The Zoom B1X Bass Guitar Expression Pedal

When most people think of effects pedals, bass players don’t usually come to mind. It’s a much rarer thing to see a bass player with a slew of effects than it is to see a guitarist without any. Still though, there are plenty of great effects out there for bass players to get their hands on and plenty of players that take advantage of them. For those bass players out there who have yet to mess around with effects or are looking for a good starter pedal at a great price, the Zoom B1X Bass Guitar Expression pedal is a great choice. This is not a 100 percent hands down professional pedal, but it’s more than good enough for gigs and for the price, you really can’t beat it. Read on and check out some of the finer points of the Zoom B1X Bass Guitar Expression pedal.

The Main Features of the Zoom B1X

The biggest draw of this pedal is the amount of features packed into it at a price that’s cheaper than most single effects pedals out there, but with that said, expect there to be a few drawbacks along the way. The Zoom B1X comes with 46 different dedicated bass effects that range in sound quality from outstanding to “never going to use that effect again,” although all in all, I’d say about a good 35 of them are more than useable. You have all of the expected effects from wahs to whammys, distortion to compression with plenty of settings to adjust each enough to make it sounds pretty good, except for maybe like half a dozen or so that will sound mediocre at best and a bit too digital. One of my favorite features of the pedal is the compression. A great tool more than an effect, it keeps your bass signal at a consistent range in level which comes in handy for more bass driven back beat music such as jazz or even certain types of rock, although any kind of music will benefit from a consistent bass level.  Also featured is a built in chromatic tuner that does its job and is pretty easy to use as far as tuners are concerned – no problems there.

Another feature that should be pointed out is the built in drum machine. Yes, it’s not going to replace your drummer by a long shot, but coupled with the pedals ability to let you play through headphones, you’ll begin to see what Zoom had in mind when creating the B1X. While having the drum machine on, you can easily mess around with other effects and pretty much jam out quietly in your home. I have to admit, it was actually very fun to mess around with all the different drum tracks and effects settings without having to hear complaints from the neighbors for once.

Also packed into the pedal are 13 different amp/stomp box emulators that again, range from great to just alright, although none where as bad as some of the effects were. You have your tube amp setting which is probably among my favorites. Sounds a bit like a fuller overdrive, which is great for classic rock. The “Pop” setting was another of my favorites as I prefer a clean and jangly bass sound. The fusion was among the strangest and can’t really see too many rock bassists using it live. Other amp emulators include Jazz Plus, Rock, and even about five separate distortions.

Some other features include the ability to create and save patches containing your personal effect and setting combination for easy retrieval later. Comes in handy for shows but it takes a bit long to retrieve them for my liking, especially in a live gig setting.

Notable Features:

Zoom ZFX-3 24-bit/96kHz digital multi-effects processor
46 Effects types / 8 Modules
40kHz frequency response
Built in drum machine & Harmonized pitch shifter
46 effect types
13 amp/pedal modeling sets
On-board expression pedal
80 patches (40 user defined and 40 preset patches)
Operates on 4 AA batteries or included AC power adapter (AD-0006D)

The Mechanics of the Zoom B1X

Well, you get what you pay for I should say, but don’t let that detract you from giving this pedal a shot. The plastic covering looks a bit cheap but it is actually pretty strong and has survived more than its share of heavy hits. Compared with the average bass multi effects pedals, the B1X is pretty compact and will easily fit in a backpack or gig bag, although it’s nowhere near as small as a single effects pedal.

Those unfamiliar with multi effects pedals will want to take advantage of reading the included manual. It’s not that the pedal is impossible to use, it’s actually quite easy once you get the hang of it compared to pricier multi effects units that can be downright confusing, but if you want to take advantage of its many features, the manual is a great way to start. It has detailed explanations of every effect, helpful tips and techniques to get you started and an overall great way to get a nice feel for the entire scope of the pedal.

The Zoom B1X comes with an AC adaptor but can be powered using 4 AA batteries, a bit different from most that use a 9 volt, but considering how this sucker went through the batteries, a 9 volt would have probably lasted me a week at best. What I’m getting at is unless you have to use batteries, it’s a better choice to use the included adapter.

The Value of the Zoom B1X

The built in tuner and compressor alone will cost you more if bought separately than the price of this multi-effects pedal. Consider the fact that it has 46 effects, 13 different amp/stomp box emulators, the ability to play through headphones, the added drum machine and plenty more, you honestly can’t expect a better buy for less than $80. Yes, this is not your pro level musician’s multi effects pedal of choice, but it was never meant to be. There is plenty in here to like that any bassist can use for a live show environment, most notably the tuner and compressor, but the B1X really shines as a personal bass effect machine for home enjoyment. I can’t remember the last time I had so much fun messing around with a pedal that didn’t cost me an arm and a leg, and that alone makes the B1x a great buy. While not perfect, there are enough good qualities built in to keep you entertained for a very long time.

And don't forget to check out the rest of PAL's great selection of bass effects pedals at unbeatable prices here!

Fig. 1 Rod Placement

There comes a time in the life of a guitarist when he or she experiences a slight change. So small at first that they may not even notice anything wrong, so they go about their business, but sooner or later, as the problem grows, they will have to face the grim reality that their guitar is no longer the same perfect beauty it was when it left the shop. What was once easy, now becomes hard, what was once clean, is now an ear wrenching buzz. Yes, many of us have been there; the dreaded warped guitar neck - and you too may be a victim! Have you noticed the action on your guitar is a bit too high without you ever modifying anything? Or how about a buzzing sound when you hit certain frets passed the 7^th? Does your guitar look more like a bow than an actual bow?! Well, I’m sure it never gets as bad as that last example but you can see where I’m heading with this. Yes, the dreaded warped guitar neck. Luckily, all that can be fixed, unless your guitar neck does look like bow in which case has long been to the point of no return.

Why does it hurt to play now!?

Whether we like it or not, guitars sound best (arguably) when made of wood and although proper care and maintenance can ensure your guitar will look and sound amazing for years to come, the inherent properties of wood can take its toll on even the most well kept guitars. For those of you who have long forgotten science class, wood is a porous material that changes in size depending on humidity. When it rains it absorbs water, which is why doors get stuck during showers. When it’s hot or dry, they shrink as the water inside evaporates. The same thing is happening to your guitar… over and over and over again (unless you have it in a controlled environment with consistent humidity levels like they do at museums). Even though the changes in size are so small that we can’t really see it with our eyes, it’s happening, and over time, it can affect the neck of the guitar to the point where it is noticeably different – a warped neck.

What’s a Truss Rod?

For those of you unfamiliar with the truss rod on a guitar, it’s a steel (or sometimes graphite) rod that goes through the neck in order to stay strong among all that string tension constantly pulling at it, but it’s not perfect. Even changing strings from a light to heavy gauge can sometimes be enough to start bending the neck enough so that your action rises to the point you will get a buzz from the higher frets. Temperature change can cause an even more serious beating to the neck – all that change in neck size, even small, will eventually cause problems with the rod’s optimal setting. As mentioned above, the good thing is that if caught early, a warped guitar neck can still be fixed, although there is a point of no return where you will have to get a new truss rod, even a new entire neck, or an en tire new guitar in the case of acoustics, so it’s always a good idea to fix this problem as soon as you catch it.

How Does it Work?

Truss rods work by adjusting the amount of tension that affects the guitar neck. Refer to figure 1 for a good sense of where it’s at inside the neck. When a truss rod is loosened, it moves closer to the body of the guitar which lessens the amount of resistance towards string tension, making the neck bend slightly outward. This is sometimes called a relief neck. When you tighten the trust rod, it moves closer towards the head of the guitar, increasing the resistance towards string tension, straightening the neck. Most manufactures will go for a neck with slight relief. Tightening the neck too much will give the neck a shape of a bow. This is never a good shape as this will cause notes to buzz when strung or even render them dead, but more on that in a second. For most players, you don’t want the neck to be perfectly straight. Slight relief of the trust rod ensures a low action on the guitar towards the middle of the neck while allowing the frets near the headstock to ring clearly. Most professional players usually don’t adjust the trust rod because of a warped neck but simply to adjust the neck shape and therefore the feel of the guitar although eventually, most guitars will need a slight truss rod adjustment from either normal wear of the neck from humidity or when switching to a thicker gauged string set.

How Do I Know if the Truss Rod Needs Adjustment?

Normally, a guitar’s truss rod is already adjusted to the proper tension when shipped from the factory. If you tend to use a heavier gauged string set than the one shipped with the guitar, you might need a very slight adjustment to compensate for the added tension, although it is best to leave it alone unless there are marked changes in performance. Another clear sign is a noticeable bend in the neck, so much so that the action towards the higher frets on the guitar are higher than normal which will either cause the strings hit on those frets to buzz or not ring at all. While the truss rod itself isn’t made to adjust the action, the by-product of shifting the truss rod will slightly shift the action (just FYI). If you notice any of these signs of warping, it is best to fix it as soon as you notice even the slightest amount of change since letting it get worse can render your guitar’s neck and truss rod irreparable.

As far as changing to heavier gauged strings go, the reason it is best to leave it alone and simply wait and see if there’s any change is because adjusting the truss rod is not as easy as it sounds and those who aren’t sure what they are doing can either strip the head of the bolt by using the wrong sized tool or even cause irreparable damage if tightened too much, something that isn’t worth the risk if all you need is a very tiny adjustment. With that being said, a warped guitar neck should DEFINITELY be looked at although newbies should get a music shop to adjust the truss rod, especially if it’s a guitar you don’t want to risk damaging. It should run you about $20 although some guitars require more work, so don’t be surprised if it might be a bit more, but definitely worth saving the life of your guitar.

What Should I Know before I Start?

Alright, so for those of you who feel as though have enough experience and know the risks (or simply have an old starter guitar they don’t mind messing with), it is not an all that difficult process, but you will need correct tool. Most guitars’ truss rod will require either an Allen wrench or a hex tool, although older Fender-style models with bolt-on necks (along with similar reissues) use Phillips head screwdrivers for adjustments and need the pickguard removed for the bolt to be visible. Newer Fender electric guitars do not need the pickguard removed and simply require a 1/8" (3 mm) Allen wrench.  On set-neck electrics such as Gibson and Epiphone guitars the truss rod bolt is located in the back behind a cover plate near the nut connecting the neck to the guitar. These use either a 5/16” (8 mm) or a 1/4" (6 mm) hex tool. On acoustic guitars, the bolt will either be accessible through the sound hole at the bottom of the neck or on the headstock. Martin acoustic guitars use a 3/16" (5 mm) Allen wrench for adjustments.

Although these measurements are the most common, always double check to make sure your specific guitar’s truss rod bold measurement unless you feel like risking stripping the bolt head, making a slight adjustment more like a death sentence for the truss rod. Fender keeps a good record on their site and several other companies do as well. When in doubt, check the forums or ask a music shop. Although the tool needed can differ slightly from guitar to guitar, one thing is universal; counter-clockwise will decrease the tension while clockwise will increase the tension – righty tighty, lefty loosey!

How Do I Adjust the Truss Rod?

Now that you know where the truss rod bolt is at, what tool to use and what direction to turn, there are a few things you should look out for while you’re making adjustments to ensure you don’t overdo it and break your guitar. First, take a look at your guitars neck. Try and put it near a perfectly flat wall or surface. Usually, the neck might have too much relief and the neck will arch slightly in on itself or away from you. If the neck has too much tension and needs some relief, it will look like a bow, with the neck arching towards you (assuming you are wearing your guitar and not looking at it). If for some reason the neck is straight but you are having problems with the action still, then you’re in luck because it’s not the neck or truss rod at all and all you need is to adjust the bridge! Also, it should be said, if you’re neck is arched too much in the bow position there might be a chance it can’t be fixed so take it to a guitar tech to make sure. Most of the time, it’s in the relief position and simply needs some tightening.

Alright, assuming you’re neck needs some tightening (which is the almost always the case for warped guitars) and you have all the right tools ready, start by turning the bolt about an eighth of the way. If it turns pretty easily, then keep on adjusting in slight increments while checking the neck and frets. By the time the neck is straight, you should have felt plenty of tension while turning the bolt but not so much that you have to force it to turn. If at any time the guitar begins to creak or it the bolt requires a significant amount of force in order to turn, it is best to leave it alone. If by then the guitar neck is still slightly bent, it is best to take it to a guitar tech. Forcing the bolt on a truss rod will give you an unwanted pop which pretty much means you need an entirely new neck.

So if I’m not sure What I’m Doing, Take it to a Music Shop?

Although it is technically not hard at all to adjust the truss rod, it’s even easier to break your guitar, so unless you are absolutely confident in your ability, the amount charged for adjusting a truss rod is change compared to buying a new neck or guitar. Half the battle is realizing you need an adjustment, so if you can figure out that much, my job here is done and you might have spared yourself having to buy a new guitar!

The Micro Polyphonic Octave Generator

Getting a little bored with the sound of your old six-string? Wish the thing could sound like a twelve-string guitar? How about a bass? Well, then the Electro Harmonix Micro POG is the right pedal for you! If you haven’t figured it out by now, the Micro POG is a very user friendly octave pedal that can easily be used to not only add the octave notes to what your already playing (so as to make a regular guitar sound like a twelve-string), but you can also simply convert your notes without adding anything extra, perfect for making a guitar sound like your standard bass. Speaking of the bass, the Micro POG works just as good there too in the same way. It is essentially the little brother of the original POG and although it may not have as much versatility, you’ll be hard pressed to find a better octave pedal at a similar price. The way octave pedals work is pretty simple; the pedal takes the signal (one note or an entire chord) and simply adds an octave up or down depending on the settings selected. Anyways, read on and check out some of the Micro POG’s finer points.

The Mechanics of the Electro Harmonix Micro POG

The first thing you’ll notice when you take this guy out of the box, besides the pedal itself, is the included AC adaptor. Those familiar with buying effects pedals can tell you that more often than not, it’s a separate buy, but it makes perfect sense with the Micro POG. Unlike most pedals that have the option of being powered by either an adaptor or a 9 volt battery, the POG can only be used with the AC, which isn’t all that bad since they did include it with it. Anyways, power supply aside, the pedal itself feels modest in weight compared to similar sized pedals – not too heavy, not too light –  although the diecast chassis feels very well built and strong. You might find a manual inside like I did, but in case you didn’t, don’t worry, this pedal is as straight forward as it comes.

There pedal itself consists of three knobs, one input jack, two output jacks and a click switch to turn the effect on and off. The single input jack is where you connect your cable to from your guitar to the pedal. The two output jacks on the other hand come in dry and wet. The wet “Effect Out” jack is your money-maker in that this is the jack that will send the effect-laden signal to your amp. The “Dry Out” on the other hand outputs the signal raw, meaning no effect whatsoever as if plugging in straight to the amp. This comes in handy for playing through two amps – one with effects and one without - also helpful if you’re doing some stereo recording on a music program. The “Dry Out” is the raw signal; “Effect Out” has the signal with effects (as well as the raw signal, technically speaking). Simple, right?

The three knobs are as straight forward as you can get. You have your Dry Knob, your Sub Octave Knob and your Octave Up Knob. The dry knob is essentially the volume of the raw signal. The sub octave knob lets you add an octave below the notes you’re playing while the octave up adds an octave above the notes. Turn either higher for more presence, lower for less… pretty much like an effect volume knob.

The Sound of the Electro Harmonix Micro POG

Those of you out there who just have to have everything right in their effects pedal chain will be happy to know that the Micro POG is clean and silent with absolutely no hum or signal distortion whatsoever. Put it in the front of your effects lineup, in the middle, or at the end; the Micro POG will not give you any signal loss or degradation, as can be the case with some pedals. The sound of the effect is exactly what you should expect from an octave pedal, but a fair warning to those who have yet to use one of these; If you’re looking for natural tones, that is to say that your guitar will still sound like a raw electric guitar, albeit with added notes an octave up or down, then you will be in for an unpleasant surprise. As veterans of octave pedals will tell you, although you can make it sound like a twelve string, eighteen string, etc, it won’t sound like a clean one but instead, like one with a bit of a digital effect to it, so those looking to make their guitar sound like a real twelve-string should either buy an actual one or invest in an acoustic signal generator pedal to calm down the synthetic sound. Just think of it as using synth organ instead of a grand piano and you will have no surprises. I did find that adding a bit of distortion will drastically reduce the digital sound, especially when trying to make your guitar mimic a bass.

Those of you who do know what they’re getting into with octave pedals will love how well the Micro POG does its job. From my experience, messing around between the sub octave and octave up knobs will pretty much always produce a nice rich and flavorful tone. Seriously, I could find something I like on pretty much any combination and it always sounded nice and full. Add just a little bit of effect and you will get a nice bit of depth to your tone. Add a whole lot of effect and you will get some crazy sounds. You can even make it sound like an electric organ when you put the octave up at about 3 O’clock, the sub octave at 11 and the dry at a full 12. Probably the best part of the pedal is that it keeps PERFECT tracking. Play as fast as you want and the pedal effects will keep up with absolutely no glitch, something that can’t be said about other octave pedals in this price range.

The Value

For the price, it will be pretty hard to find an octave pedal that can do as much as this one with the same quality of sound. Most octave pedals below $220 usually can only do either octave up or down and will probably not feature the dry output jack. While not as versatile as its big brother the Micro POG benefits from its much better looking price tag as well as its dummy proof execution. Those in the market for an octave pedal and know essentially what an octave pedal will give you will find the Electro Harmonix Micro POG a great that will do its job perfectly. 

And don't forget to check out PAL's great selection of effects pedals at the best prices right here!

                             Corona Chorus pedal

Corona Chorus: a Tone Print Pedal by TC Electronics

By Rob Cavuoto

The Corona Chorus is TC Electronics’s legendary stereo chorus pedal, which came to market over 25 years ago and is still and industry standard to this very day, due to its incredible dynamic range and lack of noise.

A Chorus pedal provides instruments with a doubling effect. It creates harmonics and gives the instrument a fuller and richer sound. Think of it as Flanger “lite” yet the Chorus pedal has it own elements which make it special and necessary on your pedal board.

The Corona Chorus runs in stereo or mono and is equipped with 4 knobs; Depth, Speed, Tone and FX Level along a three position toggle switch that allows you to switch between Stereo Chorus, TriChorus, and the Artist’s Tone Prints.

The Depth knob increases the intensity of the chorus effect. At 9 o’clock there is a subtle amount of “warble” and at “3 o’clock there is a very pronounced thick “warble” almost making the guitar sound out of tune.

The Speed knob changes the repetition time between the notes, think of it as a delay or how fast or slow the effect happens.

The Tone knob works like a treble knob, brightening up your sound and giving it a bit of shimmer

The FX Level knob speaks for itself, it simply controls the level of what ever chorus sound you dialed up, similar to a volume knob.

When you flip the toggle switch to the TriChorus position you get an effect which consists of three choruses working together. This setting is where you can dial up that rich 80's chorus sounds from the light and airy, to full on swirling or warbling.

The special aspect of this Tone Print pedal is that TC Electronics provides a nice array of artist’s sounds that you can download for free from their website. It’s as simple as hooking up a USB cable to your computer and “bam” it’s done. The list of artists is ever growing so check out their site to see whose sounds you can download and play around with.

For my style of playing, I prefer that I use the pedal in conjunction with a distortion pedal but I must say by itself, the pedal produces some beautiful lush chorus effects that would fit nicely in the jazz realm. It produces very clean rich tones when used for arpeggiated chords.

When playing hard rock and heavy metal and using a distortion pedal, I prefer more of a subtle chorus effect. With a little playing around, I was able to achieve some very cool chorus effects used on songs like, Fade to Black” by Metallica, “Road To Nowhere” by Ozzy, the intro to  “Knockin on Heavens Door” by GnR, and almost any Red Hot Chili Peppers song. Keep in mind that it takes quite a bit of experimenting with your amp’s settings and the Chorus pedal setting to achieve these effects, but remember with the Tone Print option, you can dive right into Paul Gilbert’s or James 'Munky' Shaffer's sounds simply by downloading their Tone Print.

This pedal is a lot of fun to play and experiment with coupled with the ability to downloadable artists’ Tone Prints makes it the perfect toy for all the gearheads and computer tech guys out there.

Jackson USA Soloist

There’s an old saying that used to go around back in my day – imitation is the sincerest form of flattery – and while claiming to be your favorite rock star and playing all of their songs might get you slapped with a cease and desist order (only happens if your cover band sucks particularly hard, I think), there’s a few valuable things one can learn from their favorite musicians other than trashing hotel rooms or a good bong substitution. Being in the business of writing about musicians, there always seems to be a few great go-to choices when it comes to genre specific gear. If one country singer uses something, 20 more probably do the same thing, and it’s not that they simply want to follow the trend, it’s just that when it comes to music gear, there are certain pieces of equipment that just work for certain genres. Take the Telecaster for example; sure, it has a great design and very well built but the reason every other country guitarist uses it isn’t because they like copying each other (it especially isn’t true when you think about how important originality is in music), it’s simply because the twang of the Telecaster is like no other and when it comes to country music, it just works.

Anyways, this week’s feature of genre specific gear will focus on all things heavy metal, from the guitars most of the pros use to their favorite pickups, and while originality will ultimately separate you from the rest of the players in the race, you have to get in that race first, so take a tip from the veterans the next time you’re shopping around for the perfect gear!

Popular Guitars for Metal

Jackson USA: A very popular metal guitar brand and just as commercially successful. The Jackson guitar brand began when Randy Rhoads approached custom guitar company Chavel in order to create a brand new guitar for the guitarist. The end product would be known as the Concorde and was such a departure from Chavel’s Stratocaster type designs that owner Grover Jackson decided to put his own name as the brand. Soon after, several more ‘80s era metal heads grew to love the unique designs and comparatively tougher look of the Jackson brand guitars as well as the company’s reputation for high quality custom craftsmanship.

Notable Players: Chris Broderick of Megadeth, John Cambell of Lamb of God, Kirk Hammett of Metallica, Jeff Hanneman of Slayer, Scott Ian of Anthrax, Adrian Smith of Iron Maiden, Zakk Wylde of Black Label Society, Dave Mustaine of Megadeth

ESP:  The Japanese-owned guitar company based in North Hollywood, CA, got its start during the ‘70s as a high-quality replacement guitar parts manufacturer. After gaining a reputation for outstanding custom guitar parts, the company began to manufacture guitars as a whole. By the ‘80s, ESP was building custom guitars for Page Hamilton of Hamlet, Vernon Reid of Living Colour, Ronnie Wood of The Rolling Stones as well as Vinnie Vincent and Bruce Kulick of KISS. Along with Jackson and Dean, ESP found immense popularity in the ‘80s thrash metal scene and soon became synonymous with the genre after notable acts such as Metallica, Slayer and Megadeth began consistently using the guitars.

Notable Players:  Kirk Hammett of Metallica, George Lynch of Dokken, Gus G who plays for Ozzy Osbourne, Izzy Stradlin formerly of Guns ‘N Roses, Timo Tolkki of Stradivarius, Jeff Hanneman and Tom Araya of Slayer, Rob Caggiano of Anthrax, Rob Holliday of Prodigy, James Hetfield of Metallica

Schecter:

                                                                                  Schecter Damien V 

The Company got its start in 1976 as purely a replacement parts producer for existing guitar manufacturers such as Gibson and Fender.  By the early ‘80s, Schecter was manufacturing over 400 parts and their supply just couldn’t keep up with demand, causing the company to be sold to a group of Texan investors who relocated the company to Dallas and began producing above par quality guitars to much success. Several of their early designs were based off of popular Fender models such as the Schecter Saturn and Mercury, being off shots of the Telecaster and Stratocaster, respectively. It was during this time in the mid-eighties that Schecter got its first huge endorsement by classical metal guitar virtuoso Yngwie Malmsteen. Today, they are endorsed by several of the biggest names in not just metal such as Robert Smith of The Cure as well as Robin Zander of Cheap Trick  and have gained a reputation for creating great quality guitars based off of popular models at comparatively affordable prices.

Notable Players: Kenny Hickey of Type 0 Negative, Sean Danielsen of Smile Empty Soul, Robert DeLeo of Stone Temple Pilots, Richard Pierce of Rambler Tommy Victor of Danzing, Chuch Wright of Quiet Riot, Dez Cadena of The Misfits

Popular Pickups for Metal

EMG 81/85: Quite possibly the most popular pickups in all of metal, the 81/85 combo is used by hundreds of metal guitarists around the world. Zakk Wylde popularized the 81 lead 85 rhythm configuration used by most today although other notable players such as Kirk Hammett use 81s as both neck and bridge pickups. Known for their distinct tone, these pickups give metal players the extra boost of signal power made available through their active setup while producing a smooth control at higher levels in comparison to most standard pickup models. This means better high gain control and less feedback when pumping it up to 11. These pickups are so popular several notable guitar manufacturers feature the them as stock for several of their models including ESP, Schecter, Dean, Epiphone, B.C. Rich, Jackson and Paul Reed Smith.

Seymour Duncan AHB-1 Original Blackouts: Another solid and popular choice for aspiring metal guitarists, the Blackouts features a more old-school metal sound combined with the power of an active pickup system. You’ll get plenty of compressed but powerful tones complete with that aggressive deep chunky sound that older metal is known for. Their added humbucking design means less noise and more pure tone. The biggest difference between these and the EMG 81/85 is that they have a far wider range of output signals, meaning higher highs and lower lows, which can be good or bad depending on your preference. Those on the side of the blackouts dislike the overly compressed tone of the EMGs while the other side of the fence complains about the excessive bass on the Duncans.

Effects Pedals

MXR EVH90 Eddie Van Halen Phaser 90

The first thing you’ll need is a good distortion pedal, and what better way to sound like your favorite guitarist than by getting yourself their signature series effect pedal! Zakk Wylde has plenty, such as the MXR ZW Overdrive pedal, great for all your distortion needs. Also, you can’t go wrong with a classic, such as Electro Harmonix’s Big Muff Distortion pedal. Check out the Eddie Van Halen Phaser 90, popular with many of today’s lead metal guitarist looking to add a bit of a sweep to their solos. Want something that screams a bit more? Try out Seymour Duncan’s Original Crybaby Wah, Kirk Hammett’s favorite wah-wah pedal, used on most of Metallica’s early to mid era solos.

Photo Credit

Things are getting a bit cold over here in sort of sunny Southern California, and while the rest of the country is enjoying the warm nudge of Spring, us west enders are being punched in the face with thunder and rain. What can we say? We’re not used to anything but precisely 70.3453454 degree weather (as we all know, that is precisely the optimal temperature for getting tans and surfing, which is required of all Southern Californians). With that being said, have a great weekend music fans! Here’s a recap of the weeks business!

We reviewed a pedal that would make even King Henry VIII proud... if he played the electric guitar

We gave you more options to waste your time with... Finally, something to do at church!

Axl Rose spoke a lot about his feelings... and then wrote a short story about it! (Spoiler: it was all Slash's fault)

We checked out beauties and bodies of all kinds because we don't discriminate. Warning! Dangerous curves ahead!

We pitted family members against each other in a battle to the death! Find out who was left standing!

We went old school to bring you some much needed renaissance flavor! Sorry, plague not included.

We get a little hardcore in the performance department with three special ladies!

FENDER FM-63S Mandolin

One of the best things I have found about attaining an understanding of the realm of music theory is that you can transfer your knowledge from one instrument to another with fairly consistent success, albeit with some elbow grease and plenty of practice. As a bassman myself, learning scales and rhythm went a long way in helping me better understand non-stringed instruments such as the keyboard or the flute (mixed results on the latter). Although it took time for my fingers to physically play the thing, my mind already knew what I needed to do. Over the last couple of weeks, we have been featuring a few guitar alternatives such as the banjo and ukulele in order to give musicians out there a bit of encouragement towards being a mighty and respected multi-instrumentalist.

This week, we keep things going with the history and mechanical basics of the renaissance era mandolin. Although the instrument itself is well over a few hundred years in age, musicians of all genres from The Beatles to The Black Crowes have all been attracted to its unique and signature timbre. Read on and find out how this predecessor to the guitar came to be and how you can start rocking the 8 string yourself! 

History of the Mandolin

Renaissance Era Lute

The mandolin first came to be as a direct variant and member of the lute family, a middle age era stringed instrument that many feel is the father of all modern plectrum instruments, although history can tell you (through cave paintings and murals) that man had been using single string instruments as far back as 15,000 BC to 8,000 BC. At about the 14^th century in Europe, a new instrument was created based on the popular lute. This new instrument featured less strings and a smaller build but everything else was pretty much in line with its predecessor including its tear drop body shape and coupled strings. Four hundred years later, the modern mandolin as we know it was created in Naples, Italy as a baritone variant of the mandore, retaining its coupled string set and tear-shaped body while featuring a straight neck instead of the signature angled neck of the lute and its family.

Along the way, several iterations appeared that featured different string counts, exotic body shapes and eventually the addition of frets. Although many of these variants still exist today, the mandolin as we know it today, with its four pairs of strings and familiar body structure, was by far the most widely used and popular of all the deviations.

The Musical Mechanics of the Mandolin

As mentioned above, the modern standard mandolin consists of 8 strings coupled into four pairs exactly like a 12 string guitar has six, meaning a single finger will be responsible for holding down two strings at a time (those that have experience with this can tell you it’s nowhere near as difficult as it may sound). Along with the classic tear-drop body, most mandolins feature F-hole cutaways as resonators much like they did when they first appeared, although some manufacturers prefer a guitar styled center circle cutout.

The four pairs of strings are each tuned to the same note and unlike the 12 string guitar (with the exception of the high E), the two strings that make up a couple are identical in gauge. The most commonly used tuning for the mandolin is GDAE from low to high (or GGDDAAEE if you want to count each string, but I’m sure my point has been made about the nature of the string pairings). Those familiar with the violin will be happy to know that it uses that exact same tuning, so switching over knowledge from one instrument to another should be a synch. Another popular tuning method mimics the patterns of standard guitar tuning, making chords and fret patterns much easier to comprehend for those coming over from a six-string.

Mandolin Fretboard Structure

Time to try out the Mandolin for Yourself

Not too complicated, right? For those of you adventurous enough to go out and learn to play one of these yourselves should be happy to know that over the last decade, the mandolin has increased exponentially in popularity. Although its design and sound is undeniably baroque, several modern rock bands from all levels of success have been regularly featuring mandolin players during their performances and recording sessions. From Green Day to the White Stripes and many, many more, the mandolin is an excellent and solid choice for those looking to spice up their musical résumé. Also, for those of you currently in the market for one of your own, how about Fender's beginner pack, complete with the mandolin itself, gig bag, strap, strings, chromatic tuner, picks, and instructional material - or check out PAL’s other excellent options after the break! 

• FENDER FM-63S Mandolin

• FENDER FM-53S Acoustic Mandolin

• FENDER FM-52E Acoustic-Electric Mandolin

• FENDER Robert Schmidt Electric Mandolin

• FENDER FM 100 Mandolin Pack Sunburst

From Left; '60s Stratocaster, '60s Telecaster

In the world of rock and roll, fewer names are bigger than Fender, and in the world of Fender, fewer names are bigger than the Telecaster and the Stratocaster. When I first delved into guitars so many years ago, this question naturally came to mind; “Telecaster or a Stratocaster? What’s the difference? Ah…They’re both casters, obviously.” Not satisfied with my own answer, I decided to get to the bottom of it and ask around.

My first victim was a bright eyed employee of my local music store who happened to cashier at the electric guitar section. “Hey, can you tell me the difference between a Telecaster and a Stratocaster?” His normally cheerful but empty demeanor suddenly got stiff. As he rolled his eyes upwards to pause ingest what I had just asked, I quickly wish I didn’t. After a few seconds of gathering his thoughts, he responded with a quick and direct “This one costs more,” pointing at a white ’72 Telecaster reissue. Well, I got an answer, but not the one I was looking for. I quickly went over to an older looking employee with much longer hair (because as we all know, you can count the years employees have been there via inches of hair) and asked the same question. If I could remember the ten minute explanation, I’d tell all of you right now, but it was far beyond my one year of music experience.

For those of you who have yet asked what I have, let me just give it to you straight; there definitely is a difference between the two, obviously, but maybe more so than most would think. Some things are cut and dry while other aspects are a bit more intangible, but it is in these small but precise differences that I truly saw the beauty and love that the Fender Company has put into crafting both of these guitars, because when you find two people arguing over something as meticulous as amount of stagger in a certain pole of a pickup, you cannot deny their wholehearted passion of a masterfully crafted guitar.

A Brief History of the Telecaster and the Stratocaster

Before we get into the specifics of the differences between the two, it really helps put things into perspective when you know how each guitar came to be, because they are definitely closely tied to each other even within the Fender family of guitars.

When electric guitars first hit the market in 1931, they were simply modified hollow bodied variants much like the archtops of today, although with a sound more comparable to that of a tone-less acoustic electric plugged into a crude amp. In these early years, increased volume was the main reason a player would go electric as the idea that an electric guitar can give a guitarist greater tone was not so much unheard of as it was un-thought of at the time.

While Leo Fender was running his electric instruments and repair shop in the early ‘40s, he would test pickups on a piece of solid wood he had made into a simple crude guitar. He began to get curious at its potential when local musicians would ask to borrow the guitar that had been purely made to quickly test pickups as they loved the shiny and sustained sound it produced, much different than that of the spacey hollow body. Although there was definitely knowledge at the time that a solid-body design offered greater advantages for electric instruments, none were successful in impacting the market until the release of the Fender Esquire in 1950.

When the Esquire was originally released, it shipped with a single pickup and only about 50 were ever made, most of which had to be replaced under warranty as these models shipped with a pretty big manufacturing flaw as the guitars did not include neck tuss rods, making them highly susceptible to permanent bending (known as warping among musicians). Later that year, the Esquire was given an extra pickup, a tuss rod and renamed the Fender Broadcaster, which didn’t sit well with Gretsch as the company had a line of drums with the similar name Broadkaster. Rather than fight, Fender renamed his brand new solid body guitar the Fender Telecaster.

Floating bridge and tremolo arm on Stratocaster

Three years later, looking to add variation to his very successful solid body and fight back growing competition from the equally popular Gibson Les Paul, Fender took the same basic principles that had made the Telecaster a success and applied it to their new model, the Stratocaster. Unlike the flat body of the Telecaster, the Stratocaster offered a very contoured and ergonomic design, along with three pickups and an adjustable bridge with a tremolo arm. The adjustable bridge had mixed reviews from players, as some loved the added versatility and consistently used the tremolo affect while other such as Eric Clapton hated the bridge’s propensity of detuning the guitar. Today, Stratocasters that do not implore the tremolo bridge are known as “hard tails.”

The Differences between the Telecaster and the Stratocaster

Although to the unknowing person it seems as though the Stratocaster is the natural evolution of Telecaster (seeing as how it came out later, featured an extra pickup, “better” body shape and an added tremolo bridge), those who have played the two are more likely to akin it to a little brother big brother relationship, as the two are similar but uniquely their own, with players on both sides of the argument.

As mentioned above, while the added tremolo bridge seems like an extra, it detuned guitars quicker so those who had no interest in the tremolo affect saw it as a negative. The added pickup also didn’t necessarily make the Stratocaster superior as many still preferred the sound of the Telecaster (and nowadays you can get a three pickup Tele, nullifying that argument). I think I’m making my point that what works for some doesn’t for others and that doesn’t necessarily make either guitar “better.” So now, on to the deeper differences and what they mean for those trying to decide between the two.

The main differences that matter as far as tone and timbre are a bit harder for those unfamiliar with electric guitars to comprehend, so newcomers might have a hard time deciding which sound they prefer from simply reading about it. The best way to compare the sound of two guitars is to play both CLEAN (I can’t stress that enough, as any two guitars will sound similar enough if you give it enough distortion), this will allow you to be able to hear the natural timbre of the instrument. If you would like Eric Clapton’s take on the Strat versus the Tele, he has described the sound of the Stratocaster as more compressed while the Tele has more highs and lows. From personal experience I found this to be true, although which sound is preferable is up to what kind of music you will be looking to play. Those searching for a twangy  and bright sound like that prized in country or rockabilly gravitate more towards the Telecaster while those looking for a bit more simple with greater gain control such as that found in several types of hard rock, such as punk and metal, more often head towards a Strat.

Other general consensus descriptions regarding tone describe the pickup timbre of the Telecaster as snarling and biting on the neck and warm and smooth on the bridge, with a jangly sound in the middle. The Stratocaster on the other hand is more or less described as smokey and woody with a bit of quack on the neck while the bridge pickups a bit more brazen, otherwise confirming the breakdown of Mr. Clapton. Those confused by the use of colorful words should do well by getting used to it, as there is rarely a uniform way of describing the little details in guitar timbre better than the use of emotional adjectives. Then again, you can simply try the two out yourself and decide first hand.

The Choice between the Telecaster and the Stratocaster Depends on You

Eric Clapton with Stratocaster

In the end, the differences between the Telecaster and the Stratocaster may not seem apparent at first, but once you spend time with the two, they are truly and uniquely their own. Those looking to exploit the tremolo effect and don’t mind a bit more frequent tuning along with a slight growl would be wise to pick up a Stratocaster while those more prone to playing bright and clean with a nice versatile set of pickups will love the sound of the Telecaster. Ultimately though, they are both great guitars that have lived on strong ever since they were both introduced in the ‘50s. Whichever side of the fence you end up leaning on, just know that there are plenty of greats at your side.

Telecaster HH Solid Body Guitar

It is probably the most popular instrument of the modern era, and easily the coolest. The guitar has seen unprecedented growth and renovation over the last hundred years not seen since the introduction of the piano in Italy during the early 18^th century. What was once seen as a “hand-violin” way back in 17^th century Europe and nothing more than a fun diversion of the common man (unlike the prestigious orchestral instruments) is now the go-to instrument for future musicians deciding on their first foray. With the introduction of the electric guitar, the boundaries were pushed even further, introducing amplifiers, effects and studio techniques that were never imaginable decades prior, eclipsing the previous amount of tones and sounds possible on a single instrument.

Most of us know about how effects pedals, amp settings and pickups have a great deal of influence in determining the sound of a guitar, but what several new to the instrument sometimes fail to realize is that the body type is just as important . Being an electric instrument, it is an honest mistake for newcomers to make the assumption that the sound is determined exclusively by the electrical components along with the de-facto importance of a tuned guitar. Although one need only experience an instrument with terrible or old wiring to feel the true worth of solid electrical components, there is another side of the guitar that seems to be overlooked by those selecting their very first axe, and just like the perfect beer (for our older musicians out there anyways), it’s all about the body!

Unlike strings, pickups, internal wiring, etc. which can all be replaced and upgraded at a fraction of the cost of the entire instrument, the body pretty much IS the guitar, the foundation for which everything else is built upon, and not only that, it is responsible for much of the end tone and sound of the guitar as much as the pickups, and even more so depending on the type of body. Read on as we breakdown the different electric guitar body types to give you a better understanding on how each ultimately affects the sound of the instrument. While some might go into selecting their first guitar simply by the “look,” those searching for their perfect instrument should listen to what the ladies have been saying all along; it’s not always about the looks, it’s the inside that counts … but a good looking guitar sure is hard to turn down!

Solid Body Guitars

Out of all of the different body variations, the solid body guitar type is among the most popular, although it didn’t start out that way. When Les Paul first came up with his eventual legendary guitar that bears his name in 1943, Gibson decided to keep the prototype on the back burner as the company did not believe that the solid body design (still new at the time during the ‘40s) would be successful. Five years after the creation of the prototype Les Paul, it was finally released to compete with Fender’s increasingly popular and “unique” solid body creation, the Fender Broadcaster, which would later become the Fender Telecaster. A few years later in 1954, Fender released the Stratocaster to compete with the increasingly popular Les Paul, and the rest, as they say, is rock and roll history.

 Being a solid body, these guitars rely heavily on their pickups for much of their sound and tone, making them popular choices for those looking for a “controllable” sound with wide tonal capabilities, as the pickups are almost completely unaffected by the body, unlike other designs that are dead-locked so to speak with the inherent attributes of their body.  Along with increased control, the prevalence of feedback is also much lower on a solid body, making them perfect for music requiring fully upped amps. Solid body guitars are great choices for those new to guitars along with those looking to play a wide range of styles as loud as they want.

Popular Models; GIBSON Les Paul, FENDER Stratocaster, FENDER Telecaster

Semi-Hollow

Jim Adkins Semi Hollow

These guitars originate from the 1930s and were very popular among jazz musicians for their duality as a practice guitar when unplugged and an electric when amplified. They were first created as a means to produce a guitar that was able to be amplified through electric currents and out through a speaker in order to keep up with the higher dynamics of large orchestras and jazz bands, essentially creating the first electric guitar. The design was based off of the traditional arch top guitars (now known as full hollow) which were the norm for jazz musicians at the time, although the body is not as thick. The first commercial semi hollow body was released by Gibson in 1936 and known as the ES-150. The guitar became instantly popular with the jazz scene and is still regard the body type as a staple of the genre.

Much like their solid body brethren, semi hollow bodies (the “semi” in “semi-hollow” refers to its semi-acoustic nature, not the body, which is fully hollow) are similar in depth and rely on pickups for their tone and sound, but unlike solid bodies, the pickups convert both the string and body vibrations (caused by the hollow insides) into the electrical output signal. This creates a tone that many describe as warm and rich, used heavily in both ‘50s rock and roll and jazz for its clean signature sound. The main drawback to the body type is its propensity for feedback when played at loud volumes, making it a less popular option for big stage hard rock bands that came afterwards.

Popular Models; GIBSON ES-335, FENDER Thinline Telecaster, GRETSCH G6128T-GH (George Harrison Signature)

Full Hollow

These are essentially the link between the acoustic guitar and the electric guitar, and not just because you can play these unplugged and sound just as loud as an acoustic. When the full hollow body guitar was first designed, it was known as an archtop guitar due to its unique design. The design is often credited to Orville Gibson as a means of creating a superior sounding acoustic guitar compared to those being made at the time. He succeeded by creating the body out of a single piece of wood that got rid of inside braces, blocks, bridges and splices, all of which are attributed to diminished tone and volume. They became very popular with the jazz scene for its louder sound and rich tone. The archtop became so popular that it became the basis when designing the first electric guitar, the semi hollow body.

Nowadays almost all full hollow body guitars are electric, although several pre-semi hollow guitars were retroactively fitted with pickups. These guitars are currently popular with both rockabilly and jazz music due to their signature twangy sound and warm tones which is due in part to the resonation of sound in the large arched body as well as the pickups used in its design. Much like semi-hollow guitars, hollow bodies are prone to feedback and are generally not popular for loud music, although with modern effects and technology, the propensity has been reduced.

Popular Models; GRETSCH G5122DC Electromatic Double Cutaway, GRETSCH G5191BK Tim Armstrong Signature, EPIPHONE Casino

Gretsch Electromatic Hollow Body

Other Notable Guitar Bodies

The Chambered guitar body

There are the true “semi-hollow” body guitars in that they are not fully hollowed and are much closer in design to that of the solid body. The consist of hollowed chambers inside a solid body design but structured in a way that the hollowed areas do not interfere with critical parts such as the bridge and string anchor point on the solid body. The marked differences between these and a standard solid body are reduced weight and a slight semi-hollow body tone.

The Acoustic Electric Guitar

Essentially, this is your basic acoustic guitar which eventually took advantage of growing pickup and mic technology. When the electric guitar was first invented, pickups were the key in delivering an electrical signal that can be translated by an amplifier. The problem with using these electric guitar pickups on an acoustic instrument was the unavoidable issue of feedback and “wolf tones.” Wolf tones occur when the note that is struck has the same frequency as the natural resonation in the body of the acoustic instrument which creates a sound similar to two of the same notes being struck at once. Although that may theoretically sound interesting and nice to some, the wolf tone oscillates back and forth, thus giving the sound an unwanted flat/sharp overtone which as we all know doesn’t sound nice at all. The eventual introduction of the piezoelectric sensor pickup took care of this problem, as well as the incorporation of condenser mics as a pickup alternative to acoustic-electric guitars.

The Guitar Body Makes the Man

There you have it. Every one of these guitars is a solid choice for an instrument and with today’s technology the negative aspects of each can be reduced better than ever, although it should be noted that it is impossible to perfectly recreate some of the naturally inherent tones of certain body types. Although there are no rules set in stone as to which genres HAVE to use which body type, hard rockers tend to lean more towards the solid body for its superior control of feedback and tone versatility while country and jazz aficionados swear by the twang and rich tone of the semi and full hollow. Either way, each one of these body types is more than ready to rock! 

Don't forget to check out our great selection of Hollow, Semi-Hollow and Solid Body guitars here at PAL!

Fender FB59 Banjo

Maybe it’s just me, but it seems like nowadays everybody plays guitar. Whether it’s a classic acoustic or a custom electric, in the sphere of music, guitarists are a dime a dozen. But don’t get me wrong, it’s the first instrument that got me into music, the same for a lot of us, and how can they blame us? With all those videos of Jimi Hendrix making his axe scream or Eddie Van Halen simply destroying solos… you tell me how I’d ever want to pick up a violin! But with that said, the great thing about music is the shear amount of options we as musicians have to play around with and master.  So, for those of you looking to spice up your instrument skill set, why not try some of these guitar alternatives?

Sure, there are a few differences between them; an extra string or two, an alternate tuning here and there, but nothing that veterans capable of holding chord patterns should worry about. So, for all you axe-men out there check out some of the guitars less popular cousins. While they might not melt anyone’s face soon, they make great partners for YouTube videos!

Last week, we featured a nice little well known instrument known as the ukulele, a fan favorite of the online video crowd and faux guitarists everywhere. This week, we’re getting a little country, so get ready for some bluegrass and read on as we give you all the info you need to get a grip on the one… the only… the banjo!

Birth of the Banjo

The modern banjo is a 4-5 stringed instrument popular in a wide array of genres including country, bluegrass, folk and traditional Irish music. The banjo itself is made up of either a piece of animal skin or plastic stretched over a circular body frame along with a neck and tuning knobs similar to that of most stringed instruments, albeit comparatively thinner.  Although it is normally associated with European and American music styles, the predecessor to the banjo came from deep within Central Africa, as many of the people there have been using variations such as the kora well before the modern banjo made its way to the Americas. Furthermore, it was the African slaves in Colonial America that actually introduced the instrument into mainstream Americana, although the banjo as we know it today came from a Western approach to building the instrument, incorporating frets and tuning knobs whereas before it featured neither.

Anatomy of the Banjo

As mentioned above, most banjos have either four or five strings although six (even seven) string variations are available that try and emulate the tuning and style of a standard guitar. There are a few differences among the two most popular variants than just an extra string.

The Kora

The Four String Banjo

The best candidate for those new to the instrument is known as the plectrum banjo. Unlike the five or six stringed variation, these banjos do not have the shorter drone string. As the name suggests, these are more commonly played with a guitar pick, unlike the five-stringed banjos which typically use a thumb pick, two or more fingerpicks, or none at all. The common tuning for a plectrum banjo is CGBD, although alternate tunings such as the “Chicago Style” which uses the same tuning as the top four strings on a guitar (EADG) are also commonly used. The fret board is usually between 22 and 26 inches and contains 22 frets. Tenor four stringed banjos have a slightly smaller neck with 17 frets and a scale length of 19½ to 21½ inches.

The Five String Banjo

The main difference between the four and five stringed banjo is obviously the extra string, but more importantly, it’s the positioning of the string. The top string is the same gauge as the lowest string but has its tuning knob on the 5^th fret unlike the other four which are past the fret board on the head of the neck like you would find on a guitar. This feature makes it possible for the 5^th string to be tuned much higher than the rest while still using common string gauges and lengths. The higher frequency of this string is used to create drone notes, which we’ll cover in a second. Unlike most string instruments, the pitch of the strings aren’t arranged from lowest to highest as you would find on a guitar or even the four string banjo. Instead, from lowest to highest, they go fourth, third, second, first and fifth. The tuning for a five string banjo is most commonly GDGBD, although like all string instruments, alternates are also used.

Style and Technique

When most people think of the banjo (thanks in part to both Warner Bros cartoons and Deliverance), they usually attribute it to a fast paced arpeggiated plucking style like that of the quicker parts to the song “Dueling Banjos.”The technical terms for the techniques are called rolls and drones. The rolls are fingering patterns consisting of eighth notes subdividing a standard 4/4 measure, carrying the melody. Drones on the other had are also typically in eighths but are used to fill around the rolls and are always played on the 5^th or shortest (highest in pitch) string on the banjo much like guitar finger picking uses the thumb to play the bass notes, just far more frequently. This combination of rolls and drones is synonymous with the banjo as well as typifies bluegrass.

Notice how the 5th string begins on the 5th fret

Now You Are Ready To Go

Alright, so you know the style, the tuning and the correct order of the stings. How about a brand new banjo? Those who are a bit newer to the world outside of the guitar should check out the Fender Five String Banjo pack. It comes with everything you need to get yourself off on the right track including the banjo itself, a gig bag, extra strings, tuner, picks and a beginners booklet. There are also plenty of standalone banjos as well, links after the break. 

  ///FENDER FB59 Banjo///FENDER FB58 Banjo///FENDER FB-55 Banjo///FENDER FB-54 Banjo///FENDER FB 300 Banjo Pack///

Click here for a chance to win!

This April, PAL will be having a drawing for a BRAND NEW FENDER BLACKTOP HSH STRATOCASTER, and although we know all of you love guitars, some of you might be surprised with the rich history of not only the Fender brand, but the Stratocaster model as well. Those of you looking to enter can do so right here! Read on as we give you a brief history of what would become one of the most popular electric guitars in the history of music.

The Birth of Fender

We all know the name, but do you know exactly how the Fender Musical Instrument Corporation came to be? Let’s go back to Fullerton, California in 1938 where Clarence Leonidas “Leo” Fender first began repairing radios, phonographs and amplifiers through Fender’s Radio Service. Soon after, Fender began seeing flaws in the design of musical instrument amplifiers and by 1940 he began creating custom built amps using his own techniques. Soon after he partnered with Clayton Kauffman and created the K & F Manufacturing Corporation to design, create, produce and repair musical instruments and amplifiers. Later that year, Kauffman and Fender parted ways after Fender wanted to focus more on manufacturing than repair, convinced that it was more profitable in the long run, and thus, the Fender Electric Instrument Company was born.

The CBS Era (1965-1985)

In early 1965, Leo Fender sold his company to CBS for 13 million and soon after, the dreaded but expected transition to “cost effectiveness” reared its ugly head. CBS began altering the designs of several of Fender’s key products that not only affected the aesthetics of the amps and instruments, but the electronics as well. CBS lauded the changes as improvements such as making a five-way pickup selector standard on most models, although no tangible upgrade in tone quality was achieved by this and in fact led to more frequent mechanical failure.

The peak of the cost-cutting era is marked by most as the introduction of the ’83 Stratocaster redesign. The guitar is infamous for its negative implementation of the barebones mentality. CBS removed the second tone knob, fitted the guitar with less expensive single-coil pickups, and included a lackluster input jack as well as active electronics (required a 9 volt battery to work). Many saw the move as CBS simply trying to sell overstock by implementing changes to their most popular model. Finally, in 1985, employees of the Fender Electric Instrument Manufacturing Company bought the company from CBS and began to reinstate the unmatched quality that Fender was and is now again known for.

Just a side note, but don’t worry about vintage Fender reissues from the ‘60s through ‘80s just because CBS owned Fender at the time. All vintage models have been “fixed” by the current company, although even the CBS variations were by no means low in quality and still regarded in their time as top-notch guitars, not to mention a great collectible.

The Stratocaster

Notice the missing knob on the '83 (left) and flat input jack

Along with the Gibson Les Paul, the Fender Stratocaster is the most popular guitar today in terms of sales and design, with multiple upon multiple copies produced by companies around the world (some authorized, most not). The body design alone is regarded by many as synonymous with the electric guitar. Think for a moment about any cartoon you’ve seen with someone using an electric guitar and chances are they’re replicating the look of the Stratocaster.

The original Stratocaster was designed by Leo Fender, George Fullerton, and Freddie Tavares in 1954 and has remained in constant production since then. The design featured several improvements over most guitars at the time, including Fender’s own Telecaster. The body itself was contoured and more ergonomic (known as the Comfort Contour Body by Fender) in contrast to the Telecasters flat slab design, the cutaways on both sides of the guitar enabled players to reach the highest frets on the neck which was also thinner than the Telecaster’s, and that’s just a few of the marked improvements. All in all, it was a breakthrough for its time, much of which is copied to this day.

The Stratocaster Today

The Fender Stratocaster remains one of the most enduring and popular electric guitars ever made with a professional player list that resembles a who’s who in rock, blues, country as well as several other genres. Although there have been minor tweaks, additions (subtractions even) and plenty of clones along its history, it remains the go-to-guitar for anyone looking to not only to experience a piece of music history, but create some as well.

Fender Nohea All Koa

Maybe it’s just me, but it seems like nowadays everybody plays guitar. Whether it’s a classic acoustic or a custom electric, in the sphere of music, guitarists are a dime a dozen. But don’t get me wrong, it’s the first instrument that got me into music, the same for a lot of us, and how can they blame us? With all those videos of Jimi Hendrix making his axe scream or Eddie Van Halen simply destroying solos… you tell me how I’d ever want to pick up a violin! But with that said, the great thing about music is the shear amount of options we as musicians have to play around with and master.  So, for those of you looking to spice up your instrument skill set, why not try some of these guitar alternatives?

Sure, there are a few differences between them; an extra string or two, an alternate tuning here and there, but nothing that veterans capable of holding chord patterns should worry about. So, for all you axe-men (and axe-ladies) out there check out some of the guitars less popular cousins. While they might not melt anyone’s face soon, they make great partners for YouTube videos!

This week, we will be featuring the one, the only...

The Ukulele 

The Birth of a New Instrument

Probably the most popular of the alternatives, especially in the aforementioned YouTube department, the ukulele is a four-stringed member of the guitar family credited to being invented around the 1880s in Hawaii after Portuguese merchants brought over two similar stringed instruments along with them. Production of the ukulele as we know it came soon after as King Kalākaua began incorporating the instrument into music at royal gatherings, becoming synonymous with the island.

What's the DIfference?

Besides the obvious difference in string count, what give the ukulele its signature sound are the positioning of the strings according to tone and the type of strings used. Unlike the traditional acoustic guitar which has strings set up from low to high (or high to low if you read tabs), the ukulele incorporates a setup similar to the banjo, with the two outer strings being thinner and higher in tone while the two middle strings are thicker, lower in tone. Just imagine the lower four strings on a guitar and replace the D with another high E string. The ukulele uses nylon strings, similar to classical guitars, which definitely gives it a warm quality and not at all metallic like in regular guitars.

The Importance of Being Properly Tuned

Probably the biggest road block for those wanting to play the ukulele is the tuning setup, but it is definitely a lot easier once you get used to it. Most people make the honest mistake of thinking that the four strings on the ukulele must be the same tuning as the higher four strings on a guitar, meaning DGBE, and in the case of a baritone ukulele, they would be right, but chances are they picked up a standard or soprano ukulele, as are the ones sold in most music shops. Sure, you can use that setup on any uke and it will technically work (because music always technically works), but that is definitely not the traditional setup of the instrument, causing the strings to either be too loose or too tight. Check out this chart to figure out the proper tuning for your ukulele:

So, there you have it. That wasn’t so bad, right? The ukulele is a great instrument in its own right with a rich history and distinctive sound, making it a pretty popular (and portable) alternative when six strings are just too much. Now, how about some soprano ukulele chords to get you running in the right direction?

Don't own a ukulele yet? Check out the Fender Nohea All Koa, Hau'oli or the Pa'ina for top quality ukuleles at a great price!