Icon. Not a word to be used lightly. But the Stratocaster is just that. The new American Standard Stratocaster guitars are beauties to behold in sound, look and feel.
Product Detail
Icon. Not a word to be used lightly. But the Stratocaster is just that. The new American Standard Stratocaster guitars are beauties to behold in sound, look and feel. Feder kept the hand-rolled fingerboard edges, alnico V pickups and staggered tuning machines for playability, tone and stability, and added several new features, including:
- A new bridge with improved bent-steel saddles and a copper-infused high-mass block for increased resonance and sustain.
- A new neck treatment—tinted for a richer presentation, with the maple or rosewood fingerboard buffed to a high gloss. The back of the neck still has that silky satin finish.
- A thinner finish undercoat that lets the body breathe and improves resonance.
- A new Fender-exclusive SKB molded case.
- Two beautiful new finish options, Sienna Sunburst and Blizzard Pearl
Technical Info
Body:
- Alder on:
(700) 3-Color Sunburst,
(705) Olympic White,
(706) Black,
(712) Candy Cola,
(755) Blizzard Pearl,
(769) Charcoal Frost Metallic,
- Ash on:
(747) Sienna Sunburst
Neck: Maple, Modern “C” Shape, (Gloss Headstock Face with Satin Urethane Finish on Back of Neck)
Fingerboard: Rosewood (p/n 011-0400) or Maple (p/n 011-0402), 9.5 in. Radius (241mm)
No. of Frets: 22 Medium Jumbo Frets
Pickups: 3 American Strat Single-Coil Pickups
Controls: Master Volume, Tone 1. (Neck Pickup), Tone 2. Delta Tone
(“Delta Tone” system includes high output bridge pickup and special No-Load tone control for Middle and Bridge Pickups)
Pickup Switching - 5-Position Blade:
- Position 1. Bridge Pickup
- Position 2. Bridge and Middle Pickup
- Position 3. Middle Pickup
- Position 4. Middle and Neck Pickup
- Position 5. Neck Pickup
Bridge: 2-Point Synchronized Tremolo with New American Standard Bent Steel Saddles
Machine Heads: Fender Deluxe Staggered Cast/Sealed Tuning Machines
Hardware: Chrome
Pickguard: 3-Ply Parchment
Scale Length: 25.5 in. (648 mm)
Width at Nut: 1.685 in. (42.8 mm)
Unique Features:
- New Bent Steel Saddles with Elongated String Slots
- Copper Infused High Mass 100% Metal Bridge Block
- Thinner Undercoat Finish for Improved Body Resonance
- Tinted Neck
- Maple Fingerboard Neck: Satin Finish on Back, Gloss Finish on Front
- Rosewood Fingerboard Neck: Satin Finish on Back, Gloss Finish on Headstock Front with Buffed Fingerboard
- 4-Bolt Neck Attachment with Micro-Tilt Adjustment
- Bi-Flex Truss Rod System
- Parchment Knobs and Pickup Covers
- Rolled Fretboard Edges
- Staggered Tuning Keys
- H/S/H Pickup Routing
- New Molded Fender/SKB Case with TSA Locks, Glass Reinforced Nylon Trigger Latches, and Form Fitted Plush Interior
Strings: Fender Standard Tension Bullet ST3250L, Nickel Plated Steel, (.009 to .042), p/n 073-3250-203
Included Accessories: Fender/SKB Case, Cable, Strap, Polishing Cloth
Case: High-Tech, Molded Rectangular SKB Case
Introduced: 1/2008
Sunday, November 30, 2008
Thursday, November 27, 2008
Slide Guitar Techniques
Making a slide requires good execution. This is a technique where a guitarist can create a loud wailing sound on the guitar. Here are some tips to make a perfect slide
Author: Ian Williamson
Making a slide requires good execution. This is a technique where a guitarist can create a loud wailing sound on the guitar. Here are some tips to make a perfect slide.
1. The tuning of the guitar must be replaced from its regular chord tuning of E-A-D-G-B-E to a more open tuning; with the chord alignment on the D major arranged as D-G-D-B-D. The change should be from the sixth string up to the first string.
2. He can make a slide by moving the fingers of his left hand. The execution should follow the correct positioning of the chords. A smooth and slow slide would be perfect to accurately play the new chords.
3. Make a gentle grip on the neck of the guitar and expose the end finger to have a feel on the strings. In this way, you can easily make the slide with simple finger movement.
4. To create a wailing sound, it is necessary that you must only cover the strings that are needed for the slide. Sometimes the guitar will produce an unwanted noise from the strings if the slide is not properly done, so be sure that strings are properly covered by the fingers.
5. Always remember to have a slide vertically aligned straight to the strings. This will allow you to exert effort when making a slide than the normal way of holding a guitar.
6. You can make a little movement along the strings with the fingers. It must be executed with smoothness and gentleness. A hard press or tight hold might create distracting noises on the fret.
7. You can execute a slide on the first and second string making E and B chords and a D-major key on the twelfth fret of the guitar.
8. Then execute the slide going toward the bottom from the D-major key, which is in the twelfth fret for a G-major key in the fifth fret. That would give a loud wailing sound because of the slide.
9. You can make a slide going back on the A-major key, which is in the seventh fret and then release your fingers removing the slide and make an open twelfth fret to create a D-major sound.
To have a perfect execution in sliding requires more practice. It is easy to learn sliding by practicing with an open tone because all of the strings will have similar chords when they are strummed. If the strings are set up with their regular tones, the player needs to make sure to cover the right strings when sliding.
Article Tags: Guitar Techniques , Guitar Tips , Guitar Tuning , Acustic Guitar , Guitar Care
Source: Free Articles from ArticlesBase.com
About the Author:
For More Information on Slide Guitar by Ian Williamson please visit http://guitar.you-can-learn.info
Author: Ian Williamson
Making a slide requires good execution. This is a technique where a guitarist can create a loud wailing sound on the guitar. Here are some tips to make a perfect slide.
1. The tuning of the guitar must be replaced from its regular chord tuning of E-A-D-G-B-E to a more open tuning; with the chord alignment on the D major arranged as D-G-D-B-D. The change should be from the sixth string up to the first string.
2. He can make a slide by moving the fingers of his left hand. The execution should follow the correct positioning of the chords. A smooth and slow slide would be perfect to accurately play the new chords.
3. Make a gentle grip on the neck of the guitar and expose the end finger to have a feel on the strings. In this way, you can easily make the slide with simple finger movement.
4. To create a wailing sound, it is necessary that you must only cover the strings that are needed for the slide. Sometimes the guitar will produce an unwanted noise from the strings if the slide is not properly done, so be sure that strings are properly covered by the fingers.
5. Always remember to have a slide vertically aligned straight to the strings. This will allow you to exert effort when making a slide than the normal way of holding a guitar.
6. You can make a little movement along the strings with the fingers. It must be executed with smoothness and gentleness. A hard press or tight hold might create distracting noises on the fret.
7. You can execute a slide on the first and second string making E and B chords and a D-major key on the twelfth fret of the guitar.
8. Then execute the slide going toward the bottom from the D-major key, which is in the twelfth fret for a G-major key in the fifth fret. That would give a loud wailing sound because of the slide.
9. You can make a slide going back on the A-major key, which is in the seventh fret and then release your fingers removing the slide and make an open twelfth fret to create a D-major sound.
To have a perfect execution in sliding requires more practice. It is easy to learn sliding by practicing with an open tone because all of the strings will have similar chords when they are strummed. If the strings are set up with their regular tones, the player needs to make sure to cover the right strings when sliding.
Article Tags: Guitar Techniques , Guitar Tips , Guitar Tuning , Acustic Guitar , Guitar Care
Source: Free Articles from ArticlesBase.com
About the Author:
For More Information on Slide Guitar by Ian Williamson please visit http://guitar.you-can-learn.info
Tuesday, November 25, 2008
Techniques You Can Use to Keep Your Guitar in Tune
Keeping your guitar tuned is THE first step in sounding hot and professional. Tune-up perfectly and THEN play is the order of the day. Tuning tip number one starts right here.
Author: David O'toole
Keeping your guitar tuned is THE first step in sounding hot and professional. Tune-up perfectly and THEN play is the order of the day. Tuning tip number one starts right here. Get yourself a decent and well made guitar that naturally stays in tune without constant tweaking. No matter how much you perfect the art of guitar tuning, a cheap instrument will seriously hamper your efforts.
No matter how well you play your latest lick or arpeggio, it won't sound hot unless your in perfect Guitar Tune Nirvana either! Conclusion: Invest in a good or even great guitar and your halfway there regarding guitar-tuning dilemmas.
To start off, here's 2 simple but BIG tuning tips for any type of six-stringer:
After every sweaty, no-holds barred, gig or rehearsal, CLEAN YOUR STRINGS! It may sound painfully obvious, but this is the biggest guitar tuning problem and string-killer of them all. Some people, including yours truly, can rust and destroy a set of strings overnight, by gigging with them and not cleaning the chemicals and sweat off, immediately afterwards. When this happens, tuning can be almost impossible.
So cleaning your strings is step one to guitar tuning nirvana. This simple precaution lengthens their lifespan, maintains tone AND tuning. Use a lint-free cloth, wrap it under and around each string, one at a time, and wipe up and down, with a slight pressure, cleaning the complete surface.
Use pure alcohol on the cloth if necessary, you can buy a small bottle of Isopropyl Alcohol in the chemists. Squeaky clean!
WARNING: Be careful with this stuff it's poisonous if taken internally!
Be careful not to run your fingers along the string too, it cuts deep and hurts like hell! I tie the cloth around the neck afterwards (they tend to mysteriously disappear for some strange reason just when needed), and make it a regular habit.
Unless you're an experienced player, DO NOT PUT NEW STRINGS ON YOUR GUITAR BEFORE A GIG! ... hi John ;-). If you must, try and allow about 30-45 Minutes to fit, stretch and warm them and yourself up.
If you've ever played a guitar which sounds fine in the lower regions but goes out of tune as you move up the neck, the answer could well be dirty or kaput strings. If you change them and the problem goes away, then you know. If it doesn't go away, it could be the guitar intonation. Get a good and trusted guitar-tech to check it for you.
When you put new strings on (if you have a Floating Bridge, do them one at a time, DO NOT take all the old ones off at once), tune them up to concert pitch, then spend about 20 minutes stretching them by hand. Left hand holds everything down at the nut, place 4 fingers of your right hand underneath one string, and slowly pull it out until you feel the tension and gently sort of bounce it forward and backwards, and S-T-R-E-T-C-H...and loosen...and S-T-R-E-T-C-H...and loos...
Slide your hand position up the neck along the string, pull it out at various points and so on, covering the entire length from nut to bridge. Then retune it and do it all again. The first few times the string tuning will drop by as much as an octave. After a few stretch/tune ups you'll notice it doesn't drop anymore. If you let this stretching happen naturally, it can take a week or so until the guitar strings stop jumping out of tune every 2 seconds. Your guitar will be as fit as a fiddle.
So adhering to these two simple but effective steps will improve any guitars tuning and even playability. Once you get into the habit of cleaning and stretching your guitar strings and it becomes second nature, you can turn your attention to other important playing points without having to tune up every few minutes. It's well worth the effort.
Next we look at some Strat whammy bar tips, Lee Chang specials to avoid, and how a humble home pencil can save your guitar life :).
Article Tags: Guitar Tuning Strategies , Guitar , Tune Instrument , Tuner Tips , Pro Tunung Tips , Guitar Gigging In Tune , Plaaying Guitar In Tune , Guita Strings , Gitar , Geetar , Isopropyl Alcohol , String Cleaner , Cleaning Guitar Strings , Stretching Guitar Strings , Music , A
Source: Free Articles from ArticlesBase.com
About the Author:
David O'Toole is a guitar player, music fan, and musician from Ireland. He is the webmaster at the UniGTR+ Center and editor at the BellaOnline Musician Site
A keen player and experienced guitar teacher, he is also the author of the popular standard, lefthand, reverse guitar, and piano / keyboard series of Basic Chord Families -- Not just another random selection of 1000s of chords, but the key to fast learning and playing 1000s of songs with under 60 chords!
Author: David O'toole
Keeping your guitar tuned is THE first step in sounding hot and professional. Tune-up perfectly and THEN play is the order of the day. Tuning tip number one starts right here. Get yourself a decent and well made guitar that naturally stays in tune without constant tweaking. No matter how much you perfect the art of guitar tuning, a cheap instrument will seriously hamper your efforts.
No matter how well you play your latest lick or arpeggio, it won't sound hot unless your in perfect Guitar Tune Nirvana either! Conclusion: Invest in a good or even great guitar and your halfway there regarding guitar-tuning dilemmas.
To start off, here's 2 simple but BIG tuning tips for any type of six-stringer:
After every sweaty, no-holds barred, gig or rehearsal, CLEAN YOUR STRINGS! It may sound painfully obvious, but this is the biggest guitar tuning problem and string-killer of them all. Some people, including yours truly, can rust and destroy a set of strings overnight, by gigging with them and not cleaning the chemicals and sweat off, immediately afterwards. When this happens, tuning can be almost impossible.
So cleaning your strings is step one to guitar tuning nirvana. This simple precaution lengthens their lifespan, maintains tone AND tuning. Use a lint-free cloth, wrap it under and around each string, one at a time, and wipe up and down, with a slight pressure, cleaning the complete surface.
Use pure alcohol on the cloth if necessary, you can buy a small bottle of Isopropyl Alcohol in the chemists. Squeaky clean!
WARNING: Be careful with this stuff it's poisonous if taken internally!
Be careful not to run your fingers along the string too, it cuts deep and hurts like hell! I tie the cloth around the neck afterwards (they tend to mysteriously disappear for some strange reason just when needed), and make it a regular habit.
Unless you're an experienced player, DO NOT PUT NEW STRINGS ON YOUR GUITAR BEFORE A GIG! ... hi John ;-). If you must, try and allow about 30-45 Minutes to fit, stretch and warm them and yourself up.
If you've ever played a guitar which sounds fine in the lower regions but goes out of tune as you move up the neck, the answer could well be dirty or kaput strings. If you change them and the problem goes away, then you know. If it doesn't go away, it could be the guitar intonation. Get a good and trusted guitar-tech to check it for you.
When you put new strings on (if you have a Floating Bridge, do them one at a time, DO NOT take all the old ones off at once), tune them up to concert pitch, then spend about 20 minutes stretching them by hand. Left hand holds everything down at the nut, place 4 fingers of your right hand underneath one string, and slowly pull it out until you feel the tension and gently sort of bounce it forward and backwards, and S-T-R-E-T-C-H...and loosen...and S-T-R-E-T-C-H...and loos...
Slide your hand position up the neck along the string, pull it out at various points and so on, covering the entire length from nut to bridge. Then retune it and do it all again. The first few times the string tuning will drop by as much as an octave. After a few stretch/tune ups you'll notice it doesn't drop anymore. If you let this stretching happen naturally, it can take a week or so until the guitar strings stop jumping out of tune every 2 seconds. Your guitar will be as fit as a fiddle.
So adhering to these two simple but effective steps will improve any guitars tuning and even playability. Once you get into the habit of cleaning and stretching your guitar strings and it becomes second nature, you can turn your attention to other important playing points without having to tune up every few minutes. It's well worth the effort.
Next we look at some Strat whammy bar tips, Lee Chang specials to avoid, and how a humble home pencil can save your guitar life :).
Article Tags: Guitar Tuning Strategies , Guitar , Tune Instrument , Tuner Tips , Pro Tunung Tips , Guitar Gigging In Tune , Plaaying Guitar In Tune , Guita Strings , Gitar , Geetar , Isopropyl Alcohol , String Cleaner , Cleaning Guitar Strings , Stretching Guitar Strings , Music , A
Source: Free Articles from ArticlesBase.com
About the Author:
David O'Toole is a guitar player, music fan, and musician from Ireland. He is the webmaster at the UniGTR+ Center and editor at the BellaOnline Musician Site
A keen player and experienced guitar teacher, he is also the author of the popular standard, lefthand, reverse guitar, and piano / keyboard series of Basic Chord Families -- Not just another random selection of 1000s of chords, but the key to fast learning and playing 1000s of songs with under 60 chords!
Tuesday, November 18, 2008
Roland GR20 Guitar and Bass Synth
New sounds. Easy interface. Now works with GK-3 or GK-3B divided pickups.
Detail Product
New sounds. Easy interface. Now works with GK-3 or GK-3B divided pickups.
Plug and Play
Ever wanted to thicken up your guitar sound with a warm synth pad? Or how about a screaming lead sound that puts you in front? The GR-20 Guitar Synthesizer makes playing high-quality synthesizer and instrument sounds from your guitar as simple as 1-2-3. First, attach the GK-3 Divided Pickup to your steel-stringed electric (no drilling necessary). Second, select the type of sound you want using the Bank knob. Third, choose a sound variation using the Number/Value dial and start playing. With the GR-20, it's easy to tap into the power of guitar synthesis.
Features:
Affordable guitar synthesizer with new sounds, easy interface.
Available with or without GK-3 divided pickup
Easy to use: select a sound category (Strings, Organ, Synth, etc.) and play!
Quick editing via Attack, Release, Chorus, and Delay/Reverb knobs
Digital pitch detection for lightning-fast tracking
Includes Roland's latest sounds like sax, strings, flute, brass, bass and percussion loops
GK-3 mounts easily on any steel-stringed electric without damage to guitar
GK-3 features an adjustable curve design and pickup cable length, plus an attachment plate for Les Paul-type guitars
Patch Link enables easy connection with MIDI-capable multi-effects like GT-6
All trademarks are property of their respective owners.
Guitar Synth, or Compact Pedal
With the GR-20 it feels like both. Simply attach the GK-3 Divided Pickup to your guitar and you can be playing high-quality Roland sounds in seconds. Selecting a sound is like choosing an effect. First, select a sound category using the Bank knob. Categories include Strings/Orchestral, Wind, Brass, Bass/Guitar, Organ/Keyboard, Piano, Synth/Lead, Voice/Pad, Ethnic, and Rhythm/Percussion. Now you can select individual sounds using the Number/Value dial. It's easy!
Roland's Finest Sounds with Exceptional Tracking
At the heart of the GR-20 is an advanced sound engine based on Roland's professional synthesizers. Sounds can be played with up to 48-voice polyphony for full, rich-sounding Patches. And the sounds are equally impressive. From expressive string ensembles to spiritual tabla loops coupled with sitar -- all with adjustable attack and release -- there's no limit to what you can do. Sophisticated DSP makes the GR-20's pitch detection ultra-reliable, so you can strum with confidence.
Take Your Guitar Playing Further
Want to create a sound that's all your own? Try blending the natural sound of your guitar pickups with the GR-20. Thankfully, the GK-3 Divided Pickup makes this easy via a larger and smoother GK knob. Imagine playing chords and then slowly fading in a swirling, breathy pad to create intensity. Or how about playing a distorted lead on your guitar with a thick synth lead sound? Now take this a step further with the GR-20's Patch Link function. This allows you to easily assign GR-20 Patches to match effect Patches in MIDI-capable processors like the BOSS GT-6. It's the ultimate system for serious guitarists.
The New GK-3 Divided Pickup
When you buy a GR-20 with GK-3, you get a GK-3 Divided Pickup and GK cable in the box. In other words, everything you need to start playing synth sounds is included! The GK-3 is 30 percent thinner than its predecessor, and it now uses a 1/4 in. jack for normal guitar input. The pickup includes an adjustable curve design to keep an even distance between the strings for better response (the pickup cable length is also adjustable). Owners of Les Paul-type guitars can install the GK-3 safely without drilling using a special attachment plate included in the box.
Technical Info
Sound Generator: 1 part
Maximum Polyphony: 48 voices
Patches:
* User: 99
* Preset: Over 450
Display: 7 segments, 2 characters (LED)
Effects: MULTI-FX (40 types: included in the patches), Chorus, Delay/Reverb
Connectors/Jacks: GK IN, GUITAR OUT, MIX IN L, MIX IN R (MONO), OUTPUT L (PHONES), OUTPUT R (MONO), MIDI IN, MIDI OUT, AC IN
Power Supply: AC 14 V (AC Adaptor)
Current Draw: 600 mA
Dimensions: 313.8 (W) x 244.9 (D) x 63.1 (H) mm / 12-3/8 (W) x 9-11/16 (D) x 2-1/2 (H) inches, Maximum height: 313.8 (W) x 244.9 (D) x 97.5 (H) mm / 12-3/8 (W) x 9-11/16 (D) x 3-7/8 (H) inches
Weight: 1.7 kg / 3 lbs 12 oz (excluding the AC Adaptor)
Accessories: Owner's Manual, AC Adaptor BRC series, GK Cable (5 m)
Options: Divided Pickup (GK-3), GK Cable: GKC-3 (3 m), GKC-5 (5 m), GKC-10 (10 m), Unit Selector: US-20, GK Parallel Box: GKP-4
Detail Product
New sounds. Easy interface. Now works with GK-3 or GK-3B divided pickups.
Plug and Play
Ever wanted to thicken up your guitar sound with a warm synth pad? Or how about a screaming lead sound that puts you in front? The GR-20 Guitar Synthesizer makes playing high-quality synthesizer and instrument sounds from your guitar as simple as 1-2-3. First, attach the GK-3 Divided Pickup to your steel-stringed electric (no drilling necessary). Second, select the type of sound you want using the Bank knob. Third, choose a sound variation using the Number/Value dial and start playing. With the GR-20, it's easy to tap into the power of guitar synthesis.
Features:
Affordable guitar synthesizer with new sounds, easy interface.
Available with or without GK-3 divided pickup
Easy to use: select a sound category (Strings, Organ, Synth, etc.) and play!
Quick editing via Attack, Release, Chorus, and Delay/Reverb knobs
Digital pitch detection for lightning-fast tracking
Includes Roland's latest sounds like sax, strings, flute, brass, bass and percussion loops
GK-3 mounts easily on any steel-stringed electric without damage to guitar
GK-3 features an adjustable curve design and pickup cable length, plus an attachment plate for Les Paul-type guitars
Patch Link enables easy connection with MIDI-capable multi-effects like GT-6
All trademarks are property of their respective owners.
Guitar Synth, or Compact Pedal
With the GR-20 it feels like both. Simply attach the GK-3 Divided Pickup to your guitar and you can be playing high-quality Roland sounds in seconds. Selecting a sound is like choosing an effect. First, select a sound category using the Bank knob. Categories include Strings/Orchestral, Wind, Brass, Bass/Guitar, Organ/Keyboard, Piano, Synth/Lead, Voice/Pad, Ethnic, and Rhythm/Percussion. Now you can select individual sounds using the Number/Value dial. It's easy!
Roland's Finest Sounds with Exceptional Tracking
At the heart of the GR-20 is an advanced sound engine based on Roland's professional synthesizers. Sounds can be played with up to 48-voice polyphony for full, rich-sounding Patches. And the sounds are equally impressive. From expressive string ensembles to spiritual tabla loops coupled with sitar -- all with adjustable attack and release -- there's no limit to what you can do. Sophisticated DSP makes the GR-20's pitch detection ultra-reliable, so you can strum with confidence.
Take Your Guitar Playing Further
Want to create a sound that's all your own? Try blending the natural sound of your guitar pickups with the GR-20. Thankfully, the GK-3 Divided Pickup makes this easy via a larger and smoother GK knob. Imagine playing chords and then slowly fading in a swirling, breathy pad to create intensity. Or how about playing a distorted lead on your guitar with a thick synth lead sound? Now take this a step further with the GR-20's Patch Link function. This allows you to easily assign GR-20 Patches to match effect Patches in MIDI-capable processors like the BOSS GT-6. It's the ultimate system for serious guitarists.
The New GK-3 Divided Pickup
When you buy a GR-20 with GK-3, you get a GK-3 Divided Pickup and GK cable in the box. In other words, everything you need to start playing synth sounds is included! The GK-3 is 30 percent thinner than its predecessor, and it now uses a 1/4 in. jack for normal guitar input. The pickup includes an adjustable curve design to keep an even distance between the strings for better response (the pickup cable length is also adjustable). Owners of Les Paul-type guitars can install the GK-3 safely without drilling using a special attachment plate included in the box.
Technical Info
Sound Generator: 1 part
Maximum Polyphony: 48 voices
Patches:
* User: 99
* Preset: Over 450
Display: 7 segments, 2 characters (LED)
Effects: MULTI-FX (40 types: included in the patches), Chorus, Delay/Reverb
Connectors/Jacks: GK IN, GUITAR OUT, MIX IN L, MIX IN R (MONO), OUTPUT L (PHONES), OUTPUT R (MONO), MIDI IN, MIDI OUT, AC IN
Power Supply: AC 14 V (AC Adaptor)
Current Draw: 600 mA
Dimensions: 313.8 (W) x 244.9 (D) x 63.1 (H) mm / 12-3/8 (W) x 9-11/16 (D) x 2-1/2 (H) inches, Maximum height: 313.8 (W) x 244.9 (D) x 97.5 (H) mm / 12-3/8 (W) x 9-11/16 (D) x 3-7/8 (H) inches
Weight: 1.7 kg / 3 lbs 12 oz (excluding the AC Adaptor)
Accessories: Owner's Manual, AC Adaptor BRC series, GK Cable (5 m)
Options: Divided Pickup (GK-3), GK Cable: GKC-3 (3 m), GKC-5 (5 m), GKC-10 (10 m), Unit Selector: US-20, GK Parallel Box: GKP-4
Monday, November 17, 2008
Guitar Pickups
Difference in Tonal Quality Due to Position of Pickups
The reason behind the different tonal qualities of pickups in different positions on the guitar is due to their position along the strings. When a note is played it is not just one note, but a whole range of notes that sound together.
Difference in Tonal Quality Due to Position of Pickups
The reason behind the different tonal qualities of pickups in different positions on the guitar is due to their position along the strings. When a note is played it is not just one note, but a whole range of notes that sound together. For example:
The black lines represent the way in which the string vibrates. Only 3 of the harmonics are shown in the diagram above but there are in fact an infinite number of them each with a different sound. However 3 is enough to illustrate the point I am trying to make. Harmonics are discussed in greater detail in a later chapter (3.5 Guitar Harmonics).
If you trace up each of the 3 dotted lines, you will notice that for each pickup, the magnitude of the harmonic content is different. For example, the neck pickup will have the most pronounced 2nd harmonic, whereas the bridge pickup will have the least. It is this difference which defines the unique sound of each pickup.
As a general guide, the bridge pickup will have a sound full of treble, whereas the neck pickup will have the most bass giving it a warm sound.
Difference Between Single Coil and Humbucking Pickups
The visual difference between a single coil pickup and a humbucking pickup (also known as "humbucker") is shown in the photograph to the right.
As you can see it's pretty simple to distinguish between the two types of pickups. So what's the reason behind having these two types of pickups?
The single coil pickup was the first of the two to be invented. The problem with it was the fact that it not only picked up the sound of the guitar but other unwanted sounds as well, which caused it to be noisy when the guitar was played. The humbucker is the solution to this, and it has been designed to cut out this 'hum'.
However the way in which the humbucker functions gives it a different sound from the single coil pickups. The single coil typically has a 'brighter' (more treble content) sound than the humbucker, whereas the humbucker has a more powerful sound (also produces a louder output).
The two different pickups produce different sounds and therefore you need to choose which suits your playing style best. For example humbuckers would most likely be used by a guitarist playing heavy metal, and single coils by a blues player etc...
How a Guitar Pickup Works
An electric guitar string either is made of solid metal (the G, B, and e strings) or metal wrapped around some material in the centre (the E, A and D strings). This metal is usually nickel.
The pickup works on the principle that when a magnet travels across or through a coil, it produces some electrical output. The pickup in fact consists of both a magnet and a coil. When a string is set into motion by picking it, it becomes magnetised by the magnet in the pickup. The magnetised string then repeatedly moves over the coils producing an electrical signal. This signal is then sent through the cable to the amp where it is amplified by a small amount by a preamp, processed, amplified again to a much greater degree and outputted as sound.
There is a reason for this two step amplification. The signal produced by the pickups in the guitar is in fact very small (much less than 1 volt) and therefore requires to be amplified before any processing, such as equalisation can take place. This amplification is done by a preamp, usually consisting of a component called the FET. The later amplification is so there is enough power to drive the speakers.
source: www.igdb.co.uk
The reason behind the different tonal qualities of pickups in different positions on the guitar is due to their position along the strings. When a note is played it is not just one note, but a whole range of notes that sound together.
Difference in Tonal Quality Due to Position of Pickups
The reason behind the different tonal qualities of pickups in different positions on the guitar is due to their position along the strings. When a note is played it is not just one note, but a whole range of notes that sound together. For example:
The black lines represent the way in which the string vibrates. Only 3 of the harmonics are shown in the diagram above but there are in fact an infinite number of them each with a different sound. However 3 is enough to illustrate the point I am trying to make. Harmonics are discussed in greater detail in a later chapter (3.5 Guitar Harmonics).
If you trace up each of the 3 dotted lines, you will notice that for each pickup, the magnitude of the harmonic content is different. For example, the neck pickup will have the most pronounced 2nd harmonic, whereas the bridge pickup will have the least. It is this difference which defines the unique sound of each pickup.
As a general guide, the bridge pickup will have a sound full of treble, whereas the neck pickup will have the most bass giving it a warm sound.
Difference Between Single Coil and Humbucking Pickups
The visual difference between a single coil pickup and a humbucking pickup (also known as "humbucker") is shown in the photograph to the right.
As you can see it's pretty simple to distinguish between the two types of pickups. So what's the reason behind having these two types of pickups?
The single coil pickup was the first of the two to be invented. The problem with it was the fact that it not only picked up the sound of the guitar but other unwanted sounds as well, which caused it to be noisy when the guitar was played. The humbucker is the solution to this, and it has been designed to cut out this 'hum'.
However the way in which the humbucker functions gives it a different sound from the single coil pickups. The single coil typically has a 'brighter' (more treble content) sound than the humbucker, whereas the humbucker has a more powerful sound (also produces a louder output).
The two different pickups produce different sounds and therefore you need to choose which suits your playing style best. For example humbuckers would most likely be used by a guitarist playing heavy metal, and single coils by a blues player etc...
How a Guitar Pickup Works
An electric guitar string either is made of solid metal (the G, B, and e strings) or metal wrapped around some material in the centre (the E, A and D strings). This metal is usually nickel.
The pickup works on the principle that when a magnet travels across or through a coil, it produces some electrical output. The pickup in fact consists of both a magnet and a coil. When a string is set into motion by picking it, it becomes magnetised by the magnet in the pickup. The magnetised string then repeatedly moves over the coils producing an electrical signal. This signal is then sent through the cable to the amp where it is amplified by a small amount by a preamp, processed, amplified again to a much greater degree and outputted as sound.
There is a reason for this two step amplification. The signal produced by the pickups in the guitar is in fact very small (much less than 1 volt) and therefore requires to be amplified before any processing, such as equalisation can take place. This amplification is done by a preamp, usually consisting of a component called the FET. The later amplification is so there is enough power to drive the speakers.
source: www.igdb.co.uk
Sunday, November 16, 2008
Tone, Volume and Selector Switch
It's really important to get to grasps with the way that a guitar is wired.
This is a picture taken of a Stratocaster. As you can see there are 3 knobs and a switch.
It's really important to get to grasps with the way that a guitar is wired.
This is a picture taken of a Stratocaster. As you can see there are 3 knobs and a switch. Knob "a" controls the volume, knob "b" adjusts the tone of the neck pickup, and knob "c" adjusts the tone of the middle pickup (see 1.1 for the positions of these pickups). Switch "d" selects which pickup is connected to the output jack.
Switch "d" is a 5-way switch in this case and works as follows:
The reason behind the existence of the 5 way selector switch and multiple pickups is due to the fact that the tonal content of the sound generated by each of the pickups is different. The 5 way selector allows the guitarist to switch between these different sounds, and the 'tone' knobs are there to maximise the range of different sounds that can be played.
source : www.igdb.co.uk
This is a picture taken of a Stratocaster. As you can see there are 3 knobs and a switch.
It's really important to get to grasps with the way that a guitar is wired.
This is a picture taken of a Stratocaster. As you can see there are 3 knobs and a switch. Knob "a" controls the volume, knob "b" adjusts the tone of the neck pickup, and knob "c" adjusts the tone of the middle pickup (see 1.1 for the positions of these pickups). Switch "d" selects which pickup is connected to the output jack.
Switch "d" is a 5-way switch in this case and works as follows:
The reason behind the existence of the 5 way selector switch and multiple pickups is due to the fact that the tonal content of the sound generated by each of the pickups is different. The 5 way selector allows the guitarist to switch between these different sounds, and the 'tone' knobs are there to maximise the range of different sounds that can be played.
source : www.igdb.co.uk
Thursday, November 13, 2008
Fender Standard Stratocaster Electric Guitar (Maple, with Gig Bag)
Fast-action maple neck, comfort-contoured Alder body, 3 single-coil pickups and standard synchronized tremolo -- it's where the tradition began and still carries on today.
Detail Product
Fast-action maple neck, comfort-contoured Alder body, 3 single-coil pickups and standard synchronized tremolo -- it's where the tradition began and still carries on today.
Technical Info
Model Name: Standard Stratocaster (Upgrade)
Model Number: 013-4602-(Color#)
Series: Standard Series
Colors:
(306) Black
(325) Chrome Red
(332)* Brown Sunburst
(375) Midnight Wine
(380) Arctic White
(387) Electron Blue
(Polyester Finish)
Body: Alder
Neck: Maple, Modern 'C' Shape,(Satin Polyurethane Finish)
Fingerboard: Maple, 9.5 in. Radius (241mm)
No. of Frets: 21 Medium Jumbo
Pickups: 3 Standard Single-Coil Strat Pickups (Ceramic Magnets)
Controls:
Master Volume
Tone 1. (Neck Pickup)
Tone 2. (Middle Pickup)
Pickup Switching
5-Position Blade:
Position 1. Bridge Pickup
Position 2. Bridge and Middle Pickup
Position 3. Middle Pickup
Position 4. Middle and Neck Pickup
Position 5. Neck Pickup
Bridge: Vintage Style Synchronized Tremolo
Machine Heads: Fender/Ping Standard Cast/Sealed Tuning Machines
Hardware: Chrome
Pickguard: 3-Ply White
Scale Length: 25.5 in. (648 mm)
Width at Nut: 1.650 in. (42 mm)
Unique Features: Vintage Styling
Strings: Fender Super Bullets 3250L, Nickel Plated Steel, (.009 to .042)
Accessories: Standard Gig Bag
Case: None
Introduced: 1/2006
Notice: Product Prices, Features And Specifications Are Subject To Change Without Notice
Guitar Tapping Tips And Techniques
Although made popular recently by Eddie VanHalen, guitar tapping or right hand ‘legatos' is a technique players have been executing for years. Country players know the benefit of laying down a nice subtle lead and just putting in those quick hammers with clear guitar tapping.
Author: Brad Finley
Although made popular recently by Eddie VanHalen, guitar tapping or right hand ‘legatos' is a technique players have been executing for years. Country players know the benefit of laying down a nice subtle lead and just putting in those quick hammers with clear guitar tapping. And while it's not the easiest thing, guitar finger tapping techniques are really nothing much more then fast hammer on and a pull offs. Whether you use your middle finger or your first, most times you can hold the pick as usual to execute your guitar tapping and get the speed and positioning essential to good guitar tapping techniques. But like anything else, guitar tapping takes practice and patience.
Since this is a highly specialized, yet popular way of playing we hear a lot of player's guitar tapping these days...and just as many tapping badly. Especially when a guitar is cranked through distortion, a whole host of extra noises will come out if the player's guitar finger tapping techniques aren't the cleanest. An important trick to ‘clean-up' when you are cranked through that Marshall Stack and you're in "overdrive", is to rest the back of your right hand on the lower strings for muting; what you want to avoid is these string making a lot of extra noise while you get that guitar tapping in one steady movement. Of course, if you're a rock player you are most likely already dreaming of the all-too flashy ‘cross-handed tapping' but this is so impractical it only ever works when playing live (and even then it is a hard to get those guitar tapping progressions cooking in this way!) Admittedly though, this particular type of guitar tapping, above all other types of guitar finger tapping techniques, creates a truly distinct tone.
There are hundreds of videos and books that show guitar tapping tips, but as it is with everything else, you can't even begin to understand how guitar tapping works until you get up and do it yourself. Although modern listeners have been conditioned to want speed like Eddie V., it is more important to get the strong and clear sound of each note then to sacrifice technique for potential sloppiness. Guitar finger tapping techniques are only good if you can do them; nothing sounds worse then reaching for a flashy technique and not being able to pull it off. As with everything else you learn on guitar, if you mater a technique on acoustic then you can feel all that more confident trying it on electric.
Playing a difficult and flashy exercise, such as guitar tapping or lightening fast arpeggios, sometimes seem to be easier on an electric; you get-off on the sound you are creating, the noise, but don't catch nuisances or mistakes. Try tapping on an acoustic guitar (or you want a big challenge-try guitar tapping on an acoustic bass!) Guitar finger tapping is hard on an acoustic; cross-handed guitar tapping is almost impossible (it takes a ton of strength and precision), but master guitar tapping on an acoustic and you'll find you are that much more prepared for what you might do on your electric.
Article Tags: Guitar Tapping Techniques , Guitar Tapping Tips , Guitar Finger Tapping Techniques
Source: Free Articles from ArticlesBase.com
About the Author:
Brad Finley is senior editor of MyGuitarWorkshop - Guitar Tips and Music Theory . Website provides guitar lessons and instructions for all level guitar players. Click for more Guitar Tips And Techniques
Author: Brad Finley
Although made popular recently by Eddie VanHalen, guitar tapping or right hand ‘legatos' is a technique players have been executing for years. Country players know the benefit of laying down a nice subtle lead and just putting in those quick hammers with clear guitar tapping. And while it's not the easiest thing, guitar finger tapping techniques are really nothing much more then fast hammer on and a pull offs. Whether you use your middle finger or your first, most times you can hold the pick as usual to execute your guitar tapping and get the speed and positioning essential to good guitar tapping techniques. But like anything else, guitar tapping takes practice and patience.
Since this is a highly specialized, yet popular way of playing we hear a lot of player's guitar tapping these days...and just as many tapping badly. Especially when a guitar is cranked through distortion, a whole host of extra noises will come out if the player's guitar finger tapping techniques aren't the cleanest. An important trick to ‘clean-up' when you are cranked through that Marshall Stack and you're in "overdrive", is to rest the back of your right hand on the lower strings for muting; what you want to avoid is these string making a lot of extra noise while you get that guitar tapping in one steady movement. Of course, if you're a rock player you are most likely already dreaming of the all-too flashy ‘cross-handed tapping' but this is so impractical it only ever works when playing live (and even then it is a hard to get those guitar tapping progressions cooking in this way!) Admittedly though, this particular type of guitar tapping, above all other types of guitar finger tapping techniques, creates a truly distinct tone.
There are hundreds of videos and books that show guitar tapping tips, but as it is with everything else, you can't even begin to understand how guitar tapping works until you get up and do it yourself. Although modern listeners have been conditioned to want speed like Eddie V., it is more important to get the strong and clear sound of each note then to sacrifice technique for potential sloppiness. Guitar finger tapping techniques are only good if you can do them; nothing sounds worse then reaching for a flashy technique and not being able to pull it off. As with everything else you learn on guitar, if you mater a technique on acoustic then you can feel all that more confident trying it on electric.
Playing a difficult and flashy exercise, such as guitar tapping or lightening fast arpeggios, sometimes seem to be easier on an electric; you get-off on the sound you are creating, the noise, but don't catch nuisances or mistakes. Try tapping on an acoustic guitar (or you want a big challenge-try guitar tapping on an acoustic bass!) Guitar finger tapping is hard on an acoustic; cross-handed guitar tapping is almost impossible (it takes a ton of strength and precision), but master guitar tapping on an acoustic and you'll find you are that much more prepared for what you might do on your electric.
Article Tags: Guitar Tapping Techniques , Guitar Tapping Tips , Guitar Finger Tapping Techniques
Source: Free Articles from ArticlesBase.com
About the Author:
Brad Finley is senior editor of MyGuitarWorkshop - Guitar Tips and Music Theory . Website provides guitar lessons and instructions for all level guitar players. Click for more Guitar Tips And Techniques
Thursday, November 06, 2008
How to Tune a Guitar
1. Standard E Tuning
The first thing you should know is what the strings should be tuned to, which is shown below:
The first thing you should know is what the strings should be tuned to, which is shown below:
There are several options when it comes to achieving this tuning:
3. Alternative Method of Tuning
2. Using an Electronic Tuner
A very easy way of tuning your guitar. You either connect the guitar to the tuner via a cable, or use the in-build microphone. The tuner will then tell you whether the string is sharp or flat etc... Some tuners however seem to fluctuate a lot, which makes it difficult. Tuners come relatively cheap so it's worth the investment. You could also consider using our online guitar tuner.
If you tune the bottom E string correctly (for example by using a piano), the other strings can be tuned using this method:
Play the 5th fret on the E string and tune the A string to this note.
Now play the 5th fret on the A string and tune the D string to this note.
Now play the 5th fret on the D string and tune the G string to this note.
Now play the 4th fret on the G string and tune the B string to this note.
Finally play the 5th fret on the B string and tune the e string to this note.
4. Drop D Tuning
The guitar can in fact be tuned in many other different ways, on of the most common being drop D tuning, in which the E string is tuned down to a D. This can be achieved from a guitar tuned to E by tuning down the E string until the 7th fret on this string plays an A.
Source : www.igdb.co.uk
Name of the Parts on a Guitar
All the parts that you need to know on a guitar are shown in the diagram below:
Source : www.igdb.co.uk
Wednesday, November 05, 2008
Popular Types of Guitars
Guitars come in a variety of shapes, sizes, colors and types. There are acoustic guitars, electric acoustic guitars, semi hollow guitars, electric guitars, twelve string guitars, four string bass guitars, five string bass guitars; the catalog goes on and on.
Author: Victor Epand
The list for popular types of guitars can be endless. Guitars come in a variety of shapes, sizes, colors and types. There are acoustic guitars, electric acoustic guitars, semi hollow guitars, electric guitars, twelve string guitars, four string bass guitars, five string bass guitars; the catalog goes on and on.
Acoustic guitars
Acoustic guitar is independent of any external device to be heard. The acoustic guitar is more sober than other instruments commonly found in bands and orchestras. To play within such groups the sound is often externally amplified. Acoustic guitars, which are available today, feature a variety of pickups. This enables the player to increase and adjust the raw guitar sound.
Prominent subcategories feature within the acoustic guitar group
Classical and flamenco guitars; steel string guitars, that comprise the folk or flat top guitar; arch top guitar and the twelve string guitars. There are unamplified guitars also in the acoustic guitar group.
Such types are designed to play in various registers such as the acoustic bass guitar. The tuning of the acoustic bass guitar is similar to that of the electric bass guitar.
Classical guitars
These are normally strung with nylon strings, to be played in a seated pose and are used to play a variety of musical styles together with classical music. The classical guitar is designed in such a way that it allows the execution of solo polyphonic arrangements of music
Portuguese guitar
The Portuguese guitar is a 12 string guitar used in Portugal for the customary Fado songs.
Archtop guitars
Steel string instruments feature a violin inspired f hole design where the top (and often the back) of the instrument are engraved in a curved rather than a flat shape.
Flat top (steel string) guitars
Here the body dimension is typically considerably larger than a classical guitar and it has a narrower, resistant neck and stronger structural design
Resonator, resophonic or Dobro guitars
The hum of the resonator guitar is created by a metal resonator fitted in the middle of the top.
Tenor guitars
Some classical guitarists call the Niibori prime guitar a Tenor Guitar on the grounds that it sits in pitch between the alto and the bass.
Harp guitars
This consists of a usual guitar, with additional harp strings strung on top of the six normal strings. The instrument is generally acoustic and the harp strings are adjusted to lower notes than the guitar strings, for an added bass range.
Acoustic bass guitars
This type has steel strings or guts strings in it and often has the same tuning as an electric bass guitar.
12 string guitars
Instead of having only six strings, the 12 string guitar has six courses made up of two strings each, like a mandolin or f lute.
Electric guitars
Electric guitars are the types, which have solid, semi hollow, or hollow bodies, and generate minute sound without amplification. The electromagnetic vibrations of the strings are converted into electrical signals, which are supplied to an amplifier via a cable or radio transmitter. Sound outputted is regularly modified by other electronic instruments or the natural distortion of valves (vacuum tubes) in the amplifier.
Author: Victor Epand
The list for popular types of guitars can be endless. Guitars come in a variety of shapes, sizes, colors and types. There are acoustic guitars, electric acoustic guitars, semi hollow guitars, electric guitars, twelve string guitars, four string bass guitars, five string bass guitars; the catalog goes on and on.
Acoustic guitars
Acoustic guitar is independent of any external device to be heard. The acoustic guitar is more sober than other instruments commonly found in bands and orchestras. To play within such groups the sound is often externally amplified. Acoustic guitars, which are available today, feature a variety of pickups. This enables the player to increase and adjust the raw guitar sound.
Prominent subcategories feature within the acoustic guitar group
Classical and flamenco guitars; steel string guitars, that comprise the folk or flat top guitar; arch top guitar and the twelve string guitars. There are unamplified guitars also in the acoustic guitar group.
Such types are designed to play in various registers such as the acoustic bass guitar. The tuning of the acoustic bass guitar is similar to that of the electric bass guitar.
Classical guitars
These are normally strung with nylon strings, to be played in a seated pose and are used to play a variety of musical styles together with classical music. The classical guitar is designed in such a way that it allows the execution of solo polyphonic arrangements of music
Portuguese guitar
The Portuguese guitar is a 12 string guitar used in Portugal for the customary Fado songs.
Archtop guitars
Steel string instruments feature a violin inspired f hole design where the top (and often the back) of the instrument are engraved in a curved rather than a flat shape.
Flat top (steel string) guitars
Here the body dimension is typically considerably larger than a classical guitar and it has a narrower, resistant neck and stronger structural design
Resonator, resophonic or Dobro guitars
The hum of the resonator guitar is created by a metal resonator fitted in the middle of the top.
Tenor guitars
Some classical guitarists call the Niibori prime guitar a Tenor Guitar on the grounds that it sits in pitch between the alto and the bass.
Harp guitars
This consists of a usual guitar, with additional harp strings strung on top of the six normal strings. The instrument is generally acoustic and the harp strings are adjusted to lower notes than the guitar strings, for an added bass range.
Acoustic bass guitars
This type has steel strings or guts strings in it and often has the same tuning as an electric bass guitar.
12 string guitars
Instead of having only six strings, the 12 string guitar has six courses made up of two strings each, like a mandolin or f lute.
Electric guitars
Electric guitars are the types, which have solid, semi hollow, or hollow bodies, and generate minute sound without amplification. The electromagnetic vibrations of the strings are converted into electrical signals, which are supplied to an amplifier via a cable or radio transmitter. Sound outputted is regularly modified by other electronic instruments or the natural distortion of valves (vacuum tubes) in the amplifier.
Subscribe to:
Posts (Atom)