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Showing posts with label Guitar. Show all posts
Showing posts with label Guitar. Show all posts

Monday, December 14, 2015

New Music Gear Monday: Fretlocks Single String Capo

Fretlocks individual string caposOne of the great production tricks with guitars is the use of the capo. Instead of a straight double, playing in a different register with the help of a capo provides a magic sound that seems to work every time.

But the normal capo works on all strings, and there are those moments when it would be cool to capo just one or two, and that's where Fretlocks very cool single string capos come in.

The Fretlock adheres to your guitar's fretboard with adhesive tape, and two small blades grab the string to fret it. It's way easier to watch and listen than read about it to understand, so there's a video below that shows what fretlocks can do.

Fretlocks are available from the company website and cost $22.75 for a packet of 6, or $37.90 for a tin of 12 (they come from the UK, so this is the current conversion from pounds). There are three different sizes to accommodate different string sizes.

The downside is that they're only usable for a few times before the adhesive wears off, but the company says that they're working on a more robust version for future release.

In the meantime, it's a small price to pay for having an extra finger or two when you need it.



Wednesday, May 21, 2014

Pete Thorn Guitar Tips

Pete Thorn is a great guitar player who's not only toured with the likes of Don Henley, Melissa Etheridge and Chris Cornell, but on albums for Alicia Keys, Courtney Love, and many others.

Here's a great video where he describes the guitar and amp gear he uses in his studio, and the intelligent way it's all put together for fast access. He also goes on to show a different type of guitar cabinet isolation that's an alternative to the methods in previous posts here.

Read an excerpt from the interview I did with Pete for my How To Make Your Band Sound Great book. Also, make sure to check out his website at peterthorn.com.



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Sunday, November 18, 2012

New Music Gear Monday: USB/iOS Squire Strat

Here's something for New Music Gear Monday that isn't exactly new, but it's getting a lot of buzz. It's the "new" Squire Strat with USB, which allows for direct connection to your iPhone, iPad, iPod Touch, or Mac.

The reason why it's not exactly new is that there have been USB connected guitars around for a few years, but Fender has gone one better in that this one is designed for iOS device so you can record without any additional hardware. A USB to 30 pin cable comes standard with the guitar, and the axe also has as a built in 1/8th inch headphone jack for some silent practicing without even plugging in.

I have to say that while this seems cool on the surface, one of the worst connectors for a guitar is a USB connector. Wanna bet how many times it disconnects on your first session with it?

Plus, why buy a guitar just because it has a USB connector on it? For not all that much money you can buy an adapter to plug directly into your iPhone or iPad (this Petersen cable is less than $10) or something more sophisticated like the IK Multimedia iRig, the Pocketlabworks iRiff Port, the Line 6 Mobile In, or even the Apogee Jam. All are a lot cheaper than the $199 for the USB Strat and you can use your existing guitar.

All that said, at least Fender has moved into the future somewhat, even though it's more like sticking you little toe in the water.



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Tuesday, March 20, 2012

The Peavey Autotune Guitar

Recently I posted an article about the creation of the Auto-Tune process and about how it's become a crutch for a lot of singers and producers, as well as an all-too overused effect. But this might actually be a great use for the process. I don't know how I overlooked this, but Peavey introduced the AT-200 Auto-Tune guitar at the most recent NAMM show.

When I first heard about an auto-tune guitar, I was very skeptical, but after watching the demo, I must admit that I'm intrigued. If it can get you an always in-tune and intonated instrument, I can definitely see uses for it. Plus, there doesn't seem to be any latency that would impede using it, and it even responds to bends and makes alternate tunings a snap.

Check out the video and tell me what you think.



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Help support this blog. Any purchases made through our Amazon links help support this website with no cost to you.


You should follow me on Twitter for daily news and updates on production and the music business.


Don't forget to check out my Music 3.0 blog for tips and tricks on navigating social media and the new music business.

Monday, October 24, 2011

Using Alternate Tunings For A Different Guitar Sound

Sometimes changing the tuning of a guitar from standard to some alternate tuning can create a different sound that really makes a song sparkle or a guitar stand out from the track. In this excerpt from The Ultimate Guitar Tone Handbook, we'll take a look at the different types of tunings available as well as provide a few examples on songs that you've probably heard before.
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"Like an electric, the standard tuning for an acoustic guitar is E-A-D-G-B-E (low to high), where the pitch of each note is referenced to a standard pitch (A = 440.0Hz). However, the guitar is an easy instrument to change tunings with in order to create a whole new palate of sonic possibilities. These tunings can be placed into several subcategories, such as open tunings, lower tunings, higher tunings, dropped tunings and double drop tunings.

Open Tunings
Open tunings allow the guitarist to play a chord without any fretting, and has long been a favorite of the blues greats, especially those specializing in the slide guitar. You’ve heard Open G tuning, D-G-D-G-B-D, on many of the Rolling Stones hits including "Start Me Up," "Brown Sugar" and "Honkey Tonk Women." It was also a favorite tuning of Mississippi Delta bluesmen Son House, Charlie Patton and Robert Johnson.

Open A tuning, E-A-C#-E-A-E, was famously used by The White Stripes on "Seven Nation Army" (although that’s not acoustic), and Open D, D-A-D-F#-A-D, is favored by 60’s folk giant Richie Havens.

Another popular tuning, D-A-D-G-A-D, is sometimes called D modal or Celtic tuning. You’ve heard it on Led Zeppelin’s "Kashmir" and "Black Mountainside," and the Doobie Brothers’ "Black Water."

Drop Tunings
Drop tunings lower just the 6th string of the standard tuning, with Drop D being one of the most popular. Drop D is tuned as D-A-D-G-B-E and is used by Soundgarden ("Spoonman"), Creed ("Higher"), Radiohead ("Optimistic") and Led Zeppelin ("Moby Dick"). Drop C, C-G-C-F-A-D, would be a full step down from Drop D.

With double drop tunings, the 1st and 6th strings are dropped a full step, so Double Drop D is laid out as D-A-D-G-B-D. This was used by Neil Young on his hits "Cinnamon Girl," "When You Dance," "The Loner" and Crosby, Stills, Nash and Young’s "Ohio." Double Drop C, C-G-C-F-A-C, is a full step down from Double Drop D.

Lower Tunings
With lower tunings, all six strings are tuned down. An Eb tuning drops each string down a half-step and has been very popular with some of the greatest guitar players of our time such as Edward Van Halen, Stevie Ray Vaughn, Jimi Hendrix and Slash.

D tuning, D-G-C-F-A-D, where each string is tuned down a full step, is a favorite of John Fogarty, Dream Theater and the Nirvana hit "Come As You Are."

C tuning would be down two full steps to C-F-Bb-Eb-C-G, and has been used by Queens of the Stone Age and other metal bands. Tunings even lower are favored by Swedish death metal bands, but string tension will be quite low on some of these tunings, causing tuning and intonation problems.

High Tunings
Higher tunings, which are not used as much with acoustic guitars, will increase the string tension. F# tuning would be one full step up from standard with the strings at F#-B-E-A-C#-F# and G tuning (also sometimes called Third tuning) is G-C-F-A#-D-G. Not all acoustic instruments can handle these tunings, so it might be better to use a capo instead."

To read additional excerpts on this and my other books, check out the excerpts page on my website.
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Help support this blog. Any purchases made through our Amazon links help support this website with no cost to you.

You should follow me on Twitter for daily news and updates on production and the music business.

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Wednesday, September 28, 2011

The Pick Punch

I can't decide if this product is a good idea or not. It's called the Pick Punch, and it allows you to make guitar picks by punching out your old credit cards. I suppose if you had other sources of plastics, you could make picks from different thicknesses as well. It's about $40 on Amazon. You could buy a lot of your preferred picks for that amount, or even get some custom one's made, but then all those old credit cards would go to waste.

Guitar players, what do you think?

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Help support this blog. Any purchases made through our Amazon links help support this website with no cost to you.

You should follow me on Twitter for daily news and updates on production and the music business.

Don't forget to check out my Music 3.0 blog for tips and tricks on navigating social media and the new music business.

Monday, August 29, 2011

Your Vintage Instrument May Be Confiscated!

Federal agents raided the Memphis and Nashville factories Gibson Guitar last week, seizing several pallets of wood, electronic files and guitars. Fish and Wildlife Service agents were looking for banned wood like Madagascar ebony and Brazilian Rosewood, even though the company claims to purchase all of their wood from only certified suppliers.

While it's easy to think that a large company like Gibson routinely skirts the law all in the name of guitar tone, the problem is that the Feds are only enforcing some overly broad mandates, which can also apply to a typical guitar owner. Here's how that might work:

If you own a vintage instrument and try to travel into or out of the country with it, you're subject to a statute called the Lacey Act that requires anyone crossing the U.S. border to declare every bit of flora or fauna being brought into the country, which includes wood. Your are under what's known as a "strict liability" to fill out the paperwork without any mistakes.

It would be easy if you could just declare the guitar as a single instrument, but an overzealous border agent can follow the letter of the law and require that you declare every part of the instrument. You have to declare where the wood from the body came from, where the ivory was harvested if there's an ivory nut or inlays. What about the neck? Is it made from ebony with maybe a rosewood fingerboard? You better know not only what it is, but where it came from as well.

So what if you don't know, or you just guess? First of all the Feds can confiscate your instrument (and may never give it back), then fine you $250 for false or missing documentation. If you happen to have any banned wood in your instrument, you can be fined thousands of dollars and even go to jail.

I know it's a good thing for the world we live in to be environmentally safe, and I hope we begin to find other materials that sound as good as the woods we've been using that make vintage instruments sound the way they do. But in the meantime, it would be great if the Feds back off on being so stringent about the materials of an instrument that might be 50 years old; something that virtually no one could ever source (and probably couldn't even when it was originally made). There are too many things in the world to worry about. Having your instrument confiscated by the government shouldn't be one of them.

You can read more in this article from the Wall Street Journal.

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Help support this blog. Any purchases made through our Amazon links help support this website with no cost to you.

You should follow me on Twitter for daily news and updates on production and the music business.

Don't forget to check out my Music 3.0 blog for tips and tricks on navigating social media and the new music business.

Tuesday, April 6, 2010

Can A New Instrument Sound Vintage?

Everyone who's ever played or heard a vintage stringed instrument can attest to the excellent sound, but the problem is it might take 30 or 40 years (or 100's in the case of classic instruments) until the wood and metal ages. If you don't have the money to buy a fine vintage instrument, you probably have no other choice but to wait until a new instrument becomes sufficiently resonant over time. But what if there was another choice?

Now comes the ToneRite, an add-on device that claims to accelerate the aging process by simulating years of playing by bombarding the wood with carefully selected frequencies. There's a different ToneRite for every kind of wooden stringed instrument, from guitar to violin to cello, etc.

The unit connects to the bridge of the instrument and never touches the body. It gets its power from a common AC outlet. Supposedly results can be heard after an initial 72 hour break-in period. Each unit costs $150 USD.

Does it work? If you look at the site, you don't really get any enthusiastic endorsements, but everyone claims that they can detect a least a little difference. The unit is so new, however, that no one has used the unit for that long, so who's to say.

While this might seem like a lot of snake-oil that we see so often (especially the kind aimed at the audiophile industry), inventor Augi Lye is a musician and electrical engineer who had been working on systems for unmanned intelligence drones, so at least he's a guy with a scientific and music background.

It should be noted that the ToneRite is primarily intended for classical instruments and no one is yet sure if it can enhance that new Les Paul you just bought. The implications are pretty large for the vintage instrument community though.

Imagine if this thing worked, even a little. What if you could buy a fairly inexpensive 10 or 20 year old instrument that was already well on it's way to those fine resonant characteristics that we all know and love, and you could use the ToneRite to quickly take it the rest of the way? It might not affect the price of those rare 59 Les Paul's, but it could take a chunk out of the prices of everything else.

We're still a ways off from that, but keep an eye on this device to see if and how it evolves. Here's a good article on the ToneRite in the New York Times.


Don't forget to check out my Music 3.0 blog for tips and tricks on navigating the music business.

Follow me on Twitter for daily news and updates on production and the music business.

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