Angus Young Ax Released by Gibson

This is a nice looking and probably nice sounding. and well... Probably a very nice playing Gibson.

Gibson USA Angus Young SG
The Gibson USA Angus Young SG features a mahogany body with a high-gloss Ebony finish and one-piece, quarter-sawn mahogany neck. The neck is carved to Angus’s own requirements and models the super-slim, yet extremely comfortable profile of his own original ’68 SG Standard. It measures 0.775” thick at the 1st fret, and 0.850” thick at the 12th. The fretboard is ebony with 22 jumbo frets and acrylic "lightning bolt" inlays.

The guitar is equipped with a Gibson 57 Classic humbucking pickup in the neck (rhythm) position and a Gibson Angus Young model humbucker in the bridge (lead) position. Each pickup has a separate tone and volume control, plus a three-way switch. It features a Tune-o-Matic bridge, stop tailpiece and vintage-style tuners. MSRP $3617

The Gibson USA Angus Young SG features a mahogany body with a high-gloss Ebony finish and one-piece, quarter-sawn mahogany neck. The neck is carved to Angus’s own requirements and models the super-slim, yet extremely comfortable profile of his own original ’68 SG Standard. It measures 0.775” thick at the 1st fret, and 0.850” thick at the 12th. The fretboard is ebony with 22 jumbo frets and acrylic "lightning bolt" inlays.

The guitar is equipped with a Gibson 57 Classic humbucking pickup in the neck (rhythm) position and a Gibson Angus Young model humbucker in the bridge (lead) position. Each pickup has a separate tone and volume control, plus a three-way switch. It features a Tune-o-Matic bridge, stop tailpiece and vintage-style tuners. MSRP $3617

A little pricey, but not overpriced for what you are getting.

Daily Tip "How to Make Guitar Cables Last Longer"

First advice, Treat them well. They might not seem like crucial equipment compared to the money invested in amps and other electronics,but take the cable away and see what you've got.Your best equipment is only as good as your weakest link.Store them properly.
Which brings us to what type of cable.Guitar cables are almost exclusively 1/4 inch fittings connected by a good co-axil cable.Buy the best you can afford and always get ones that can be repaired. The jack sleeve will unscrew and expose the soldered connections for simple repair.If you are experiencing hum or crackling the cable is the likely suspect.When you move the cable around, does the sound change?
If you are in a situation where you can leave the cable plugged in to the amp, do so.Constant plugging in and unplugging can add wear and tear to the cable thus shortening it's life span, it also saved on wear and tear of the inputs and output jack of the amp and the guitar. Always turn the volume down when you shut it down. This little preventive measure will insure that you, or someone else, doesn't just turn it on and blow it up. If the instrument is not plugged in and the cable is in the amp,well you've probably experienced this at least once. That's usually all you need to remind you to not plug the amp in first.If you want to preserve the other settings on your amp, fine , just turn the volume knob all the way down. You can also just turn the master volume down, If there is one That way your other volume is where you left it.I've seen poeple have the guitar set to a particular channel, and wonder why they aren't getting any sound. So they turn the volume way up and then they switch to the channel that is turned way up and ..KABLOOIE!...channel fried. Bummer. deal.
If you cut your cable down to the point to where it is useless for an instrument cable ,you can use it for patch cables where a mono cord is used.
All in all, treat your cables with the same respect that you treat all your other equipment and they will last much longer with fewer problems.
Untill tommorrow, Rock on and ,Oh Yea,... HAPPY THANKSGIVING.

Tip of the Day/Truss Rods

Before attempting any adjustment to the truss rod, please read all the way through. What is a truss rod? You've no doubt heard the term. A truss rod, or truss rods,(on some instruments there are two) is located within the neck of the guitar.They are meant to employ relief against the natural stress of the strings. If you look down a neck of a guitar from the bridge to the nut, you will most likely see a vey slight "dip" in the neck, away from the strings.If this curvature was not there the first symptom is a buzzing of the string rubbing on the fret when the string is vibrating.The truss rod can be adjusted to eliminate this buzz ,or at least reduce it.Of course the ideal action ,for most guitarists, is to have the strings very close to the neck, but without string buzz.However, there are a lot of variences in what kind of 'action ' a musician wants on their instrument. These factors include, type of music being played,the players preferences and just what may or may not be possible for a given instrument.
Different instruments have different types of truss rods.There are dual truss rods on some basses, because they require more strength and the ability to remain true.Some truss rods are not meant to be adjusted. There purpose is to add strength to the neck.For simplicity purposes, I will talk about truss rods found in most electric guitars.
The rod end is usually found behind a small plate that is located on the machine head right next to the nut.The machine head is the place where your tuning keys are.You might have thought that the plate was just a convenient place for a logo;not.
When do I know that a truss rod adjustment is in order? There are so many variences. If the action is low, doesn't neccesarily mean you need to adjust the truss rod. The other controlling factors can be found in the nut or the bridge.It also depends on the why on a needed adjustment. Are you just wanting a "faster action, or is there a noticable buzz?Is there a flat or backwards bend to the neck?If you guitar sounded and played well and then seemed to change, it could be that the neck has settled into a recently adjusted position and that further adjustment is warranted.
To check the amount of forward bend in the neck, and you don't have an actually straight straight edge, you can fret a string, that is tuned to the tuning you actually play in. Fret the string at the first fret and at the twelth fret(you can use a capo at one or both of these points to free up your hands for measuring). Mearsure the gap ,( you can use a feeler gauge)if there is one, at the mid range between fretted points.The amount of gap desired gap can be anywhere from .004-.012 depending on your desired action and what type of strings and how you play.If there is no gap then the neck probably has either some back bow or is absolutely flat.If there is a gap,depending on how you play, what you play, string gauge and the instrument, you may want to adjust it.
If you have decided to adjust your neck,first make sure that you use a proper wrench for the adjustment.They are usually female hexhead nuts.I like to plug into a chromatic tuner as I turn the nut.The truss rod lies below the fret board,so when it is tightened "shortened" it bends the neck backwards.when it is loosened it bends forward, creating more space from string to neck.It is advised to mark the nut, so that you can not only see how far you are turning it, but so that you can also return it to the original position if needed.IT IS ADVISED THAT BEFORE YOU ATTEMPT TO MAKE AN ADJUSTMENT THAT YOU LOOSEN THE TRUSS ROD.We do this to insure that the rod is not already tightened all the way.You can do CONSIDERABLE DAMAGE TO THE ROD INCLUDING BREAK IT IF YOU OVER TIGHTEN IT.THIS IS NOT COOL. tHE REPAIR ,IF POSSIBLE, FOR THIS KIND OF DAMAGE CAN BE COSTLY AND CAN BE THE LAST HURRAH FOR INEXPENSIVE INSTRUMENTS.Start with a very slight turn, if you are trying to put more distan between the strings and the neck you want to loosen it.Lokk at the tuner, if you have loosened the rod and it has moved the neck forward, you should see that the strings are detuned somewhat.An eighth turn is all you want to do at a time. Now retune the strings, all of them. Now check the action again, by measurement and listen for buzz. How does it feel?Is it what you want?If furhter adjustment is needed continue cautiosly. If the tuning didn't change, check to see that the strings are not bound in the nut.You press down on them at the nut or use the capo to deprees them. This will free them up.Check action and tuning often during this process.
If you are not able to get the desired results with a truss rod adjustment,it could be that the gridge or nut need adjustment.These processes are a whole new daily tip.It is always a good idea to get an experienced guitar repair person or a tech to at least give you some pointers or direction. There are so many different possibilities of where a problem lies in adjusting guyitars , that it is not possible to know exactly what a certain instrument needs without actually seeing and hearin it.
Network with other guitar people in your locale. Take a cless and learn from a profeesional. You will learn more amd get a well rounded perspective.
Untill next time. Rock On.

Gain and Volume, two seperate controls

What's the difference here?


Asking many guitarists and bassists what the difference between gain and volume is—or even just asking what gain is—is a little like asking people whose picture is on a $10 bill.

Nobody knows. Or very few, anyway.

People handle $10 bills all the time, and yet most are hard-pressed to say whose picture is on them*. Similarly, guitarists and bassists use gain all the time, yet many would be hard-pressed to tell you clearly and correctly what gain is, exactly, and how it relates to volume. Granted, you needn’t be able to define “gain” in order to use it—you just know you turn that knob and something cool happens to your sound; usually something to do with distortion.

That’s perfectly OK, but if you’re new to amps—more specifically, new to buying an amp—it might help to know what gain is and how it’s related to volume, as the two are closely related.

Some amp basics are in order first. A guitar amp can be thought of as a device that has two stages. A relatively weak signal goes from your instrument into the first stage, where it is processed and handed to the second stage, which boosts it into a strong signal that produces sound that can fill a room.

That first stage is the preamp stage. On some amps, you can control the level or strength of the signal sent through this first stage; this control is called “gain” (also often labeled as “drive”). Gain can be thought of as the input volume to the preamp stage (gain adjustments can produce changes in overall volume, which might account for some of the confusion between the terms), although it’s more of a tone control than a volume control. Your gain setting determines how hard you’re driving the preamp section of your amp. Setting the gain control sets the level of distortion in your tone, regardless of how loud the final volume is set.


And who is this?




What this means is that your gain setting determines how clean or dirty your sound is regardless of the master volume setting. You can set the gain high for a dirty tone, but set the overall volume of that dirty tone from near silent to near deafening using the master volume control.

Master volume is an entirely separate entity that lives in the second stage of your amp, the power amp section. It provides the muscle. Think of it this way: the preamp (and gain control) provides the shape of the sound; the power amp provides the overall strength of the sound.

In amps with only a single volume control (and no gain control), that volume control is usually placed early in the signal path—in the preamp stage—thus controlling both volume and gain.

First posted on Fender.com

Music stores rocks hunger!

57 guitars restrung for food

CLINTON — Local music store, Tegeler Music, spent five hours on Saturday restringing guitars and collecting food for local area food banks. Music store owner Don Tegeler and his brother, Ron, installed new D’Addario strings non-stop for a little more than five hours on a total of 57 guitars in exchange for collecting non-perishable food items. When more than 213 pounds of food was collected for Pantries United, it will distribute the food to three local organizations, the Benevolent Society, the Salvation Army and Community Action.

The Restring For Food drive was originally organized by a group known as Independent Music Store Owners, a national coalition of independent music store owners with a current membership of almost 400 stores. Tegeler Music, along with many other iMSO members, took part in this first annual food drive event with the hopes of collecting as much food as possible to help out each stores local food banks just prior to the holiday season.

When asked to comment on the success of the event Tegeler responded, “I was very happy to see the community of Clinton support this event the way it did. Originally I had planned to do the restrings myself but I was very thankful Ron was willing to volunteer his time to help restring guitars. I would have never been able to handle the amount of guitars brought in by myself so I would like to extend a big thank you to Ron for helping out. It was so busy in fact that we even had our special guest Santa Claus restringing guitars. I have proof of this on our Web site, www.tegelermusic.com. I would also like to thank D’Addario String Company for donating close to $750 retail value worth of strings. What great support from a great company. We definitely plan on making this an annual event.”

This was originally reported in the Clinton Hearald. It's encouraging to see these kind of events taking place. Happy Holidays.Rock on.

101 unsung guitarists

I am not going to even attempt to list all of the players that made this list, but I will start. We'll see where it goes. I might make it an installment kinda' deal.I do beleive that the next great guitar player is some 11 year old kid , playing in his bedroom or garage and driving his parents crazy like we did ours. HEY! LAY OFF THE KID. They won't be complaining when he buys them a mansion with profits from "all that racket" ROCK ON!



Junior Barnard
Of all the amazing guitarists to go through Bob Wills’ Texas Playboys, Barnard’s tonal audacity stands out. His solos on Wills’ “Brain Cloudy Blues” and “Fat Boy Rag” are jazzy, distorted wonders—and this is in the ’40s! Barnard was killed in a 1951 car crash at just 30 years old. “Junior was playing rock and roll years before it had a name,” his brother, Gene, told GP in 1983. —DF

Jan Akkerman
European guitarists in the ’60s and ’70s were often influenced as much by classical, jazz, and gypsy swing as they were by blues and rock and roll. That was definitely the case with Dutch virtuoso Akkerman, whose thrilling performance on Focus’ classic instrumental “Hocus Pocus” [Moving Waves, 1971]—as well as his signature sounds crafted by a volume pedal, a Colorsound treble booster, and multiple Cordovox rotating speakers—brought him to the attention of American listeners. —BC

Davie Allan
Throughout the 1960s, the garage/surf instrumentals of Davie Allan and the Arrows set the pace for scads of motorcycle-gang films. Inspired by Duane Eddy, Nokie Edwards, and Link Wray, Allan created his signature fuzz sound on the song “Blues Theme,” which director Roger Corman used for his 1967 film, The Wild Angels. It turned into a single, and, by the end of the decade, Allan’s guitar work could be heard on dozens of B (for “biker”) movie soundtracks. —AT

Oscar Aleman
It has been said that Aleman could out-swing Django Reinhardt, and Aleman was clearly an equally formidable jazz guitarist. Hitting his stride in Paris in the early ’30s, Aleman sounded less “gypsy” than Django—and he used his fingers instead of a flatpick—but his fiery, virtuosic playing makes him one of the truly unsung heroes of his time. —AT

Scotty Anderson
“It was quite possibly the most amazing thing I’ve ever seen,” Eric Johnson said of watching Cincinnati Tele ninja Scotty Anderson perform. Chet Atkins once told Anderson, “Each time I hear you play, I learn something.” But Anderson must be the Stealth Bomber of guitar, because, although as dangerous as Hank Garland, Merle Travis, and Jimmy Bryant all rolled into one, he hasn’t made much of a blip on radar screens. —JG

Mickey Baker
Known for his ’50s session work with Ray Charles, Ruth Brown, Big Joe Turner, and tons of others, Baker also authored

A new shure microphone. What?

(Microphone)
18/07/2009
Right-angled Shure SM57 Microphone
It’s not every day you see the time-honoured Shure SM57 mentioned in the ‘what’s new’ section of Sound On Sound, but the Granelli G5790 gives us a reason to do just that. As you can see from the picture, the G5790 uses the main parts of the venerable Shure mic, but makes it so much easier to position than the standard, straight model, thanks to the 90-degree elbow half-way up the body. But it’s not any old L-shaped joint from a plumber’s merchant: its a custom-designed piece of aluminium with “acoustically-engineered internal sound path”.

During development of the product, company founders and accomplished studio engineers John Grant and Tony Correlli, experimented with different materials with varying physical properties, and discovered that the sound that the mic produces can be compromised if the internal air gap that exists between the capsule and head amplifier sections of the mic is altered. So the team designed a joint made from a solid piece of aluminium that fills the existing air gap, and creates a new one of the same volume at the capsule end of the elbow. This, say the designers, does not adjust the frequency response or alter the pickup pattern.

But why change the design of one of the best-selling mics of all time? Well, when used on drums, the body of the standard SM57, plus the ‘tail’ of the attached microphone cable, gets in the way of other drums and cymbals within the kit, and sometimes leads to a situation where the drummer has to change his or her setup to fit the mic in, or where the engineer is forced to place the mic in a less than ideal position.

On amplifiers, especially on small stages, the full length of the mic plus protruding mic cable is more susceptible to being knocked by an over-excited guitarist. With the right-angled kink of the G5790, mounting and angling the mic becomes infinitely easier. The fully modified G5790 costs $150 and is available from Granelli direct.

www.granelliaudiolabs.com


This was originally posted on soundonsound.com They are some of the best news on new equipment and recording methods.

Life is funny sometimes

It can be funny ha ha, or funny strange, but this morning it was a tad bit of both. I went to breakfast with my neighbor. She is at least 80 something yrs. old. What a hoot! She told me about a near-death experience she had 20 yrs. ago and how it changed her direction in life. It is reassuring that even at 60+. we can have a new direction in life. Never give up, rock on and if you want some really cool advice, take an elderly person out to eat,or go get coffee with them. The things that they can tell you about life are truly priceless.I will never get so old that I will forget what it was like to be a child and to not know anything about the world.Expect the very cool to happen in your life, and it will."carry on my wayward son".

Blogger Buzz: Concerning the Historie and Nature of Blogs of Note

Blogger Buzz: Concerning the Historie and Nature of Blogs of Note

Rock and Roll Hall of Fame to Auction Guitars

These are some of the sweetest axes to ever be auctioned. of course there is a little money involved. They are selling them to raise money for non-profit organizations.I just hope that the people who buy them actually play them,it would be sad to just let them gather dust, a travesty.

Guitar Tuning

Hey folks, another information packed post here from your host. Tuning your guitar can be accomplished in a variety of ways, but the best, by far, is to use a chromatic tuner. These can be purchased for under $20 and insure that you are truly in tune. I don't assume that you are playing in, what is called, standard tuning (440 hz.).Many people play in "dropped tuning, or in alternative tunings. Keith Richards tuned his guitar in a variety of ways.There is no right tuning. Some of my first experiments with alternative tunings were born of a desire to play slide guitar. Standard slide guitar is played in an open tuning. Open tuning means that the un frewtted strings, when strummed, sound like a fretted chord. Most slide players use this method, but some of the very best slide players play slide in standard tuning. This requires that you mute the unwanted strings with whichever hand is appropriate for what you are trying to acheive. Sounds complicated? It can be and is not a beginners choice of endeavor.
Back to tuning. Just a basic observation, buy a cheap tuner, read the instructions. Standard tuning is as follows. The sequence of string pitch is E,A,D,G,B,E,.That is from the "fattest" string to the skinniest string. The easiest way to rtemember this is make it an achronym, such as EVERY, ANGRY, DOG ,GETS ,BIT, EVENTUALLY. You can make up one that works for you.
Another good bit of advice is to start to talk to other guitar players, the insights you will gain from this are priceless. No matter your skill level, taking lessons or learning from your peers is an excellant way to pick up information. Take lessons, in the form of group settings, one on one, video,D.V.D., or any other format you find.
It is reccomended that you tune your guitar befor you play, everytime. The human ear will get used to what it hears, and if you play often out of tune the ear will think it "sounds right". If you play in dropped tuning the ear will start to associate the sound with what is proper. Iv' played in shows where I needed to play in more than one tuning, Either by playing in standard, then dropped and then open tuning for playing slide. This can be a little disconcerting to say the least. Last, but not least, Experiment, try different things, find what works best for you. If some had told Keith Richards to not tune in diffedrent ways, some of the best Rolling Stones songs would have never been written. It's okay to try something unorthidox.
ROCK ON or JAZZ ON or whatever works for YOU.

Peavey Amp News

Peavey IPR Power Amplifiers to use Waves DSP Technology
Peavey Electronics has announced that its new IPR DSP Series of power amplifiers will be the first amplifiers to use the acclaimed Waves MX5010 semiconductor.

The Waves MX5010 features such proprietary Waves technologies as MaxxBass Bass Extension, MaxxTreble High Frequency Enhancement, 7-Band Paragraphic MaxxEQ, MaxxStereo, MaxxVolume Level Control and much more. Waves is the industry leader in professional audio digital signal processing technologies, heard on hit records, major motion pictures and popular video games the world over.




Boasting a net weight of just 7 lbs. on the lightest model, the groundbreaking Peavey IPR Series utilizes an advanced design that allows Peavey engineers to dramatically reduce weight while increasing reliability, thermal efficiency and output power (up to 6,000 watts at 2 ohms stable). IPR Series amplifiers are designed with a resonant switch-mode power supply and a high-speed class D topology that yields the highest audio resolution and efficiency available. Four DSP-equipped models feature 32-bit, floating-point digital signal processing with program-specific EQ presets that make common sound-reinforcement EQ treatments easy to perform.

The revolutionary Peavey IPR Series DSP power amplifiers are the first to integrate Waves technology, in particular MaxxBass, which uses psycho-acoustics to create precise harmonic overtones that give the perceived effect of adding low frequencies to the mix. MaxxBass resides in the amplifiers' 32-bit DSP section and can be adjusted from 0% to 100%.

The Waves MX5010 semiconductor integrates a high performance 24-bit DSP core with pre-programmed MaxxAudio algorithms for a powerful and cost-effective sound enhancement solution. The benefits of utilizing the MX5010 in the IPR Series are numerous. Providing processing at 24 bits at up to 48kHz and 100% clean bypass guarantees the MX5010 DSP preserves audio quality at its most pristine form. Aside from MaxxBass, the MX5010's other proprietary technologies provide wide-ranging sound enhancements.

MaxxVolume will protect the speaker and electrical components from electric surges and speaker fatigue without requiring a dedicated limiter. The unit's Delay function can be used to create programmable speaker arrays and delay towers without an external delay module. MaxxTreble can be used to enhance high frequencies dynamically without "painful" high end. MaxxEQ and MaxxBass can be used for designing efficient and programmable active crossovers for both amplifiers and powered speakers. The MX5010's router section can be used to control levels for multiple speaker outputs, also allowing the user to create presets for various I/O scenarios.

For more information, please visit www.peavey.com and www.maxx.com

This was previously post at guitarsite.com the very best in music equipment news and reviews
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Research, what a blast.

Hey there, Hi there, Ho there,
It's your friendly posting host again. I've been very busy as of late, schoolwork and what-not. Let's see ...hmmmm.
New features in AmpliTube® Fender include the addition of three new user-requested “stompbox” effects and a rack unit:

A classic stompbox Fender compressor, based on the compressor in the Fender Cyber-Twin® SE, provides a more consistent and higher input signal at the amp input stage, with four available “levels” of compression/gain.

A new wah pedal, based on the wah effect in the Fender Cyber Twin SE, offers two “wah” voicing options—the “Cryin’” and “McCoy”—and provides detailed control of the amount, effect frequency range and output level of the effect.

A new Fender tremolo pedal provides that world-famous Fender amp tremolo effect in a convenient stompbox, giving players more front-end flexibility for tone shaping, plus adding the magic of the Fender tremolo to any non-tremolo amp model.

A new rack unit: The Fender ’63 Reverb Tank allows for post-amplification reverb effects. The reverb unit is based on the famous ’63 spring reverb tank and provides the rich, lush reverb effects Fender is famous for.
This was posted on Fender.com. I couldn't have said it better, so I didn't try

keep rockin'

The band 'as i lay dying' were tracking their new project. Metal Blade Records will release the new album.When? We don't know as of yet. Tim Lambesis,frontman, had this to sat.Included in the work is Daniel Castleman, of 'Winds of Plague' and Adam Dutkiewicz of Killswitch Engage.
"There are only drums for eight songs tracked so far. One of them we're undecided about, but maybe it'll feel different when the vocals are done. Either way, we need write more than eith songs (since they aren't as long as the eight songs on 'Master of Puppets'). Therefore we're working on writing MORE new songs as soon as we finish recording what's been started. The only break in working on the new album will be our short trip to Mexico and Sri Lanka to play two of the best shows of our career. All of us can't stress enough how grateful we are to be writing music that we love while still receiving a paycheck. This can only be credited to OUR LOYAL FANS! Sometimes bands need to rush out a crappy record so they can start touring again to pay their bills. In our case, we plan to make a record worth listening to (hopefully), and start touring again when we're done. Thanks for your patience and understanding. We care and we're working."
I love to see musicians collaborate. Warms the cockles of me 'eart

Aria guitars rock!

MAC SERIES
The MAC Series features double cutaway, arched top bodies and 24 fret bolt-on necks. The Humbucker and 2 single coil pickup configuration provides ample tone variety and all (except the MAC55) guitars feature vibratos. Choose the cool looking matt colours of the MAC35 and 57 or the great see-though colours and figured tops of the MAC50 and 60. The MAC 60 features Duncan designed pickups for superior tone made to Seymour Duncan's exacting specifications and the Wilkinson VS50 vibrato, unsurpassed for performance and tuning stability. If a fixed tailpiece/bridge and two humbucking pickups are more your style then the MAC55 is the model for you.


MAC-60

Pickup :Duncan Designed SC-101 Single Coil and HB-103 Humbucker.
Bridge & Tail piece : Wilkinson VS-50 Tremolo

Body : Flamed Maple on Alder, Carved Top
Neck : Maple, Bolt-on, Heel-less Joint
Fingerboard : Rosewood
Frets : 24F
Scale : 648mm(25-1/2")
Pickups : Duncan Designed SC-101 Single Coil x 2, Duncan Designed HB-103 Humbucker x 1

Controls : Volume x 1, Tone x 1, PU Selector Switch x 1, Coil Tap Switch x 1
Tailpiece : Wilkinson VS-50 Tremolo
Hardware : Chrome
Finish : AN, SBL
I own an Aria Electric and I absolutely love it. I play it at gigs and it is my go to guitar. I always wanted a Strat or a tele and I'm working on that, but I don't think that I'llever replace this guitar. The fact that it has two single coil pickups and a humbucker and a 5 way switch, and a coil tap, gives me an endless variety of tone selection at my fingertips. I would hate to think that I would not condider a guitar because it isn't a classic, so I keep my predudices in check. Try one, you'll love it.Oh, and I didn't get payed to endorse this guitar manufacturer. Rock on!

Guitar news

Thurston moore signature fender specs;The Thurston Moore Jazzmaster

Body: Alder
Finish: Satin Nitrocellulose Lacquer Finish
Neck: Maple, “C” Shape, Satin Black Painted Headstock
Fingerboard: Rosewood, 7.25” Radius (184 mm)
Frets: 21, Jumbo
Scale Length: 25.5”
Nut: Width 1.650”
Hardware: Chrome
Tuning Keys: Fender Vintage Style Tuning Machines
Bride: American Vintage Jazzmaster Tremolo with Adusto-Matic Bridge and Tremolo Lock Button
Pickguard: Anodized Black
Pickups: 2 Seymour Duncan Antiquity II for Jazzmaster Pickups (Neck & Bridge)
Pickup Switching: 3-Position Toggle: Position 1. Bridge Pickup; Position 2. Bridge and Neck Pickups; Position 3. Neck Pickup
Controls: Master Volume (Neck and Bridge Pickup)
Fender Standard Tension ST250R, Nickel Plated Steel, Gauges: (.010, .013, .017, .026, .036, .046)
Unique Features: Satin Lacquer Finish, Satin Black Painted Headstock, Single Master Volume, Adusto-Matic Bridge, Seymour Duncan Antiquity II for Jazzmaster Pickups, 2-Piece Black Anodized Aluminum Pickguard, Sticker Sheet

MSRP: $1880
This is good stuff, and about time, purposefully aged single coil pick-ups help to give a tone that is difficult to capture in any other pick-up.Hail to aged.

Life is grand!

Got no worries, in no hurry. Man it's been a long time since I felt that way.Findin' my way thru' the maze of tech stuff. A learning process "fureal"get back jo' jo', yellow matter custard dripping from a dead dog's eye. Name that band.

Bridge problem.

It's possible that there is a burr on the saddle barrel.Is it always the same string?That is usually the case. Do you have your strings tuned to standard tuning(440 Hz).Do you change your tunings?If you can answer these questions I can supply you with an exact fix.If it is one saddle that is the offending culprit, and if it is not a plated saddle,as in gold or gold color, chrome or some other plating you can probably feel the burr.You can very carefully use a small bit of 800 grit metal oxide sandpaper to rid your sadlle of the burr,or a very cool trick that works quite well, is to replace your strings and after you have fed them thru' the body of the guitar slip a short piece of wire insulation on the string.You will have to use different gauges of the insulation, from about 10 to 16. Look and see what sizes work best for the gauge of strings you use. You strip a piece of the wire and harvest the hollow piece that you stripped. This piece will be slipped onto the string and as you set your string place the insulated part of the string directly on the saddle.I suggest that you invest in some graphite saddles.

old friends that still rock

Wow! I just heard back from someone that I haven't seen in a very long time. He's still playing music too. I am really diggin' connecting with people. My world view is expanding daily. I ask you, what are some possible culminations of the onslaught of info. that is at our fingertips? Huh...what are your thoughts on nthe matter? Is it like a gun?....not inherantly good or evil? ponder...ponder.

Help!

I'm being held captive by my own incapabilities at this whole blog thing. Can you clue a fella' in. How do I get more people to know about this site. Are they supposed to respond? Can I create a list on twitter that would be able to find out about this site? Pleeeeeze tell me!

to do list

I had, once again, a good day ay school. This might not seem like a big deal to anybody, unless you factor in that I haven't been in school for, like, thirty years. What! Yea, I know, the professors there were in grade school, or perhaps, not even born yet the last tome I attended school. What a concept. Well, Iv'e got a lot of things to accomplish today. What I want to do is record some of my songs so I can submit them to a publisher for their perusal. I don't have the technical tools necessary for that endeavor , as of yet, but I will soon. I am going to continue to do my very best to keep my grade point up . There will be time to play later. Rock on.

New Day

Good day,
It's day two of this social experiment, and as of yet, no comments. I am not too surprised, after all it's only been like 24 hours. I am getting ready to go to school and I will look to see if theres been any activity on this blog.
I wrote down some more song ideas last night and I am going to spend some time today, after tests, classes, and other schoolwork to put the latest melody and the words together. Still want to hear from other musicians about their experience with recording at home. What equipment have they found useful, did they use Pro-Tools software or another application? What did they learn from the experience? Stuff like that. If you have any personal insights on this subject, or on writing short storeys or possibly screenplays, drop a line or two and start a dialog.
Have a good day.

oops!

I was just trying my hand at posting and prematurely posted. It that proper language? I am trying my hand at this for the first time and it is only a little daunting. I am trying to garner ideas about music engineering software from people who actually use it. Not from people trying to sell me something. I am an aspiring songwriter and musician who is interested in communcating with other musicians. Read my profile and let's start a dialog. Don't hesitate. I'll post often and I am quite wordy, you might say

Let's share!