy George Tripps is referring to here. The box is even a gold color the knobs are red instead of brown and there is no half horse half man figurine on it but we get the picture. This Klon clone comes in at a 10th of the price of what an original can go for on the used market. With simple Volume, Treble, and Gain controls what else do you need.
Price: $149.99
MXR teamed up with Paul Cochran to bring you the Timmy in a smaller enclosure and to keep up with the demand. There are shoot-outs all over the internet pairing the original full-sized Timmy vs the new MXR smaller Timmy. If you can tell a difference you can probably tell at what speed a bees wings are moving. The controls are the same as the original with Bass, Treble, Volume and Gain along with a clipping switch. This little pedal holds the same big sound as its larger original counter part.
Price: $179.99
Similar design as the Timmy, The EarthQuaker Westwood is another Mid to Low gain overdrive. Controls are Bass, Treble, Volume, and Gain. This pedal doesn't color the tone much at all but the 2-band-EQ allows for some great tone shaping. That and a great gain range and this is a very useful drive pedal.
Price: $87.10 - $125
Buy Big Muff Pi W/ Tone Wicker
There have been several versions of the Big Muff over the years of its existence. Some are rare while others are affordable. There is a Big Muff for every one. The main current production line of Big Muffs includes The Big Muff PI, Nano Big Muff PI, Big Muff Tone Wicker, Nano Green Russian Big Muff, Nano Triangle Big Muff, Nano Rams Head Big Muff, Little Big Muff, Bass Big Muff, Deluxe Big Muff and Deluxe Bass Big Muff (I probably missed one or ten). The one thing they are have in common is they deliver a big, gainy wall-o-sound.
Price: $169.99
Made famous by Hendrix, Eric Johnson and most recently Joe Bonamasa the Fuzz Face gets it's name because it literally looks like a face. Some versions have Germanium transistors while others have newer silicon transistors. Probably one of the most cloned and redesigned classic fuzz circuits of all time.
Price: $62.99
First released in 1997 this is Boss' standard distortion offering. Used on countless recordings over the years. Showing up on boards of greats like Joe Satriani, Steve Vai, John Frusciante of the Red Hot Chili Peppers and even Kurt Cobain of Nirvana.
Price: $89.99
Is it Overdrive, Distortion or Fuzz? Yes! The ProCo Rat has seen a few different versions. The current market version is the Rat II. Its is a very versatile dirt pedal that can range anywhere from overdrive to full-on fuzz. You probably see this pedal used more in the higher gain range but definitely has a sweet tone in the lower gain range as well. Lately we have seen more and more boutique builders make their versions of the Rat. The VFE Alpha Dog, The Walrus Iron Horse, The Jam Rattler. JHS even says the Kilt can sound like a "Rat on cocaine" interpret that how you will. So it's obvious this pedal is growing in popularity.
Price: $99.99
It's not accident that the number 2 and 3 spots on this list are from Boss. It would be easy to argue that the BD-2 should be edged out the SD-1 by a inch or vice versa. The BD-2 is here at number 3! It was introduced in 1995 and labeled as a blues pedal but definitely usable for all kinds of genres due to its open EQ characteristics
Price: $62.99
The Boss SD-1 is similar to the Tubscreamer but the SD-1 uses asymmetrical clipping verses symmetrical making the tone slightly different. The SD-1 has been a staple on many players board both beginner and professional alike. I quick look on some of the forums show that it's rumored that John Frusciante, Jimmy Page, David Gilmour and even Eddie Van Halen all used it on different recordings at different times in there careers.
Price: $179.99
Here it is, Number One! The Ibanez TS808 Tube Screamer! Originally released in 1979, then released as the TS9 in 1981-1985. Later Ibanez released the 10 series of effects and the TS10. Later both the TS9 and the TS808 were re-released and are still on the current market. The list of notable players that use the TS808 would hit the floor and roll out the door but here are a few... The Edge, Eric Johnson, John Mayer, Carlos Santana, Andy Timmons, Steve Via and probably the most notable TS808 player Steve Ray Vaughn.
So let me know what some of your favorites are in a comment below! If there is something here you haven't tried pick one up next time you get the "I need another overdrive" bug. Until next time!
]]>Channel 1: Clean, Fat, Tweed
Channel 2: Edge, Crunch, Mark I™
Channel 3: Mark IIC+™, Mark IV™, Extreme
Channel 1: Clean, Fat & Crunch.
Channel 2: Fat, Crunch & Mark VII.
Channel 3: Mark IIB™, Mark IIC+™, Mark IV™
An interesting feature of the Mark VII is that there are some shared modes from channel 1 to channel 2 ("Fat" and "Crunch" modes) reminiscent of the JP2C and Filmore series amps. At first this may seem like downer, the Mark VII doesn't have as many modes as the Mark V does. This is true on the surface, but the VII allows for greater flexibility in a live setting. For example It allows you to have ch1 setup for rhythm crunch and ch2 for setup for lead. A problem I always had with the V is that all three channels didn't really work together very well. Yes it has more modes, but the VII is far more usable when playing live. Not to mention, the VII is MIDI controllable.
So long story short the same modes on channel 1 & 2 are not identical (at least not by ear) but are close enough that they can be used like the Fillmore or JP2C amps.
In talking to my rep he gave me a brief history of the Mark series. The early Mark amps like the II and the III used a larger Transformer but the Mark IV and V moved to smaller transformer as people were wanting a smaller, lighter weight amp. For the Seven, Mesa/Boogie decided to go back to the Roots of the Mark series, using a larger transformer.
Why does the transformer matter? Well in this case bigger is better. More metal means more power which will translate into the tone.
I told a story above about Mesa looking back to the earlier series for inspiration. The Mark II and III inspired the larger transformer but we saw a shift in the IV and V of players looking for smaller lighter amps. I don't think any of us want to sacrifice tone or power, which is why Mesa made a shift back to the larger transformer. What if you could have both?!? The Mark V comes in at 44 lbs And measures 22 3/4" wide. The Mark VII is only 40 lbs and 18 3/4" wide. So it's more powerful because of the Transformer and it's smaller and lighter!
Both the Mark V and VII have the same power tube section, 4 6L6s or EL34's. Where they are different is the V has 7 12AX7's in the PreAmp section and the Mark VII only needs 5 12AX7's.
The Mark V and VII are very different amplifiers! The biggest overall difference that Mark players will notice right away, is the volume and bass increase on the VII over the V. That is primarily due to the size of the Transformer but also the fact that the VII does not have master volume. This means that it is always running "wide open". This amp is LOUD and isn't as well suited to bedroom practice where the V sounds pretty decent at lower volumes.
The low end has a different feel on the VII. Mark owners know that if you want to turn up the gain, you have to turn down the bass. High gain settings on the Mark V will have the bass essentially at zero as the gain introduces "flubiness" in the bass frequencies. The graphic EQ brings the low end back in giving you that tight, percussive tone that metal players love. The Mark VII still has the tight aggressive tone (yes it chugs) but it has much more usable low end before the flub starts to kick in. People who complained about the V not having enough low end will enjoy the VII.
Both of these amps are extremely versatile and cover a lot tonal ground, so without writing an entire novel, the best way to sum up the tonal comparison is thus: The VII is louder, has more low end, and has a more modern voicing when compared to the V.
*Just a personal opinion note: The Mark V feels suited more for a combo band style amp and will shine for funk, lighter styles of rock and country. Where the extra power in the VII makes it better suited for anything heavy or D-tuned.
Either of these amps will cover a lot of ground and can't really be be put in a box (except maybe the shipping box).
You can pick up one or both of these at Yandasmusic.com (shameless plug)
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Yandas carries a variety of different Shure in-ear and over-the-ear monitors. When a lower profile is needed for onstage performances, the Shure SE112, 215, 435, 535, or 846 earphones are reliable companions in any environment, but their differences can be confusing.
These earphones are set apart from each other primarily by their drivers, which are the components that are physically vibrating to create sound. The SE112 and 215 contain a single driver in each ear. The SE425’s contain two drivers in each, and the SE535’s contain three drivers in each ear tethered by a computer chip, also known as a crossover, that diverts appropriate frequencies to either the two micro-subwoofers or the tweeter. Finally, the SE846 contains four drivers including two woofers, a midrange driver, and a tweeter for a totally comprehensive sound profile.
It's important to determine how accurately you want your monitors to relay your sound to you. The frequency range of a given headset will determine how well it can receive the highest or lowest sounds perceivable by the human ear. The average human ear can hear a frequency range of 20hz to 20 kilohertz. The Shure SE112, their most affordable model, has a frequency range of 25hz to 17 kHz, meaning they don’t quite cover the entire hearable spectrum. With four drivers, the SE846 model boasts a frequency range of 15Hz to 20 kHz, meaning these earphones cover the entire audible spectrum with a little extra on the lowest frequencies.
One last thing to compare when choosing the right in-ear monitors is the sensitivity value. This is the value given to show how efficiently the monitors convert electrical signals into audible signals.
Essentially, a higher sensitivity value means that the headphones will use power input more efficiently. This chart would tell us that the Shure SE535’s will be able to generate louder output than the SE112’s if given the same amount of power input.
If an in-ear monitoring system is the tool you need to take your group to the next level, Yanda’s Music has options that fit any budget.
]]>Let's dive into the world of "Modulation" pedals and explore what they have to offer. In this list, we'll be offering up our Top Ten Modulation pedals, including Chorus, Vibrato, Phaser, Flanger, and Tremolo pedals. If you're unfamiliar with these terms we have brief rundown below. Similar to our previous "10 best" lists, all the pedals mentioned here are readily available on the market, so you won't find any vintage, rare, or discontinued models. As always, I'll provide a brief description and reasoning for choosing each pedal. Enjoy the ride!
Chorus - Chorus creates a lush, shimmering sound by duplicating the guitar signal, altering the pitch of one of the signals slightly, and then blending it back with the original. This process simulates the sound of multiple instruments playing the same part.
Flanger - Flanger produces a swirling, whooshing effect by duplicating the guitar signal, delaying one of the signals, and then modulating the delay time. This creates a sweeping, jet-like sound.
Tremolo - Tremolo modulates the volume of the guitar signal at a regular rate, creating a pulsating or rhythmic effect. It is achieved by varying the amplitude of the signal.
Vibrato - Vibrato modulates the pitch of the guitar signal, creating a subtle, regular variation in pitch. It is often confused with tremolo, but vibrato specifically affects pitch, not volume.
Phaser - Phaser splits the guitar signal into two paths, modulates one path by varying its phase, and then blends it back with the original. This creates a swirling, sweeping effect.
The MXR Micro Chorus, a remarkable pedal that entered the scene in 1982. A testament to the idea that simplicity can be powerful. Its elegantly minimalist design, coupled with user-friendly operation, makes it an enduring choice for guitarists seeking a reliable, user-friendly, and great-sounding chorus pedal.
Tremolo effects first emerged in early tube amps like Fender and Vox. However, lugging around a vintage Twin Reverb or Super Reverb to a gig isn't exactly convenient. That's where the Boss TR-2 comes in, making tremolo accessible and portable. With controls for Rate, Depth, and Wave Shape, dialing in fantastic tremolo sounds is a breeze.
Warlus was started by Colt Westbrook and is a boutique pedal company out of Oklahoma. The Julia Chorus is based loosely on a Boss CE-2 and features a D-V-C (Dry-Vibrato-Chorus) knob that really opens up a lot of tonal possibilities. This knob blends the dry signal into the amount of chorus eventually removing the dry completely leaving you with vibrato. A very unique and interesting sound.
Another unique mod pedal from Walrus is the Monument. This is a harmonic Tremolo modulation effect with plenty of knobs for changing the shape of the waveform. What makes this pedal truly unique is the tap tempo to dial in the speed of the tremolo. All of this is a single-pedal footprint! Incredible! Go get one!
As mentioned earlier, vintage amplifiers were the birthplace of tremolo effects, and the Strymon Flint pays homage to those legendary amps of yesteryear. This pedal, which also makes an appearance on our "10 best reverb Pedals" list, offers three distinct tremolo types: '61 Harmonic, '63 Power Tube, and '65 Photo Cell. Additional controls for Intensity and Speed, along with a Tap/Favorite switch for tap-tempo, add to its versatility
The Strymon Mobius is a modulation powerhouse. With its digital readout, twelve modulation types, 200 presets, and MIDI connectivity, this pedal is a true force to be reckoned with. It also offers stereo ins and outs, and its Right in and Right out can serve as an effects loop, allowing you to position the modulation effects pre or post drive pedals. The pedal surface features a tap-tempo pedal and bank up/down functions, making it remarkably versatile. With such an intuitive user interface, there's not much this pedal can't do.
Emulating an effect immortalized by the iconic Jimi Hendrix is sure to ignite excitement among guitarists, and the MXR Uni-Vibe does precisely that. In a market saturated with various uni-vibes, this specific model stands out by closely replicating the enchanting essence of the original magic.
The Electro Harmonix Eletric Mistress showed up on countess police recordings, played by Andy Summers. David Gilmore made use of it on Pink Floyd records as well. While original versions of this pedal fetch a hefty price, fear not, as Electro-Harmonix continues to produce them. The Electric Mistress features controls for Rate, Flanger Depth, and Chorus Depth, allowing you to shape its versatile and captivating sound.
When people think of Van Halen, the classic sound of the he MXR Phase 90 is what they hear in their heads. A true classic that helped shape one of the most iconic hard-rock guitar tones ever heard. There are a few versions of this on the market today. The Script logo variant aims to capture the essence of the original Phase 90, reminiscent of its past glory. The Block logo represents the modern rendition, incorporating contemporary enhancements. Notably, Eddie Van Halen's signature version combines both modes, accessible with a simple press of a small button. The MXR Phase 90 remains a beloved choice for guitarists seeking that signature phasing sound.
The final pedal to make the list—the Boss CE-2W chorus pedal. The roots of the chorus effect can be traced back to the Roland JC-120 Jazz Chorus amplifier. Boss, under Roland's ownership, first introduced this effect in pedal form. The initial incarnation was the CE-1 in 1976, a sizeable pedal with an attached power cord. Later, in 1979, Boss unveiled the CE-2, the world's first compact chorus stompbox. The CE-2W pays homage to these groundbreaking pedals by offering modes for both the CE-1 and CE-2. Throughout history, the CE-1 and CE-2 have been widely imitated, making them the most duplicated chorus pedals of all time. The CE-2W's enclosure closely resembles the original, solidifying its position at the top of the list.
If you have a penchant for all things warbly and immersive, you would do well to explore any or all of the pedals mentioned above. As guitarists know all too well, the allure of new pedals is irresistible, and the quest for the perfect sound is an ongoing pursuit. So, rock on and continue to expand your sonic horizons with these remarkable modulation pedals! because we all know there is no such thing as "just one more pedal". So, rock on and continue to expand your sonic horizons with these remarkable modulation pedals!
Attention all music enthusiasts and guitar aficionados! Get ready to embark on a journey into the world of the extraordinary with the introduction of the new Squier Paranormal series. Designed to push boundaries and challenge conventions, this innovative lineup of guitars pays homage to the quirky and mysterious instruments of the past, while embracing modern playability and tone. Brace yourself for an otherworldly experience as we dive into the intriguing world of the Squier Paranormal series.
Embracing the Ghosts of the Past: The Squier Paranormal series draws inspiration from the vintage oddballs and rarities of guitar history. It resurrects forgotten designs and combines them with contemporary craftsmanship, resulting in a collection that not only stands out visually but also delivers a remarkable tonal palette. From the offset-waisted Cabronita Baritone Telecaster to the haunting Cyclone and the mesmerizing Toronado, each model in the Paranormal series is a testament to the allure of the past.
Quality Craftsmanship with a Modern Twist: While the Paranormal series celebrates the eccentricities of vintage guitars, it doesn't compromise on modern playability and reliability. Squier, renowned for its commitment to quality, ensures that every guitar in this series meets the high standards set by today's players. With comfortable neck profiles, versatile electronics, and stable hardware, the Paranormal series allows you to delve into uncharted sonic territory without sacrificing playability.
A Haunting Sonic Spectrum: One of the most exciting aspects of the Squier Paranormal series is the expansive sonic palette it offers. Whether you're chasing down that signature surf sound with the Paranormal Offset Telecaster or exploring the depths of heavy rock with the Paranormal Baritone Cabronita Telecaster, these instruments open up new possibilities for your creativity. The versatile pickup configurations and unique tonal characteristics of each model will inspire you to experiment and explore genres you might never have considered before.
Stand Out from the Ordinary: In a world of mainstream guitar designs, the Squier Paranormal series provides a breath of fresh air. With their captivating aesthetics and intriguing body shapes, these guitars are bound to turn heads on stage or in the studio. Whether you choose the visually striking Paranormal Cyclone or the edgy Paranormal Rascal Bass, you'll make a bold statement with an instrument that reflects your individuality and love for the extraordinary.
Accessible for All: Squier has always been committed to providing high-quality instruments at affordable prices, and the Paranormal series is no exception. These guitars offer an opportunity for players of all levels to own an instrument that stands out both visually and sonically, without breaking the bank. Whether you're a seasoned guitarist or a beginner looking for something unique to ignite your passion for playing, the Squier Paranormal series welcomes you with open arms.
Conclusion: The Squier Paranormal series unleashes the supernatural sounds of the past while embracing the demands of the present-day musician. With their striking designs, exceptional craftsmanship, and versatile tonal capabilities, these guitars are a testament to the exploration of new sonic realms. Embrace the enigmatic allure of the Squier Paranormal series, and let your creativity soar to unearthly heights. Step into the paranormal and embrace the extraordinary!
Why Change Guitar Strings? Over time, guitar strings lose their brightness, become dull, and accumulate dirt, sweat, and oils from your fingers. These factors can contribute to a decrease in sound quality and intonation, as well as hinder your playing experience. Changing your strings regularly helps maintain a consistent tone, sustain, and overall performance.
Gathering the Right Tools: Before you begin the string changing process, make sure you have the necessary tools at hand. These include a set of new guitar strings (appropriate for your guitar type), a string winder, wire cutters, and a guitar tuner. Having all the tools readily available will make the process smoother and more efficient.
Removing the Old Strings: Start by loosening the tension of the old strings. Use the string winder to turn the tuning pegs counterclockwise, gradually lowering the tension until the string is loose enough to remove. Once loose, use the wire cutters to carefully cut the strings near the bridge. Remove each string one at a time, being cautious not to scratch the guitar's body or damage any components.
Cleaning the Guitar: With the old strings removed, take the opportunity to clean your guitar. Use a soft cloth or microfiber cloth to wipe away any accumulated dirt or grime on the fretboard, body, and hardware. This will help maintain the overall condition and longevity of your instrument. You may also want to apply to some lemon oil to fingerboard (unless it's maple). Apply a few drops and wipe down with a shop towel. This will keep the wood conditioned and looking great!
Installing the New Strings: Unpack your new set of strings and identify the appropriate string for each position on the guitar. Starting with the thickest string (low E), insert it into the bridge and pull it through the corresponding tuning peg. This process will vary slightly depending on your guitars bridge type. Some guitars have a "string-through-body" bridge where the string will actually be inserted from the back of the guitar and pulled through the top. Acoustic guitars typically use bridge pins to hold the strings in place. Leave about 2 inches of slack in the string, and then wind the string around the peg, ensuring it wraps neatly and securely by keep downward pressure on the string. It is important that the string winds around the peg in the correct direction! If you're tuning pegs are arranged "3 On A Side", then all of the strings should come off the "inside" of the tunning peg heading towards the nut. If you have a "6 In Line" arrangement like a stratocaster, then all strings should come of the bottom side of the tuner. Stretching and Tuning: After installing the new strings, they will need to be stretched and properly tuned. Begin by gently pulling each string away from the fretboard, applying light tension to help settle the strings. This process helps minimize future tuning instability. Once stretched, use your guitar tuner to accurately tune each string, starting from the low E and progressing to the high E. Repeat the tuning process until all strings are in tune.
Stretching and Tuning: After installing the new strings, they will need to be stretched and properly tuned. Begin by gently pulling each string away from the fretboard, applying light tension to help settle the strings. This process helps minimize future tuning instability. Once stretched, use your guitar tuner to accurately tune each string, starting from the low E and progressing to the high E. Repeat the tuning process until all strings stay in tune.
Post-String Change Adjustments: Depending on the guitar type, you may need to make additional adjustments after changing the strings. Electric guitars may require minor intonation adjustments using the bridge saddles, while acoustic guitars might benefit from a truss rod adjustment to maintain proper neck relief. If you're unsure about these adjustments, it's advisable to consult a professional guitar technician.
Conclusion: Changing guitar strings is an essential skill for every guitarist. By following the step-by-step process outlined in this guide, you can maintain optimal sound quality, playability, and overall enjoyment of your instrument. Remember to regularly change your strings, keep your guitar clean, and perform any necessary adjustments to ensure your guitar performs at its best. So go ahead, pick up that guitar, and experience the rejuvenating power of fresh strings!
]]>When it comes to guitar pedals, few brands have captivated the hearts and ears of musicians quite like JHS. Founded in 2007 by Josh Scott, JHS Pedals has gained a reputation for crafting exceptional effects pedals that inspire creativity, push sonic boundaries, and enhance the overall guitar playing experience. In this blog post, we'll delve into the world of JHS guitar pedals, exploring their craftsmanship, innovation, and the unique sounds they offer to musicians.
The Art of Craftsmanship: One of the standout features of JHS pedals is the meticulous craftsmanship that goes into their production. Each pedal is carefully assembled by hand in Kansas City, Missouri, with great attention to detail and quality control. From selecting the finest components to rigorous testing, JHS ensures that their pedals meet the highest standards of reliability and performance. The dedication to craftsmanship shines through in every pedal they create.
A Wide Range of Tonal Options: JHS offers a diverse range of guitar pedals, catering to a wide variety of playing styles and musical genres. Whether you're seeking warm, vintage-inspired tones or cutting-edge, modern effects, JHS has something to offer. From classic overdrive and fuzz pedals like the Morning Glory and the Muffuletta to innovative modulation pedals such as the Unicorn V2 and the Emperor, JHS provides a sonic palette that empowers musicians to shape their unique sound.
Collaborations and Signature Pedals: In addition to their core lineup, JHS has collaborated with numerous renowned artists and musicians to create signature pedals that embody their individual styles. These collaborations include pedals like the Ryan Adams VCR, the Paul Gilbert PG-14, and the Andy Timmons AT Drive, to name a few. By working closely with these artists, JHS has been able to capture their tonal preferences and translate them into exceptional pedals that inspire players to reach new heights of musical expression.
Innovation and Adaptability: JHS is not afraid to push the boundaries of what a guitar pedal can do. They are constantly innovating and introducing new features and technologies to their lineup. Whether it's the incorporation of tap tempo, MIDI compatibility, or clever signal routing options, JHS pedals are designed to adapt to the evolving needs of musicians. This commitment to innovation ensures that JHS remains at the forefront of the effects pedal industry.
Embracing the Vintage Charm: While JHS is known for their innovation, they also have a deep appreciation for vintage tones and effects. Many of their pedals pay homage to iconic classics, capturing their essence while adding modern improvements. These pedals offer a blend of nostalgia and versatility, allowing guitarists to capture the magic of the past while embracing the possibilities of the present.
Conclusion: JHS guitar pedals have earned a well-deserved reputation for their exceptional craftsmanship, tonal versatility, and constant pursuit of innovation. With a wide range of effects, collaborations with renowned artists, and a commitment to quality, JHS pedals have become a favorite among musicians seeking to expand their sonic horizons. Whether you're a seasoned professional or an aspiring guitarist, exploring the world of JHS pedals is sure to ignite your creativity and help you unlock new musical possibilities.
So, plug in, step on the pedal, and let JHS transport you to a world of sonic wonder. Your musical journey awaits!
The Fender Squier Sonic Series offers a variety of classic body shapes to choose from, including:
Stratocaster: The Stratocaster is one of the most iconic guitar body shapes in the world. It's known for its comfortable playing feel and its versatile sound.
Telecaster/Esquire: The Telecaster is another classic guitar body shape. It's known for its bright, twangy sound and its simple, no-frills design.
Mustang: The Mustang is a smaller, more compact guitar body shape. It's known for its punchy sound and its comfortable playing feel.
Precision Bass: The Precision Bass is one of the most recorded musical instruments in history, and is a viable tool for bassists of all sorts.
Bronco Bass: The Bronco bass body shape is known for its comfortable playing feel and its versatile sound.
Solid wood bodies: The Sonic Series guitars feature solid wood bodies, which give them a warm, rich sound.
C-shaped necks: The Sonic Series guitars have C-shaped necks, which are comfortable to play for both beginners and experienced players.
Indonesian made: Instruments made in Indonesia have been found to have great craftsmanship, quality of materials, and longevity.
Chrome hardware: The Sonic Series guitars feature chrome hardware, which gives them a classic look and feel.
Different finishes: The Sonic Series guitars are available in a variety of different finishes, so you can find the perfect guitar to match your style.
Different pickups configurations: The Sonic Series guitars are available with a variety of different pickup configurations, so you can find the perfect guitar for your sound.
Different hardware: The Sonic Series guitars are available with a variety of different bridge setups, so you can purchase exactly the guitar to your liking.
If you want to see these guitars in action watch this video!
Watch Here!
The Fender Squier Sonic Series is the perfect guitar for anyone who is looking for an affordable, high-quality electric guitar. With its variety of different body shapes, features, and variations, you have all the options you need to make your Sonic, Iconic!
]]>If you've played guitar, you're probably familiar with the most popular body shapes, the most ubiquitous of them arguably being the Stratocaster. Introduced in the 1950's, this guitar shape is clearly here to stay. You can find Strats for sale at a great number of different price points across Fender's various subsidiaries and brands, but today, we are going to take a deeper dive into Fender's "Player" series Stratocasters.
Fender's Player series Strats are the lowest-priced Strats that bear the hallmark of Fender on the headstock. If you want a Strat for less money, you'll be looking at Fender's Squier offerings. Squier Strats have come a long way in recent years, but it should be noted that the entry level to having a real-deal "Fender" strat is the Player. Player series guitars also differ from their Squier counterparts in that they are made in Mexico, as apposed to Squiers, which are made in China or Indonesia. They feature better quality control, better handiwork, and of course, the Fender moniker on the headstock.
Feature-wise, the Player Strat carries a myriad of appointments at an attractive price point. Both the HSS (Humbucker - Single - Single Pickup Configuration) and the SSS (Single - Single - Single Pickup Configuration) version are available in 12 finishes with 2 different fingerboard options. The Player Strat features a 2-point synchronized tremolo, which carries a number of advantages over the traditional 6-point trem. For a little extra scratch, you can get yourself into a Player strat with some extra features, like a flame maple top or even a Floyd Rose double locking tremolo system.
Any Player series strat can currently be purchased brand new from Yandas Music for less than a thousand dollars, even if you choose to get the upgraded top or the double locking tremolo version. At such a price point, these features are a fantastic value. Whether you're a newer player looking to upgrade to something you can rely on in a gigging or recording situation, or a more experienced player who doesn't want to bring your trophy strat to the show, the Player Strat fills a niche in the market with an attractive set of features.
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Single-coil pickups are a type of electric guitar pickup that have been around since the early days of electric guitars. They are made up of a single coil of wire wrapped around a magnet, and are known for their bright, clear tone. The simplicity of their design makes them relatively easy to manufacture, and they are still among the most common type of guitar pickup today.
Single-coil pickups have a distinctive sound that is well-suited to genres like rock, blues, and country music. They are known for their clear, bright tone, which emphasizes the upper frequencies of the guitar's sound. This can make single-coil pickups particularly effective for playing lead guitar lines or for adding a shimmering quality to rhythm guitar parts.
However, single-coil pickups are also known for their tendency to pick up unwanted noise, such as electrical hum or radio interference. This can be particularly problematic in live performance settings, where the noise can be amplified along with the guitar's sound. To combat this issue, some guitarists use noise-cancelling pickups, which use a second coil to cancel out the unwanted noise.
Despite their drawbacks, single-coil pickups remain a popular choice among guitarists for their unique and versatile sound. They have been used by some of the most influential guitarists in history, including Jimi Hendrix, Eric Clapton, and Jeff Beck, and continue to be a staple of electric guitar tone today.
Humbucker pickups were developed in the 1950s as a way to address the issue of unwanted hum that single-coil pickups can produce. They were invented by Seth Lover, an engineer at Gibson, who wanted to create a pickup that could provide the clarity and brightness of a single-coil pickup, but without the noise issues.
Humbucker pickups are so named because they "buck the hum" by using two coils of wire instead of one. The coils are wound in opposite directions, which cancels out the hum caused by electromagnetic interference. The result is a pickup that has a warm, thick tone that is well-suited for genres like heavy metal and hard rock.
In addition to their noise-cancelling capabilities, humbucker pickups are also known for their high output and sustain. They are particularly effective at producing a thick, chunky sound that can cut through a mix, making them a popular choice for lead guitarists.
Gibson-style guitars are typically equipped with two humbucker pickups, one at the bridge position and one at the neck position. This configuration allows for a wide range of tonal possibilities, from thick, heavy rhythm guitar parts to searing lead solos. Some other guitar models may feature just one humbucker pickup, often in the bridge position, which can provide a powerful, focused tone.
Overall, humbucker pickups are a popular choice among guitarists looking for a powerful, noise-free sound. While they may not be as versatile as single-coil pickups, they are well-suited for certain genres and playing styles, and have become an integral part of many guitarists' tonal arsenals.
P90 pickups are a type of electric guitar pickup that are similar to single-coil pickups in some ways, but differ in several key aspects. Like single-coil pickups, P90s have a coil of wire wrapped around a magnet, but they are larger and have a wider coil. This results in a thicker, more powerful sound than a traditional single-coil pickup.
P90 pickups are known for their raw, aggressive tone, which makes them particularly well-suited for genres like punk and garage rock. They have a slightly darker sound than single-coil pickups, which can add a certain amount of grit and attitude to a guitar's tone. P90s are also known for their excellent midrange response, which allows them to cut through a mix and be heard even in a crowded band setting.
One interesting aspect of P90 pickups is that they can be used in a variety of different guitar styles. While they are commonly associated with Gibson-style guitars like the Les Paul or SG, they can also be found on a variety of other guitar models. Some guitarists even use P90 pickups in Telecaster-style guitars, which can provide a unique, aggressive take on the classic Tele sound.
Overall, P90 pickups are a great choice for guitarists looking for a thick, aggressive tone with excellent midrange response. They are particularly well-suited for punk and garage rock styles, but can be used effectively in a wide range of other genres as well. Whether you're looking to add some attitude to your sound or simply want to try something new, P90 pickups are definitely worth considering.
Active pickups are a relatively new development in the world of guitar pickups. Unlike passive pickups, which use the guitar's magnetic field to generate an electrical signal, active pickups require an external power source, typically a battery, to operate. This power source allows the pickup to use a preamp, which boosts the signal and can produce a much higher output than a passive pickup.
The high output of active pickups makes them well-suited for genres that require a lot of distortion, such as heavy metal and hard rock. They are also popular in genres like punk and industrial music, which often make use of heavily distorted guitar tones. In addition to their high output, active pickups are known for their clarity and precision, which can help to cut through the mix in a live performance or recording setting.
One downside of active pickups is that they can be more expensive than passive pickups, due to the added cost of the required battery and preamp. Additionally, some guitarists feel that the battery can be a hassle to replace, and that the added circuitry can alter the guitar's natural tone. However, many guitarists feel that the benefits of active pickups, including their high output and clarity, outweigh these drawbacks.
Overall, active pickups are a versatile and powerful tool for guitarists looking to achieve a high-gain, distorted sound. While they may not be the best choice for every genre or playing style, they have become an increasingly popular option for guitarists looking to push the limits of their instrument's sound.
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Piezo pickups are a type of pickup that are commonly found on acoustic-electric guitars. They work by sensing the vibrations of the guitar's bridge and converting them into an electrical signal. Piezo pickups produce a very clear, natural sound and are often used in genres like folk and country music.
In conclusion, understanding the different types of guitar pickups is important for any guitarist who wants to achieve the desired tone for their music. Each type of pickup has its own unique characteristics, and can drastically affect the sound of an electric or acoustic-electric guitar. Whether you prefer the bright and clear tone of single-coil pickups or the thick and warm tone of humbuckers, there is a pickup out there that can help you achieve your desired sound.
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From the surf music of the early 60’s to the first generation of punk in the 70’s to the grunge of the early 90’s and finally to the shoegaze and alt rock of the present, the Fender Jaguar is one of the least talked about but hugely influential and iconic guitars from Fender. Yandas Music was lucky enough to acquire this guitar 1963 Jaguar in excellent condition, with all original parts and case. It can be purchased here.
Introduced in 1962, the Jaguar was Fender’s top-of-the-line guitar at the time. Taking design cues from the Jazzmaster, the Jaguar had specs that set it apart from anything Fender had produced before. The 22 fret neck and 24-inch scale length may have been aimed at making Gibson players more comfortable on a Fender. The smaller, better shielded pickups were a less noisy alternative to the pickups on the Jazzmaster. With completely separate lead and rhythm circuits, the Jaguar had the most complex wiring and controls Fender had offered to date. The Jaguar was also the first Fender guitar to be offered with four different neck widths.
Upon the Jaguar's 1962 release, it saw some use in the 1960’s surf-rock scene, but the British invasion would change pop music quickly. Sightings of the Jaguar would become less frequent in the second half of the 60’s. While the Telecaster and Stratocaster would continue their rise in popularity, the Jaguar had been relegated to secondary status. The Jaguar would sell well enough to stay in production until 1975.
In the mid 70’s, pre-owned Telecasters and Stratocasters maintained their popularity and therefore price. The Jaguar was in much lower demand, and consequently became a guitar that young musicians could find used at an affordable price. This led to the guitar's use in early punk and alt-rock bands. This trend would continue in underground music scenes, leading to the Jaguar's resurgence in popularity in the early 1990’s in genres like grunge and alternative rock. The Jaguar continues to be the guitar of choice for many alternative guitar players to this day.
The modern 7-string was first mass produced by Ibanez, who released a Steve Vai signature model in 1990. Steve can be heard using a 7-string on Whitesnake’s “Slip of the Tongue” record, as well as many of his solo works, such as “Bad Horsie.” While not a commercial success at the time, the 7-string had found its way into the hands of the band Korn, who Vai himself credits with the re-popularization of the instrument.
From then on, 7-string guitars could be found in a variety of styles of rock and metal, from progressive rock from the likes of Dream Theater to more heavy material from bands like Meshuggah. Some notable modern 7-string players include Jake Bowen, Misha Mansoor, Matt Heafy, Jeff Loomis, Tosin Abasi, James Monteith, Chris Broderick, Rusty Cooley, Lucas Mann, Jason Richardson, Devin Townsend, and of course, Steve Vai, Brian Welch, and Mårten Hagström.
The added 7th string adds range to the low end of the guitar, with standard tuned instruments adding a B note. This is a fourth below the 6-string lowest note, or 5 frets. One popular alternate 7-string tuning is “Drop A” which plays much like “Drop D” on a 6 string guitar. This puts the 7th string down a full fifth from the E, allowing the player more ease when performing power chords. The benefits of adding the 7th string go beyond simply having access to more low-end rumble. Because of the lower note access all the way up the neck, 7-string players can execute more complex chords, arpeggios, licks, and scales than would be possible on a 6-string. This is also part of why bassists often choose 5 strings over 4, simply because it’s easier to play an F note on the 6th fret of the low B than it is to reach down to the first fret of the E.
Of course, sometimes players use 7-string guitars because they want to play low and mean, and trust and believe, most 7-strings will take you there, but the full potential of a 7-string is not realized by most players. With access to an additional set of notes in a given position, the possibilities for jazzy voicings, complex licks, and fully rounded out scalar runs are more endless than most people realize. We hope that this article may shed some light on how players use the 7-string, as well as how it might be beneficial for you! Feel free to leave a comment with your own thoughts and opinions!
We recently acquired this Used PRS Wood Library McCarty Double-Cut. This is a beautiful two piece maple 10 top on ash back. The Gorgeous green color is called Absynthe which you will find on both the top and the flamed maple neck. The fret-board and the head-stock cap are both Brazilian Rosewood with the paper work is included. The inlays are abalone lined with mother-of-pearl. The tuners are Ivory-iod. Fitted with the 58/15LT-FM pick-ups in both the Treble and the Bass positions. It is a 2-pc Stoptail bridge, Pattern-Vintage neck carve and, was produced in 2018.
If you want more info on this guitar, watch our video featuring Miles & Mike as they show off what this guitar can do!
A Paul Reed Smith Wood Library is a special run of guitars, usually made in batches six to ten. These batches are made for a specific retailer. Only select retailers are designated as Wood Library dealers. Wood Library guitars give you some of the luxury of a PRS Private Stock (custom) guitar, but at a more manageable price point. So the Wood Library sits somewhere between the standard core series and the extreme high-end Private stock guitars.The biggest difference is the added features are limited, they are in a run of at least six, and they are designed by the retailer in conjunction with PRS where a Private Stock can be designed by YOU!
If you are looking for both a guitar with looks that can kill and tone for days than you can stop looking! PRS continues to out-do themselves and this guitar is proof! You have to play this thing!
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In the list of the "Top 5 Most Conductive Metals" Gold ranks #3 below Copper (#1) and Silver (#2). Also on that list was Aluminum (#4) and Zinc/Brass (#5).
So if a superior electrical connection (which is what manufactures claim) is the magic of Gold-Plated cables, then why haven't we seen an influx of Copper plated or Sliver Plated in-put jack cables?
Just for reference in July of 2022 the price per ounce of Copper is only 23 cents. The number two metal, Silver is 19 dollars per ounce and some change. But the number three metal for conductivity, Gold is $1921 per ounce (1/20/2023) which definitely makes it the most expensive choice for a guitar cable. Why use gold when silver or copper would be less expensive and would perform better in theory?
For the sake of argument, let's assume that a gold tip guitar cable provides a better signal which results in better tone coming out of the amp. There is still a big problem that most people overlook. A Gold tipped cable is only one half of the connection. Your guitar jack is the other half. The contact in your guitar is almost certainly NOT gold plated. If Gold is the answer (we will talk about that later) the contact on your guitar jack would also need to be gold plated. Since it's not, this whole discussion is moot.
In my professional opinion I believe the Gold tipped cable is not much more than a marketing ploy. Here is the bottom line:
Listen, I'm a "Tone Chaser". I get it. We are willing to try anything to get any perceived bump in tone whether its real or imaginary. At the end of the day your fans don't care what cable you use and wouldn't be able to hear the difference even there was one. Do yourself a favor and let this one go. There are plenty of other thing you can spend your money on that might actually improve your tone. Keep on makin' music my friends.
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For those of you enjoying a night out at the bar listening to that killer band play your favorite tunes, those musicians worked their butts off to get there. Don't be afraid to leave those musicians a tip. Here are 6 reasons they deserve it!
Bars, Clubs, Hotels, Really any venue you can name will use the phrase "play for exposure". If you have been around the industry for a while you know exactly what I'm talking about. If this is a new phrase for you buckle up! Basically the venue isn't paying the band in money, they are paying the band by giving them the "honor" of playing in their venue. The so called incentive here is that so many people will see your band, that you will book more paid gigs as a result. I may be biased here, but this is a crap deal. The long and the short of it is your time is worth money. You wouldn't flip burgers at the local burger joint for "exposure" hoping to get hired for a backyard barbeque. "Exposure" doesn't pay the bills. That band on-stage may not be making dime for their time. Throw 'em bone!
People not in the industry do not understand the cost of putting together a sound system, a trailer to haul it, the cost of quality instruments and amps. Just to get a band up and running cost a small fortune in gear. What about singers? They don't need any gear right? Just because their instrument is their voice doesn't mean they don't need a quality microphone and vocal fx processors. Most local bands will be 10 to 20 grand in the hole on equipment cost just to get up and running.
Outdoor gigs are great! There is nothing better than rocking a small town street dance, where the crowd is having a good time, letting loose until the wee hours of the morning. There is no better feeling a musician, than to entertain a crowd. There is no worse for feeling for a musician than having your $20,000 worth of electronic equipment get drenched in rain as that Thunderstorm rolls in from out of nowhere. Who do think the foots the bill for equipment damage?
The reality is that a band is taking a large financial risk when playing an outdoor gig. Show them your support and appreciation by throwing little cash their way.
The amount of people that aspire to be a musician, versus those that actually put in the time to become good at it is a staggeringly small number!!! Even to be a mediocre musician takes A LOT of time, practice, and experience. On a similar note, the number of people that call themselves musicians versus the ones that are actually good enough to entertain you is an eye opening stat as well. It takes an incredible amount of time locked in a practice room working out riffs, working on timing, and learning the craft of music. The point here is that very few peopl will actually get to the point where they are good enough to get on a stage and entertain people. Many musicians receive secondary education, which aint cheap, to become a proficient musician. Other professions generally get paid more for higher levels of education. What about Musicians? Oh that's right, we are supposed to be happy with "exposure".
Every time I tell someone I toured as a drummer I get one of two responses... "I didn't know you play drums" (I mainly play guitar now) and "Oh My Goodness You Toured!!!" Ok guys it's not at all that glamourous! We played little dive shows across the Midwest. We spent more money than we made and I slept on couches in the homes of strangers and in vans with four other dudes and no showers. Good times indeed! This is the reality for all but the most successful touring acts. It isn't partying in hotel rooms without a care in the world. It's hoping to sell enough Merch so that you can afford gas to get to the next town.
If you have played bar gigs for any length of time you have probably heard this question a time or twelve. Weather it's setting up or tearing down, sometimes it can be between sets, I'll always get some drunk person ask me if they can play my guitar or my bandmates drums. You can always tell they have no idea how to play but in their mind, they are ready to be a real rock-star! For the sake of not angering the people you're trying to please, you have be kind and politely turn them away just to have them keep pestering you. I have personally witnessed multiple occasions of gear being destroyed by this drunk fool who thinks he deserves the spotlight. 1. Don't be this guy. 2. Don't let your friends by this guy 3. TIP YOUR MUSICIANS!.
Now obviously this article is somewhat tongue in cheek and there are clearly much harder ways to make living. Thank you to anyone who works a difficult job and feels unappreciated. My point here is that playing shows may seem like fun (it is) but there is a lot of less-than-glamorous work that goes into it.
If you're out on the town at a venue with a band or solo artist playing, first of all thank you for leaving your house. Less and less people want to do this now days. All I ask is that you don't take for granted the amount of dedication, sacrifice, and hard work those musicians had to put in so you could have a fun night out. Keep music alive by supporting your local musicians.
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Simply put a compressor evens out the perceived volume difference between loud notes and soft notes as well adjusting the overall volume level. The desired effect is sound that is energetic and punchy without the volume spikes from things like a strong pick attack on a single note.
There are many different compressors on the market, they all do essentially the same thing. So then what do all the knobs do? And why do some compressors have more knobs like four or five and others like the Dyna Comp only have two? Let's try to clear up the subject.
The most basic control is the "Threshold". This can go by many other names such as "Sustain", "Sensitivity" or "Compression". This control decides at what signal level (Volume level) should the compression start to kick in.
Then there is Attack; Attack is simply how quick the compression happens. Then Release; Release is the opposite of Attack, where it is how long it takes for the compression to leave.
Ratio may have labels attached to it such as 1:1, 2:1, 3:1 or 4:1. Basically the bigger the number on the left of the colon the more compression.
Another very common control is Volume sometimes called Gain. This control is very useful to make up for the perceived volume loss caused by compression. Compression brings the peaks in volume down, while the gain brings the whole signal up, creating a more uniform sound at a suitable volume level.
Another control you will see on parallel compressors is the Blend control. The Blend allows you to reintroduce your clean uncompressed guitar signal back into the compressed signal helping give more clarity and punch without sounding overly "squashed".
Bring on the Knobs! All compressors basically do the same thing, but some pedals allow for more control than others. The Ross and Dyna Comp style compressors combine several controls into the single knob labeled "Sustain". This single knob affects the Threshold, Attack, Release and Ratio. Simple control for those who don't want to dive deep into the ins and outs of compression. If you're a tone chaser, you probably want more exacting control over your compression. You would want a pedal with more knobs. Enter the Boss CS-3.
Where should you stick that compressor? I'll show you where to stick it! Many will place the compressor towards the beginning of the signal chain. By doing this you shape the tone of your guitar signal, allowing the rest of your pedals to affect dynamics such as drives, delays and reverbs. This is also a perfect place for a more subtle set compression. If you set your compressor for the "squashed" sound placing it before drives is useful. Overdrive and distortion pedals will add compression as they add sustain and drive. Because of this it is important to listen to how your compressor "plays with" or affects the drives that are after it. One thing to be aware of when placing your compressor towards the beginning of the chain (notice how I didn't say first) is Fuzz! Fuzz doesn't always play well with compressors. Old style fuzzes that us a germanium transistor like the early style Fuzz Face or a Tone Bender need to be first in your chain so you simply have to place your compressor after or not use the fuzz and compressor together.
If a compressor is placed after the drive section, it will act more like a line-leveler instead of a tone shaping tool (it's still shaping your tone but in a different way). If you stack drive pedals or use a boost to create more saturation but get spiky volume levels you may want to try this method out. A compressor in this spot will even out the volume difference between your different drive pedals creating a more consistent volume level as switch between different pedals.
We can also stick compressor at the end the chain. Why last you ask? Just like the compressor levels out the drive section in scenario #2, placed last is will level out your entire board. So if you have a pedal such as a reverb that is causing volume spikes, this may help remedy this issue. I do recommend trying your compressor in more than one place in your signal chain before you just decide where it should live. Use your ears and maybe you find some personal version of one of these three ideas.
So if you have taken the time to read this I am assuming you have an interest in trying out compressor on your pedal board. This article does not go into any detail on how to dial in a compressor, we will leave that for another time. Compressors are best used to fix specific tone issues that you are having, or to achieve a certain musical style. Funk and Country "Chickin Pickin" demand compression. Generally speaking however, compressors are best used when they are subtle. They can quickly jack up your tone (in a bad way) if you get carried away with them. Stay Tuned for more tips and tricks. Feel free to join the discussion and leave us comment!
]]>Ernie Ball Music Man never fails to impress at the NAMM show. This year they unleashed a model that surprised everyone with the Tosin Abasi desgined "Kaizen" guitar.
The Kaizen features an alder body, roasted maple neck ebony multi-scale fingerboard. Nothing earth shattering there, where the Kaizen really pushes the envelope is in it's unique body design, "infinity Radius" fingerboard, and the new Patent-Pending Heat Treated Pickups designed by Music Man.
Music Man also released two new finishes for Jason Richardson cutlass. Majora Pruple and Empress White. The Empress White will be a limited edition offering.
Not to be outdone, the Petrucci lineup has a few new additions including an 8-String option which will be available as a standard production model. The Majesty line will now feature four new finishes that will be avaialble in 6, 7, and 8-String string iterations: Sanguine Red, Wisteria Blossom, Emerald Sky, and Okelani Blue.
Also announced is the solid maple top Majesty which will have two models. A spalted maple top model dubbed "Spice Melange" as well as a Flame maple top "Crystal Amethyst" model.
The more traditional JP15 is also receiving two members to the family. "Purple Nebula", which was released as limited run on the Majesties a couple years back, and "Tiger Eye Burst". Both will be available with a flame or quilt maple tops.
The "DarkRay" Stingray will now be available in a 5-String version. Made in collaborations with Darkglass electronics, the DarkRay features built in fuzz and distortion effects.
Celebrating the 35th anniversary of the Stingray bass, the special anniversary Stingray features a spalted top with ash body, ebony fretbaord with copper pearlescent black inlays.
As always, Ibanez came to the show armed with a slew of new artist models to show off including guitars from Nita Stauss, Jake Bowen, Joe Satriani, Steve Vai, and Tom Quayle.
It's hard to miss the JS2GD's "Gold Boy" finish. This HSS guitar features DiMarzio Satch Track single coils and a FRED bridge humbucker, and a new control layout which has forgoes the traditional blade style pickup selector in favor of on/off toggles for each pickup as well a coil tab in the tone pot.
The PIA3761C is now available in a Blue Powder finish which features chrome hardware and unique handle cutout.
Introducing the tele style TQMS1, Tom Quayle signature guitar. Born from the Ibanez AZS line, this guitar features Seymour Duncan Magic Touch-mini neck pickup and Alinico II Pro Custom pickup in the bridge. The proprietary "Alter Switch" delvers series and split-coil sounds.
The Ibanez JPB9999 is a beast of a guitar featuring 27 frets, HS pickup configurations including new custom pickups, and Azure Metallic Matte finish.
Godin releases two new guitars. The Session R HT Pro and Derry Grehan signature model "Tread 1".
The Session R HT Pro features a reverse headstock design and two Lace Sensor Hot Golds Single coils and a Seymour Duncan Humbucker in the bridge.
The Tread 1 sports the same yellow and black tread graphic that Derry Grehan is known for. Features include a sliver leaf maple center block with poplar wings, Floyd Rose Original Style 1000 Tremolo, and EMG 85 / SLV humbuckers.
The popular Revstar range of guitars receives an update. featuring additions with chambered bodies, new finish options, and the new "Element" model that comes in at very comfortable price point and features a mahogany body and neck, with a rosewood fingerboard. The standard Revstars line upgrades to a Maple top and carbon reinforced neck while the Made-In-Japan Professional line feature carbon inserts inside the chambered body to increase vibration transfer.
Vola showed off their two new signature models at the NAMM show. Quientin Godet and Pierre Danel are guitarist for the French metal band Kadinja. Both guitars feature Vola "Fire Ice" humbucers and VS-I single coils. The control layout on these guitar is rather unique. A Push button activate the neck single coil regardless of pickup selector position plus a 3-way mini toggle allow for series, parallel, or coil tapping options
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So what are some of the different "functions" that drive pedals can have.
1. Boost
The term "Boost" is when the input signal from guitar is increased to slam the front in of a tube amp, often causing natural tube overdrive. This is not the same as a distortion pedal, which manipulates the signal itself.
If we are talking about boost as a function then this doesn't have to be limited to "boost" pedals. Other types of pedals, such as EQ pedals, can also boost an input signal. Let's look at a few pedals that would work really well as a boost and where we might want them in our drive section.
Here is the key, if you put your boost function before other drives it will increase the level of gain (distortion) without effecting the volume much. If you put the boost function at the end of the other drives it will increase the volume and color any drive pedals before it. If you are looking for a volume boost for solos, you will want your boost pedal at the end of the chain. If you want more saturation, you will want to put it at the beginning. Better yet, buy two boost pedals and get the best of both worlds!
2. Light OD
You usually don't want your light overdrive to color your tone very much. Buzzwords like clean or transparent get used a lot referring to these (I don't know how a dirt pedal can be clean but I digress). You may want one level of drive that doesn't effect the mid-range in the way that a Tube Screamer does. The EarthQuaker Westwood and the Electro Harmonix Soul Food are great for adding grit without coloring the original tone too much.
3. Mid Hump
This category holds two of the most popular pedals in history The Klon and the Ibanez Tubescreamer. Most Klon style pedals do not color your tone very much at all until you start increasing the drive, which results in a slight hump in the mids. This is very useful for helping your guitar stand out in a mix. The Tubescreamer's mids are more pronounced and it also rolls off the lows making it a very helpful EQ tool to get a guitar to set in the mix better. This is also why the Tubescreamer gets used in-front of a dirty amp as a lead boost to add more gain, mids and to cut some bottom end which really helps tighten up a lead tone. Many players will use a tubescreamer to shape the rhythm tone of a high gain amp *cough* Mesa Boogie Rectifiers *Cough* not for extra distortion, but to tighten up the low end and help a modern voiced amp cut through in a mix. When placing these pedals in your drive chain, a popular spot would be between your lighter boost style pedal and your heavier distortions, but use your ear and tailor the order around your specific needs.
4. Amp-Like Distortion
Think higher gain to full on Marshal lead channel distortion. There are too many pedals in this category to name them all but here are a few, the MXR Custom Bad Ass "78 Distortion, the Boss DS-1 and St-2, and the Way Huge Super Lead. These are great for higher gain rhythm or creamy lead lines and do well towards the end of your drive section. Again play with the exact placement but most agree that after your lighter drives and before a volume boost (unless the boost is intended to increase saturation) tend to work better.
5. Hairy Distortion
Not quite amp-like like mentioned above and not quite Fuzz, but for the lack of a better term, Distortion with some "hair" on it. Probably the pedal best known for this would be the ProCo Rat. Others would be the JHS Kilt V2, and the Electro Harmonix Glove. Like Amp like Distortion towards the end of your drive chain is the preferred method of choice. However some may interchange the distortion functions for each other while, others may use both distortions together. If used together it is just personal preference which order you would like the two in.
Fuzz
Fuzz is really the first drive style. Started with Tone Bender and Fuzz Face Style Circuits then the Big Muff came along and today there are more fuzzes the cars on the road. We are going to break these guys down into two category's Vintage and Modern
6.Vintage
Now these are Vintage Style fuzzes not Vintage meaning super old and worth millions like Stan Lee. Most of these are going to use Germanium transistors which are going to clean up when you roll of the volume knob of the guitar and can have some inconsistencies from pedal to pedal. They also can change due to temperature or humidity. Vintage fuzzes need to be first in your signal chain. This is your entire signal chain not just your drive section. The first thing a vintage Fuzz wants to see is your guitar. If another pedal is before your fuzz even if its a tuner it can affect it in a real negative way.
7.Modern
Modern Fuzzes can be as simple as a spruce up of a vintage design or they can be radical noise boxes that send you to a new dimension. Most of these use a Silicon transistor can emulate a germanium transistor however silicon is much more stable. They do not change due to humidity or temperature. Silicone fuzzes don't always have to be first in your chain (read the manual). Some will clean up with your volume knob while others will retain the level of distortion and just get quieter.
Not every drive section is created equal. Some people will gravitate towards the lower gain side of drives others will like the more is more approach. Hey, you might have a favorite pedal and decide instead of bending over to keep turning the knobs to buy a duplicate or maybe a third of the same pedal. Your drive section is unique to you. Theses are just some thoughts to help you sort things out as you are building it. Rock on!
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This New Player Plus Meteora is not your typical Fender Telecaster or Stratocaster that everyone knows and loves. It is packed with features that will leave even the most die hard Fender players looking to add one of these new-age designs to their guitar arsenals.
The neck feels familiar enough, with a 25.5" scale length, modern "C" shape and 12" radius. The body is probably what the Player Plus Meteora apart from the typical Fender lineup. It's some sort of space-age combination of a Jazz-Master and a Tele. The body has a forearm rest and a belly-cut with a pick-guard that resembles a telecaster custom.
The electronics are probably just as unique. Fender has made a handful of two humbucker guitars, But the Meteora is different in that is a two humbucker that can be coil-split. The Fireball humbuckers be coil-split via the S-1 switch. Add to that one volume and two tone controls. Yeah this guitar can cover a lot of ground.
Other features are an Alder Body, Maple Neck, the knobs are also a very fast knob with a knurled flat top. Two really big upgrades on in the Player Plus series that have happened since their initial launch is the Two Point Synchronized Tremolo System and Deluxe Locking Tuners.
Available in 4 colors
Three Belair Blue, Cosmic Jade, Silverburst, Three Color Sunburst. All for colors prove to turn some heads! Get out there and check these out.
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Watch our latest video as we pit two killer Music Man guitars against each other. Which one will come on top?
]]>Oil Fretboard/Steel Wool
Ok cue all of the steel wool hate comments now! I get it steel wool leaves tiny little pieces behind if you dislike that just skip this part then, use a towel or your finger. You can use your toothbrush for all I care (sarcasm sign) but please don't brush with it after! I like 000 steel wool and so does our shop because it's the right balance of abrasiveness.
You will also need some oil for the fretboard. Music Nomad has some great products. Some swear by pure lemon oil while others swear by orange oil. I personally use Pledge Revitalizing oil (not cleaner). All of these options will get the job done.
The best time to clean and oil is during a string change. To state the obvious, it's hard to clean your fretboard with strings in the way, so do this when the strings are off your guitar.
Back to the process... We have the steel wool and the oil. Go ahead and put the oil right on the steal wool. The amount of steel wool should be about the width of the fret-board and approximately the same width. Then apply pressure to the fret wire back-and-forth across the neck. The goal here is not to apply the pressure to the wood but to polish the fret and the oil will get on the fret-board by default. Use your fingers or a paper towel to rub in any extra oil, let set for a minute or two. The drier the wood is, the longer you should let the oil sit. You might be surprised how much oil will be absorbed. When you're ready, wipe off the excess, a paper towel or shop rag will work great for this.
It is important to note this technique is for unsealed necks like Rosewood or Rosewood substitutes like PauFerro or Ebony. It should not be used on sealed necks like Maple or Wenge (rare).
Clean Guitar Using Water and Shop Rag
Dunlop, Planetwaves/D'Addario, Music Nomad and about every guitar manufacturer that makes guitar polish is going to hate me for this next statement. Every single company mentioned makes a killer product! But cleaners and polishes can build-up over time and possibly deteriorate certain types of finish over time. I learned from working in our shop, and from personal experience that 9-out-of-10-times water on a Blue Shop Rag (squeezed out so it's not dripping) is the best way to clean a guitar.
This is perfect since we just talked about getting it all oily in the section above! So now you can put this to test on the back of the neck and body where some of the steel wool and oil may have gotten away from you! Please do avoid the fret board that you just oiled.
Tighten Tuning Machines and Hardware
A really good time to check and adjust hardware is when you have the strings off. A mistake we all can make though is over-tightening the hardware. It is inevitable that something is going to work it's way loose. A guitar is meant to vibrate after all. Even if a certain piece of hardware is a repeat offender resist the urge to crank down on it. If you do there is a big chance you could strip threads, break pieces of hardware all together and in some cases even break structural parts of the guitar making repairs time consuming and pricey.
TrussRod Adjustment
The purpose of the truss rod is to keep the guitar's neck nice and straight. As seasons change, temperature and humidity might cause the neck to bend one way or the other causing high action or fret buzz. A simple adjustment to the truss rod will usually take care of this.
Unfortunately this is a topic that a lot of players shy away from for fear of ruining their guitar for life. Sure you could make things worse. We have heard a few horror stories from customers. But these are people that probably don't know what end of the screwdriver is the pointy end. If you're comfortable using an allen wrench and understand that less is more, this process is pretty simple and danger free. Using the correct size allen wrench is by far the biggest concern. To small and you may strip out the truss rod nut... not good. Most guitars will come with a set of allen wrenches or other tools. Don't throw those away, they are there for a reason. Use Them!
On most guitars the truss-rod adjustment nut is located under a cover at the top of the head-stock. You will need a small screw driver to remove this cover.
Some guitars may have the adjustment on the heel of the neck. Check in the sound-hole if it's an acoustic.
If it's an electric you may need to remove the neck to make the adjustment... which is a pain in the butt. Thankfully most modern guitar manufactures have realized this, and no longer do it that way. Ernie Ball Music Man puts a truss rod wheel adjustment at the bass of the neck which is pure genius!
Once you have found the adjustment and have the cover removed you may want to slide the strings over to make it easier to work. If the strings can stay tight that will help keep tension on the neck where it is so adjusting it will be more accurate.
How to make the adjustment and how much? The purpose here is to straighten out the neck, which will result in low action, better intonation across the fretboard, and an easy playing guitar. I always see guys looking down the neck towards the head-stock shifting it back-and-forth like they are slicing the air with a butter knife. The issue with this is you are seeing more glare than anything and can be easily be mislead by optical illusions. You aren't really checking the action very accurately at all. So here is a simple tip: Hold the guitar like you are playing it, press a string down at the first fret and the last fret allowing the string to be your straight line. Now you can see how much curve is in the neck between your two fingers. The goal is about an index card (I'm showing my age here) of space between a middle fret and the string so lets say the the 12th fret. If it is much more than that the truss rod need tightened. If the string is rubbing on every fret or buzzing when you play then it needs loosened.
If you have determined that the truss rod needs an adjustment simply turn the rod. Ok my job is done. Just kidding. Let me give you a couple more tips...
The standard "Righty, Tighty - Lefty, Losey" applies. However it is good to start with small amounts nobody's trying to win any races here. A quarter to a half turn at a time and then check and tune.
Basic Soldering
This one may not be for the faint of heart. It's an investment both of time and of money. However, this has been proven to be a high risk-high reward situation, but I would advise you to know yourself. If you are in no-way "handy" you may be better off taking your guitar to a pro.
Now simple soldering basics can save you in a number of ways. Let's talk about some of those...
About The Author Miles Margritz | miles@yandasmusic.com Miles is a certified pedal junkie who also serves as our online customer service representative. He loves talk to shop so give him a call! |
Vola is one of our newest lines here at Yandas Music. Shawn Cho, co-founder of Vola Guitar, has been building high quality guitars for over 20 years. Vola's mission is to take a hands on approach to design and construction, making every guitar as close to perfection as possible.
Watch this video to Join Miles Margritz and Mike Sciachitano as they discuss this exiting new lineup.
]]>The first place to start when deciding which string gauge to put on your guitar, is knowing what size came on your guitar to start with. Most manufacturers will list the factory string gauge on their website. If you are having trouble finding it you can always give a call or shoot an email to the company you bought the guitar from.
Why is this important? If you change the gauge of strings on your guitar, it's likely the guitar will need to be "Set-Up" afterward to be in peak playing condition. This is especially true if your guitar features a tremolo bridge. If you simply replace the old strings with new strings that are the same gauge, then you won't need to worry. If you can't find the original gauge, then either get yourself a micrometer and measure them yourself, or take it to tech who can do that for you.
How To Choose String Gauge?
Thicker strings create more string tension which greatly effects how the guitar feels when you play it, and to a lesser extent the tone of the instrument. If you are a heavy handed player and you often times find your fretted notes are sharp, it could be because you are bending the string from pressing too hard. Heavier string gauge might be what you need. On the other hand if you experience pain in your hand or you want effortless bending then you may want to go with a lighter string gauge.
Alternate Tunings.
Perhaps the biggest factor in selecting a string gauge is your preferred tuning. Follow me for a minute... Drop tunings (loosening the strings) lowers the string tension. Putting on a thicker string gauge raises the string tension, so if you de-tune simply use thicker strings to meet-in-the-middle and keep the string tension the same. Some guys have used trial and error to figure out what strings work best for their specific tuning but certain string companies like D'Addario have tension calculators on their websites to take the guess-work out for us.
String Gauge Effects Tone.
The third reason for changing string gauge is for how it affects the sound. Now there is plenty of debate about whether or not string gauge make any real difference on the tone of the instrument. Here is what I say; if you think it sounds different or if it affects the way you play in a positive way, embrace it and ignore all the naysayers!
Basically if it's not broke don't fix it. In fact your guitar should be set-up when you change strings so I wouldn't buy a different set every time you go to the music store. Changing brands isn't a problem but I would keep the size the same so long as you are happy with it. Quick tip: if you have trouble remembering what you put on last just keep you outer package in your case with your guitar as a reminder for when you buy strings next. But if any of the above reasons sound appealing to you a new gauge of strings might be the ticket. Just remember you may need to make a few adjustments to your guitar's set-up so that it plays the best that is can.
What is your favorite string gauge? What guitar are they on and why? Comment below!
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Suggested Tools
Some tools you might consider having available are; a socket set/crescent wrench, wire cutters, string winder, phillips and strait screwdrivers, allen wrenches (check if you need standard or metric). Now all of this can be achieved with a multi-tool meant for guitar if you choose but some people may already have some of these tools in a garage or shop and its just a matter of having them ready. You might be asking "why the heck do I need sockets or allen wrenches???" When the strings are off the guitar is the best time to check or tighten any loose hardware or make any adjustments. Also having a soft cloth or some paper towels available when changing the strings is another useful tool. My weapon of choice is the Blue Shop Rags because they are soft, don't tear when wet and won't scratch the guitars finish. Also a soft surface to set the guitar on can be nice so you don't scratch your nice guitar. You can also purchase stands to hold the neck up and still or grab an old pillow that you don't mind if it gets dirty.
Common Mistakes
Look twice cut once! No we aren't carpenters and yes I said that right! Make sure your cutters are on the side of the string you want to cut! I don't know how may times I have got 2 thirds of the way though and cut the sting short and now I have to get in the car to get a new set or open a brand new set for one string.
This next one has to do with the direction strings are wound around the tuning post. This will vary depending on your guitar's headstock. Some are three on a side, some are 6 on a side. Generally speaking, the string should be wrapped from the inside out. Inside meaning towards the center of the headstock outward. This aligns the string properly with the nut slots which allows for better intonation, not mention you break a nut if you wind the strings in the wrong direction. Another irritating issue that you will notice right away If your strings are wound in different directions, tuning becomes a confusing nightmare.
The Dreaded Floating Tremolo
Restringing a floating tremolo bridge guitar is whole different ball game. If you haven't done it before, and are not completely sure of what your getting into, then just stop and do some research first! Since tremolos vary from manufacturer to manufacturer it is important to know a little about your tremolo system before you start changing your stings or your could have a real mess. First you want to know how it should look in "resting" position. (This is when the guitar is tuned up and no pressure is on the tremolo bar in either direction). To find this information out you can simply contact the store you purchased the guitar from or look at the manufacturers website. If while you are tuning your guitar and the tremolo doesn't come back to the correct "resting" position then I would contact the service department of your local music store or your trusted guitar tech and ask him how he suggests adjusting it for the specific Tremolo system you have. Really my point is to be aware of your tremolo system and do some research and if you get in too deep call in a professional.
Stretch Strings
This is a mistake I see beginner guitar players as well as vets of decades make time and time again. I asked our repair man this, "of the repairs that hit the shop what percentage of them do you think could be solved with simply stretching the strings" and he replied with "At least 30%". Think about all of the tuning issues that don't make it to a repairman!
So now lets talk about how we stretch them! It's simple really; put all four fingers on the under-side of one string and your thumb on top. Now push down with your thumb as you pull up with your fingers. I start towards the bridge and work up to the neck. Now lather rise and repeat with every string. Tune it back up and keep repeating the entire process until you can't pull it out of tune anymore. It usually takes me 3 to 4 times to get the guitar seated in. Once completely stretched you will find you have to adjust tuning a lot less and even the dreaded G-String stays put much better (notice I didn't claim it would be perfect)
Amount of Wraps on Tuning Machines (sweet spot)
Get your pitchforks and ropes because guitar players have been hung over this topic! Kidding aside there are a lot of strong opinions on how to wrap the string around the tuning machine. Do you tie it? How many wraps? Basically if you have a way that works for you you can stop reading now. Just ignore me I won't be offended I promise. But for those of you that are newer to changing strings I have some important tips. Again this is compiled knowledge from a few of us guitar players here at the store (not just my opinion). As far as how many wraps, I wouldn't get wrapped up in an exact number. (see what I did there) The thinner strings will allow more wraps neatly than than the thicker strings. Our repairman said it this way to me "more than one but less than the whole string". I actually wrap the string around the post before I put it through the hole in the post this allows me to see exactly how much string is on the post without guessing. But that is obviously a personal preference in how I like to approach it.
I work with more than a dozen men and women that change strings on a professional level and everyone of us does it a little different. The same will be said for care and maintenance. So find a system and technique that works for you. If there are any helpful tips you would like to share with the rest of us drop them in a comment below.
]]>How much does a certain guitar weigh?
Is the the action exactly such and such millimeters at the 12th fret.
Can I get specific photos of the guitar I am buying?
What is the nut width? At the 12th fret?
Are those frets stainless steel?
Some go as far as to ask certain capacitors that may be used in a pedal or amp. So I'll ask my question again... Do all these specifications really matter? More importantly do they affect the sound?
At the very beginning of this I explained that I had a conversation with a guitar player regarding all this. It was a bit of an argument really that a Thinline (partly hollow) telecaster once plugged into an amp would sound identical to a normal solid-body telecaster. He was saying that if you made sure every single factor was the same, the pick-ups the woods used, the strings and even the weight of the guitar along with the hardware, once plugged in, would sound exactly the same. That's all fair and good in theory but there is one factor that is more difficult to quantify... Feel.
Playing a Thinline telecaster feels different than playing a normal solid body telecaster and that is going to translate through the player and on to the audience. Sure, the two guitars may produce a very similar, if not identical tone. If you were to stick a mic in front the amp and hit a power chord, you might not be able to hear an audible difference. However, a player will play the thinline differently than a solid body tele because it feels different to the player. The end result will be a different sound even if the "tone" is very similar.
Same goes for amplifiers. Does wattage really matter? To the listener maybe not, but to the player a lower wattage amp feels different than a higher wattage one. This difference in feel will effect how the player plays the instrument.
So do specs matter? Well, yes. If a guitar weighs 14lbs and the end user has back issues that matters to that player. If something about a guitar encourages you play a certain way, then the guitar is going to sound better or worse based on how you are playing it. It's not just about the pure tone the gear produces, but how the player feels while playing it.
I guess the point I'm trying to make is don't just focus on specs. Copying your favorite players gear might not lead to the results you want, because you as an individual may not feel the same way when playing that gear. You have to find what works for you.
Food for thought
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