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Feb
13th

Changing The Guitar Strings Method

Changing Guitar Strings by Mark Starlin

this article from http://betterguitar.com/instruction/essentials/buying_first_guitar.html

It’s unavoidable. After a while, guitar strings become dirty and lose their brightness. In order to get rid of that dull, lifeless tone, you need to put on a fresh set of strings. Changing guitar strings is not difficult, it just takes a little time and practice.

The Tools

String WinderAs with any job, the right tools can make the task much easier. Two tools every guitar player should keep in their guitar case are small needle nose pliers and a string winder. Both of these are very inexpensive tools that can be bought for a couple of dollars. The needle nose pliers will be used to cut and bend strings, and remove string pegs on acoustic guitars. The string winder is a handy little gadget that makes winding the strings much faster. Armed with these simple tools and a fresh pack of strings, you’re ready to tackle the job.

Removing The Old Strings

Needle Nose PliersThe first thing we need to do is remove the old strings. I prefer to change strings one at a time. I remove the old 6th string first and then replacing it with a new 6th string. I then repeat the process for the 5th string and so on until all six strings are changed. There are two reasons I do this. First of all, it keeps a close to normal tension on the neck and body of the guitar. Secondly, it allows me to quickly tune the new string to the old strings. To remove an old string, simply turn the tuning peg (machine head) until there is considerable slack in the string. Now take your trusty needle nose pliers and use the wire cutting section (located near the hinge of the pliers below the gripping section) to cut the string. Unwind the top section of the cut string from the tuning peg (being careful, cut guitar strings are sharp!) and set it aside. Now, pay close attention as you remove the bottom section of the cut string. Seeing how the old string comes off will show you the correct way to put the new string on — by doing the opposite. Depending on what type and brand of guitar you have, there are a number of variations.

If you have an acoustic guitar you will probably have to pull out a small peg that keeps the string in place before you can remove the string. This is where your needle nose pliers can come in handy again. First, try pulling the string peg out with your fingers. If it won’t release, gently squeeze the peg and pull it out with the pliers. Next, wiggle the string until the string loosens from its slot and the ball of the string can be pulled out of the hole. Electric guitars have many variations — the strings may even go through the body on some electric guitars. Watch carefully as you take the old string off, and then reverse the process.

Putting On New Strings

Open your pack of new strings and take out the 6th string. Remember, we are changing them one at a time. The 6th string will be the fattest string and will be a wound string. The envelope the string comes in should be labeled with a string gauge (.054 is a common gauge for the sixth string in a set of light gauge acoustic strings.) Some brands of strings may say “6th String” or “E” on the envelope. Regardless of the gauge, the 6th string will be the highest number and each string gauge will gradually get smaller down to the first string.

If you have an acoustic with string pegs, place the ball of the string into the peg hole and pull up and towards the sound hole until it catches in a slot or groove. This may take a few tries. Once the string catches, put the string peg back into the hole, placing the grooved portion of the peg over the string. Electric guitarist will be feeding the string through a hole in the body of the guitar (and bridge) or the tailpiece depending on your particular guitar.

Once you have the ball end of the string in place, pull the string over the bridge of the guitar, then the nut, and up past the tuning peg. You will probably have more string then you need or even have room for on the tuning peg, and will need to cut some of it off. You will want to leave enough string for a couple of winds around the peg, so be sure not to cut off too much. I usually make my cut about two inches above the tuning peg. Before you make your cut, it is a good idea to take out your needle nose pliers and make a 90 degree angle bend in the string (toward the tuners.) This keeps the wound strings from unraveling and makes it easier to start winding the string on the tuning peg. Cut the end of the string off about a half an inch past the bend in the string. Feed the bent end of the string through the hole in the tuning peg (or down into it on some guitars) and begin to wind it, all the while keeping tension on the string so it doesn’t have any slack.

Once you have the string started you can take out your string winder, slide it over the tuner and wind the string until it is tight. Next, take off the string winder and finish tightening the string until it is intune. Repeat this process for each string until they have all been changed.

Finishing The Job

Take all the old string cuttings and put them in the envelopes the new strings came in. Put the envelopes back in the plastic pack and throw them away. This will prevent anyone from getting cut by the sharp edges of cut wires.

Breaking In New Strings

New strings will continue to stretch for a while, causing them to go out of tune easily. To speed up the stretching process, gently pull up on the strings (away from the body of the guitar) a few times. Some spirited strumming can also help. You may have to tune more often the first day or two after changing string, but there is nothing like the sound and feel of a fresh set of strings.

Feb
12th

Guitar Effects Compressor Pedal Reviews

Compressor Pedal Reviews Courtesy of Donner Rusk
First batch of pedals…
Alrighty, well this is tougher than I thought.
The differences in compressors can be kind of ‘liquid’…. it can behave one way at one gain/comp setting and then be completely different at another and the more knobs the more probs….and it will be difficult to relate useful information any units usefulness will have alot to do with its application. It seems there are two main comp camps: Chicken or Fish (or the country Chicken pickers and the Phish freaks or the squashers and the sustainers)

And are they looking for a true effect that is recognizable or something that sounds like a straight guitar, just leveled and sustained….

Every one of these so far sounds great into a TS10, I wish I would have found this out along time ago… I will never be without a comp again, and none of them is terribly noisy unless set up to do too much…

So it seems the differences come down to features , tweekability, true bypass, size and ease of use……. there is some EQ and tone difference……….anyway here we go……

Like with wine or beer tasting, you are supposed to start with the lightest first…

DOD Milk Box

  • I assume its not true bypass. 4 knobs with 2 names each, but the control is over: level Threshold Tone (but its a high end expander) and Attack…..
  • this one is a bit noisy if you start cranking the levels and thresholds, but it has a nice control for the high end and you can actually get a nice top end improvement which helps if you are trying to do the squashed thing and keep clarity and attack……..and it will do the crazy squash thing that feels like Grandma pinching you cheek…….pretty good unit, Im suprised.

Korg CMP-1

  • Output and Sensitivity knobs and soft/hard attack switch, another nice suprise. this is really pretty quiet and will do a nice Phish fillet, it does kind of thicken the middle and take a hair off the top, great into a TS10.

Menatone JAC

  • Gain /Gain Reduction/volume - Second LED that shows comp level rising and falling (and Im a sucker for ‘living’ LEDs)
  • this is a studio compressor in a pedal. its paterned after the old LA-2As that were and are in most pro studios…. this is very nice and will get an ‘is it on?’ gold star. This is not really for saturated chicken picking or sustain crazy Phishing, but it sounds real natural and is ‘amplike’ the way most Menatone pedals are described, very nice openess in the lower strings, almost more of an ‘overeasy’ limiting with some compression in there…. this would be a good one to just leave on, and maybe use a different comp for the ‘Squishies’.

Blackbox Oxygen

  • Gain/Gate/Limit/Comp/Release/Dirt
  • (Flak jacket on - check) Ok I’m going to make some people mad here. It can be noisy, and it does take off some top end. This has ALOT of options, but many of them get noisy. This would be fun in the studio because it will do everything!! But I dont hear the Dirt control giving any real dirt. Maybe its just that I hate that Noisegating sound alot, and if this isnt set just right (tone Dog - you got any frequent flyer miles you can jet over here on) it gets well noisy. BUT it also has a beautiful FAT sustain with some limiting that is addictive. There are great tones in this pedal, but it will take work. and it is taller than the regular Hammond box….. (more…)

Feb
12th

Guitar Effects Tech 21 NYC American Woman Review

Tech 21 NYC American Woman

Review by Mark Starlin

tech 21 American Woman pedal

Back in the early 70’s, channel switching, high gain amps had yet to be invented. To get that soaring, infinite sustain, players would often resort to tricks such as running one amp into another (a disaster waiting to happen) or having someone hot rod their amp (which is how some well known amp makers got their start.) Randy Bachman, who was a member of The Guess Who at the time, and later Bachman Turner Overdrive (BTO), had his repairman, Gar Gilles, build him a tube preamp with two gain stages. This simulated the effect of running one amp into another without the inherent danger. This unique tone was made famous on the classic Guess Who hit American Woman. The Tech 21 American Woman pedal was designed to capture that classic tone in a pedal. Does it succeed? Let’s see.

That Sound

Naturally, any sound on a recording is the result of several factors. In the case of American Woman, it was the result of ’59 Les Paul, the two stage preamp, a Garnet amp, an RCA ribbon microphone, an RCA compressor/limiter, tape saturation, and lest we forget: Randy’s technique and choice of notes. Can one pedal possibly recreate all that? With the exception of Randy’s technique, the answer is yes. In fact, when I popped The Guess Who’s Greatest Hits in my CD player and played along (using my Les Paul) with the lead lines on the song American Woman, it was shocking how close I could get to that famous tone.

Other Sounds

You may be thinking: “So it does the ‘American Woman’ thing, what else can it do?” While the American Woman pedal was designed to create singing sustain, it is capable of a nice crunch also. I was also able to dial up a high gain tone suitable for chugging rhythm playing. Still, the very nature of the beast is a highly compressed, processed sound. And that is what you get regardless of settings.

I tested the pedal with my Les Paul Custom and my Japanese Stratocaster (upgraded with Kinman pickups) and in my opinion, the American Woman pedal works best with Humbuckers, and even better with heavy, sustaining guitars like a Les Paul. You still get lots of overdrive with a single coil guitar such as a Strat, but the distortion is not as smooth.

Pedal Features And Construction

Let’s look at the controls and see what we have. There are four controls on the pedal: Level, Tone, Gate, and Drive. The Level control allows you to add up to 10dB of gain to your signal. This allows you to set the volume for your solos so they will cut through the mix. The Tone control is specialized low pass filter that lets you cut the treble to get that “warmer” tone on the record. The Gate control, obviously, is a noise gate. Which you will definitely need as you turn the Drive control up. The Drive control lets you dial in the amount of overdrive you desire.

The unit is solid metal in a marbleized green color with gold lettering. The knobs are plastic, but solid. The effect switch is metal, and there is an LCD light to tell you when the effect is on, and when your battery is low. A clip-open plastic plate on the bottom hides the battery compartment. There is a DC adapter jack on the side.

My main gripe with the pedal is the Gate, which never really shuts off. Even with the Gate and Drive controls in the fully off position, the Gate continued to choke off my clean guitar signal as it decayed. This is a shame, since you can’t really use the pedal as a “pre-boost” to add additional gain to your amp (as the manual suggests.) I also noticed a slight loss of signal level when using an adapter as opposed to a battery. This is not a big deal as you can simply add more level using the Level control if desired. Also, when you plug in a guitar cable, the plug doesn’t fully insert into the jack. There is about a quarter of an inch of plug showing. This is true for both the input and output. I didn’t notice any signal problems with this design, but I would prefer it if the cables plugged all the way in. (more…)

Feb
12th

Guitar Lessons Basic The Fretboard Diagram

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Guitar Fretboard Diagram

Guitar Fretboard DiagramThe diagram is used on Better Guitar to represents the guitar fretboard. The left side represents the nut of the guitar and the vertical (up and down) lines represent the frets. The horizontal lines (side to side) represent the strings of the guitar with the one on the bottom being the low E (the fat wound string) and the top being the high E string. You would get the same view if you laid your guitar flat on the floor (with the headstock to your left and the body to your right) and looked down on the neck. Numbers below the fretboard are fret position numbers.

(more…)

Feb
12th

Line 6 Release The Micro Spider Guitar AMPS

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review by mark starlin Line 6 Micro SpiderMicro Spider is a fully loaded, battery-powered addition to the Spider family of amplifiers. At home, on vacation or in the back of the tour bus, Micro Spider is the portable amp you can truly rely on for brilliant on-the-go tones and effects for electric guitars, acoustic guitars and vocals. (more…)