Super Reverb - If you compliment me, baby - live @ "The Lady of Liberty" (Hello - Le) 04/06/2010

I run Super Reverb "If you love me, baby" Tony Sheridan & ie, the Silver Beatles on stage of the Second Edition of "Lady Liberty", Event Music NATO IN 2009 during the tenth anniversary of the disappearance in March and organized by Fabrizio De André Circolo ARCI Cassandra Salve (LE). The War Edition 2010 (is over) and a dedicated entirely John Lennon and the Beatles. The Super Reverb: Jessy Mature - Salvatore Cafiero voice - guitar, Tonio Longo - Longo Philip Low - Drums ARCI Cassandra- Hello (The arcicassandra@libero.it)



http://www.youtube.com/watch?v=tLG1Ps-Xrwc&hl=en

DUMBLE OVERDRIVE SPECIAL TONES WITH A DRIVE N SYNC HEAD 50 w T. MIRANDA TUBE AMP ROBBEN FORD STYLE.

Eric Assmar - DRIVE CHANNEL__________________________________________________________________________________________________________________________________________________________________ "FUCHS OVERDRIVE SUPREME TEST" TELECASTER "BASSMAN LTD CLEAN" "SUPER REVERB BLACK FACE DEMO" "FUCHS ODS30" "CLONE GIBSON" "john mayer two rocks" "STEVE LUKATHER" "SERRANO VICTORY 35" CONQUEST CLASSMAN "FARGEN VOC Amp" "MG Astoria" "BRUNO COWTIPPER 45" "BRUNO S100" "LEAD MAN 60" "VICTORIA 518" "VICTORIA ELECTRO KING" "2STROKE AMPLIFIER" "MATCHLESS TEST AMP" "EDUAS FORDYFLOW" "ROBBEN FORD GUITAR RIG" "JOHN MAYER GUITAR RIG" "Two Rock Jet AMP" "ROBBEN FORD INTERVIEW" "TWO ROCK J2"



http://www.youtube.com/watch?v=5BAxYbbPcYo&hl=en

Star Spangled Banner/Purple Haze - Woodstock appearance - aboriginal take

Recorded August 18, 1994 at an open stage, this is my first-time, totally unrehearsed performance of Jimi's Woodstock Star Spangled Banner and Purple Haze. Sam Beason - Bass Shawn - Drums Eddie Grey - Guitar/Vocal



http://www.youtube.com/watch?v=Md1om1v4YFU&hl=en

Guitar Scales For Country Music

The trick with music theory is to break everything down into
baby-step i.e., guitar scales for country music, guitar scales
for bluegrass music, guitar scales for jazz music, guitar scales
for rock music.

Let's say your primary style of music is country music. We could
subdivide the subject of music theory into: what guitar scales
for country, what chord progressions for country, what style of
country music, what guitar techniques for country.

What guitar scales for country:

major pentatonic, major diatonic, cascading scales ...

What chord progressions for country:

two chord songs, three chord songs, four chord songs ...

What style of country music:

Traditional country, modern country, country rock ... What guitar techniques for country:

Hammer-on's, pull-off's, bends, slides ...

As you zero in on the specific skills you need to learn the
complex subject of music theory becomes a lot less stressful
and much more achievable.

By dividing and sub diving any complex subject you also learn how
to accelerate your progress on guitar. The scales you would
learn for country guitar would be determined by what style of
country music you intended to play.

Instead of just saying "I want to play country guitar", if you
are prepared to dig a little deeper, you will decrease the amount
of information and skills you need to acquire by looking at each
area of country guitar playing i.e., chord progressions, if you
predominately played three chord songs in the keys of G and D,
you would only have to learn four chord shapes.

Three chord songs in key of G: G - C - D

Three chord songs in key of D: D - G - A

Although country guitar has spawned no shortage of modern greats
(Albert Lee, Ray Flacke, Danny Gatton, and the Hellecasters come
quickly to mind, although there are many others) in general,
however the music buying public doesn't really know how hip and
entertaining instrumental country guitar is.

Here's ten top country guitarists to get listening for specific
country guitar playing techniques.

1. Chet Atkins

2. Merle Travis

3. Jerry Reed

4. Roy Clark

5. Hank Garland

6. Albert Lee

7. Maybelle Carter

8. Doc Watson

9. Norman Blake

10. Tony Rice

The classic electric guitar sound for country music is
characterized by the undistorted sound of single-coil guitar
pickups, usually a Fender Telecaster or Fender Stratocaster, and
the employment of fairly undistorted amplification most often a
Fender Twin Reverb 100watt amp.

Guitar scales for country music are: major Pentatonic, major
diatonic, and to a lesser degree the minor pentatonic scale and
the blues scale.

The most popular guitar scales for country music are without
doubt the major pentatonic. the two most common ways of playing
this scale for country music is:

A major pentatonic scale (PATTERN 1)

sixth string, fifth fret, fourth finger

fifth string, second fret, first finger

fifth string, fourth fret, third finger

fourth string, second fret, first finger

fourth string, fourth fret, third finger

third string, second fret, first finger

third string, fourth fret, third finger

second string, second fret, first finger

second string, fifth fret, fourth finger

first string, second fret, first finger

first string, fifth fret, fourth finger

A major pentatonic scale (PATTERN 2)

sixth string, fifth fret, first finger

sixth string, seventh fret, third finger

sixth string, ninth fret, third finger

fifth string, seventh fret, first finger

fifth string, ninth fret, third finger

fourth string, seventh fret, first finger

fourth string, ninth fret, third finger

fourth string, eleventh fret, third finger

third string, ninth fret, first finger

third string, eleventh fret, third finger

second string, tenth fret, second finger

The fingering for the A major pentatonic scale (pattern 2) may
seem a little unusual at first, however with a little practice,
it will work out fine.

Both these patterns feature the same notes in the same
sequence, if you play each scale slowly and listen carefully you
will notice however a tone from certain notes, this is because
the notes are being playing on different strings resulting in a
different tone. Thicker strings produce a more mellow tone.

By learning these guitar scales for country guitar you will soon
be playing your favorite country guitar sounds.

Microphone and Vocal Techniques For Recording Like a Pro!

Having good "Mic Technique" means two things: 1.) Understanding that a microphone's diaphragm reacts with varying sensitivity to your vocal performance. 2.) Knowing how to adjust your body according to the dynamics of the delivery. If you're going to deliver a quiet, intimate vocal from start to finish, you can afford to position your mouth just a few inches (or even less) from the microphone. If the vocal is to be sung full volume throughout the song, you may stand a couple feet away. Quite often, though, a song is dynamic enough to require different amounts of air to be pushed at different times. Singers with good mic technique will move their body closer to or further away from the mic as the song unfolds. Ideally, your mouth is as close to the mic as possible before overloading it with level (which will cause it to distort or, with super-sensitive mic's, to temporarily shut down -this will always be blamed on the engineer, even if it's the singer's fault.) Tip: don't be afraid to move your head back a couple inches for just a phrase or even a syllable - you can also aim your mouth slightly above or to the side of the diaphragm for particularly loud moments.

Room Microphones

Room mics are used to give a recording a more ambient and live sound. Room mics can be used in stereo or mono, but one must always be aware that they do have an effect on the phase relationships of all the other instruments being recorded simultaneously in the same room. Engineers often use stereo room mics placed about six feet high, and about ten feet from the drum kit to enhance the drum sound. Other engineers will use a single mic in omni placed near the floor, and pointed at the kick drum. There are endless combinations of placements, and ultimately, each has to be the decision of the engineer and producer. There is no pat prescription for placing room mics.

Dynamic and Condenser Microphones

In the simplest of terms, a dynamic microphone is basically an iron core surrounded by a coil of copper wire much like an electromagnet. When sound waves hit the core and move it, it causes the core to move within the coil, which generates electrical impulses that become translated into sound when they go through a mic preamp. A condenser mic (or electret condenser) is essentially two extremely thin, metal (typically gold) partialcoated Mylar membranes, which are separated by a very thin insulating layer of air. One side is positively charged, the other is negatively charged. When sound waves, or sound pressure hits the "diaphragm," it creates electrical impulses that become translated into sound when they go through a mic preamp. Generally speaking, dynamic mics are less expensive, are less delicate, handle extreme sound pressure levels better than condenser mics, but don't sound as good as condenser mics. There are many situations in which a dynamic mic is the better choice though. Many engineers use them on drums of all types. They are very well suited for applications where high sound pressure levels are anticipated. Condenser mics are generally thought to be richer sounding, with more "detail." But while they may sound better, they are also more sensitive to high sound pressure levels, and somewhat prone to distortion if exposed to too much level. Condenser mics often have variable pattern switches on them, allowing engineers to choose a cardioid pattern, hyper-cardioid, figure eight, or omni.

Getting Rid of Mouth Pops and Lip Noise

Obviously, most engineers use pop filters to eliminate pops, but there are more than one kind of pop filter. Many stage mics already have them built in, hence the large ball-shaped screen over the mic's capsule. But most studio mics use a foam pop filter or windscreen that slides over the end of the mic. Those work well, but some people think they eliminate some of the microphone's ability to capture high-end sounds. It's an arguable point. A more popular type of windscreen that has emerged in the last decade is the nylon stocking variety. In its simplest, home-brewed version, it is just a piece of nylon stocking stretched over an "o" shaped piece of sturdy wire like a section of coat hanger. The filter is placed between the singer's mouth and the microphone to eliminate any blasts of breath that would cause a pop. There are several companies that now manufacture the nylon stocking type of pop filter. Maybe the most effective way of all to eliminate pops is to just place the microphone so that the singer's mouth doesn't blow directly in to it. Placing the mic slightly off to one side, but angled at the singer's mouth will almost always cure a popping problem. Just make sure that you haven't placed the mic so far off-axis that you affect the sound of the mic by going outside the mic's pick-up pattern. The best prescription in the world for getting rid of mouth noise is to simply have the singer drink water, and lots of it.

Unique Vocal Techniques & Reverb

The opportunities to make a vocal sound unique are endless, bound only by your imagination. Sometimes the more obvious effects - 'telephone'-like filters, heavy-pumping compression, ethereal reverb - are exactly what works for the song. But you can also have the vocal sung into a megaphone, or come off tape into a guitar pedal, an amplifier, even the Leslie speaker that was built for Hammond organs (if you're lucky enough to own one.) A lot of digital effects boxes will simulate these sounds, but they don't always come out as good as the real thing. Wah-wah and distortion pedals are extremely useful in giving your vocal a different sound. And you can get great kinds of distortion by deliberately overloading a circuit. Try patching your vocal, from tape, into a mic-pre with its gain turned all the way up. Every model of mic-pre out there produces its own type of distortion when overloaded, so if you don't like the sound of one, try again with another. This trick also works with compressors - just turn the input all the way up. (Note: if you try this idea, start with the fader down on the channel where the signal is returning.) And remember that too much effect can come off as gimmicky. Blending just a little bit into the main (dry) signal allows you to create a sound that's fresh without drawing attention to it. (Of course, sometimes that's the point.) Tip: Are you looking for a unique vocal reverb? Before you send the vocal to the reverb unit, patch it into a flanger first. If you dial in just the right amount, the listener may not even pick up on your little trick. But the overall vocal sound will be unique and more interesting. Most of the time people think of reverb in terms of extremes: either they like a lot of reverb or none at all. But there's a middle ground that's very useful when you want a natural sounding vocal that's neither too wet nor too dry. Like when you want to process it so it sounds unprocessed.

Final Thought on Vocal Tips & The Use of Reverb

Listen to your vocal (with reverb) in solo and dial-in a cool, vibe reverb that has a relatively short decay and 0-2 reflections (feedback). In solo, the reverb should be plenty audible. Then take those faders out of solo and while listening to the whole mix, adjust the amount of vocal reverb to the point just below where you can detect it. By setting it to where you can't hear it but it's definitely there, you're using the reverb more as glue between the singer and the band than as an obvious effect. This is great for when you want the whole band to sound like they're in the same room without settling for a totally dry, unexciting ambience. Most of the time people think of reverb in terms of extremes: either they like a lot of reverb or none at all. But there's a middle ground that's very useful when you want a natural sounding vocal that's neither too wet nor too dry. Like when you want to process it so it sounds unprocessed.

Final Tip: Listen to your vocal (with reverb) in solo and dial-in a cool, vibe reverb that has a relatively short decay and 0-2 reflections (feedback). In solo, the reverb should be plenty audible. Then take those faders out of solo and while listening to the whole mix, adjust the amount of vocal reverb to the point just below where you can detect it. By setting it to where you can't hear it but it's definitely there, you're using the reverb more as glue between the singer and the band than as an obvious effect. This is great for when you want the whole band to sound like they're in the same room without settling for a totally dry, unexciting ambience.

Marshall JCM 602 (JCM 600) Test

http://www.youtube.com/watch?v=wZ425OT3Ne0&hl=en

Guyatone MC3 Chorus Pedal vs Rocktron DEEP BLUE guitar furnishings pedal audience shootout

Check out www.tunnelvisionmusic.com for lots of these cool pedals and white coil cords! Guyatone Micro Chorus vs the Rocktron Deep Blue Chorus. Both pretty cool warbly pedals...I used a Classic Players Jazzmaster, which I just got that day, and had a tough time playing it...the scale length is strange to get used to....but I'm never one to dump a demo, so I posted it anyway!!



http://www.youtube.com/watch?v=PWzVc1QJuww&hl=en

phaser blues-testing tokai phaser

Me having some fun with my tokai phaser ( 1970 's ). reminds me of a leslie-kinda sound just playing some bluesy licks tip: add " &fmt=18 " at the end of the url, for better quality



http://www.youtube.com/watch?v=IlfK8PiMw5g&hl=en

HAWK Echo Unit HR-12 測試Spring Reverb

測試音源為KAWAI PN80 數位鋼琴,音箱為Marshall 8015 鍵盤音箱(150瓦).鋼琴Attack 的時侯,可能是相機離音箱太近,聲音有點破(Over),但這並不是效果器所產生的,從影片1:25的地方,相機離音箱較遠,鋼琴Attack 就沒有Over.儘管如此,HR-12所製造的"效果" - Reverb 仍是有呈現出來,如果喇叭聽不到請開大聲一些. hk.geocities.com



http://www.youtube.com/watch?v=l0jzGBviK8E&hl=en

Epiphone Elite Sheraton

Slow blues on an Epiphone Elite Sheraton through a 1965 Fender Super Reverb.



http://www.youtube.com/watch?v=nv47e_v6J_o&hl=en

malekko omicron phase

a little demo of the malekko omicron phase. by my friend Igor. hes from Russia.



http://www.youtube.com/watch?v=F9STxvRXfvs&hl=en

GBoogie Jam at St.James Gate in Belmont, Calif , - 9-18-2008

I made up this Boogie Jam in E on the spot tonight. Testing out my new Gretsch Doublecut Electromatic Jet tonight via Fender Super Reverb Amp 9-18-2008



http://www.youtube.com/watch?v=wl8_BJpWZqs&hl=en

newarkwilder's admirable blend empress superdelay cool reverb bjfe analog man mad professor

mike (newarkwilder) gets all beautiful with it on his freshly restored '67 super reverb amp and just a few effects pedals.....



http://www.youtube.com/watch?v=uXZ43fkmQzk&hl=en

beatnik bombers dejected nitro

bluesy,surf,rock from phoenix,Az.



http://www.youtube.com/watch?v=YyQvyOSg8h4&hl=en

Gibson ES-333 ES-335 PU Pat convertet to 1959 Aboriginal

Gibson ES-333 ES-PU pat 335-1959 convertet not the first Black Label t-top. Gregor Hilden is playing with his Kitty Hawk Std Amp



http://www.youtube.com/watch?v=JG4xK3x5rAk&hl=en

Fender Super Reverb Reissue

Trying out the Zoom Q3, a bit dark. Japanese SRV guitar running into my pedalboard and then into Super Reverb Reissue klon centaur at first and then no dirt pedal, then ts808 reissue + klon, and RAT vintage reissue in the end. No excuse for sounding sloppy but I'm just noodling to test the Q3



http://www.youtube.com/watch?v=wKZD-TkoSN0&hl=en

What's So Important About the Guitar Bridge?

As one of the most important aspects of a guitar, the bridge is a device that supports the strings on a guitar. It works by transmitting the vibration of the strings which in turn transfers the sound to the air so that you can hear when a guitar is played. Any instrument that is stringed produces their sound through energy to the strings which sets them into vibratory motion. However, the strings by themselves only produce a weak sound because they only send out a low volume as they vibrate. The strings need the ability for the sound to be transmitted to a larger surface area that then sounds the volume into the air which in turn produces louder sounds. A bridge is how this is done.

The positioning of the bridge is of the utmost importance. Typically it is placed perpendicular to the strings and larger surface. The tension of the strings pushes down on the bridge and therefore the larger surface underneath it. The surface is usually coupled to a sound chamber such as an enclosure like the body of the guitar. This works to assist in the sound amplification. The bridge can be made of wood as the top plate of the guitar or in other instruments it can be made of plastic, metal or even calfskin. Any material that vibrates with the strings can be used.

Bridges are usually made of a single piece of material that fits between the strings and the surface but in some cases the bridge can consist of multiple parts. One common bridge that can be found is one that incorporates a separate bearing surface which the strings rest on called a saddle. The saddle is usually made of a material harder than the bridge itself such as ivory, metal or bone. A classical style guitar uses a saddle that sits very loosely in the bridge and is only kept there by the tension in the strings. The saddle then has shallow grooves in it to prevent the treble strings from moving during playing.

Electric guitars in particular have two main groups of bridges. There is the tremolo and the non-tremolo, sometimes called the hardtail. The tremolo bridges have an arm sometimes called the whammy bar, which extends from below the securing point of the string. It works by acting as a lever that the player can pull or push to change up the tension in the strings which results in the changing of the pitch. The non-tremolo bridge supplies a secure point for the strings but don't give any real control over the pitch or tension of the strings. There are a small group of tremolo bridges that have an extended tail which gives more reverb in the sound because of the string resonance found behind the bridge. Fender makes a guitar with this longtail called the Fender Jaguar.

All bridges have pros and cons, depending on who is playing it and what style they play, but in general the non-tremolo bridge provides the best tuning stability. It also gives solid contact between the body and strings making it one of the best bridges to have.

Top Hat "Super Fat" Deluxe 1x12" - Fat Sound Guitars

SUBSCRIBE FOR MORE VIDEOS. Top Hat Super Deluxe 1x12" amplifier in Fat Sound Guitars' exclusive "Super Fat" EL34. Celestion G12H30 variant brought to you by Fat Sound Guitars. www.fatsoundguitars.com. A Greg V. Production The stock Fender Nocaster Tele and Gibson Historic SG are direct into the amp, no pedals were used. A small room reverb was added in post production due to close mic' recording in order to help recreate the sound heard in the room while playing the amp live.



http://www.youtube.com/watch?v=pxPClZxGHW8&hl=en

Tyler Grund and amps Dumble inspired home

After a while of tweaking, I finally finished up my home made amplifier. The thing is, it LOOKS like a Fender Vibroverb, but its not. I totally gutted the chassis of the Vibroverb and used the shell to build a dumble/fender/marshall mixed amp circuit. Its not a kit. Even though its based on the dumble circuit, I source the parts, came up with the cicuit, and designed the layout how I wanted it to be. Its been a LOT of fun.Its my first master volume amp that I actually enjoy playing! Speaker is a 15" EVM 15L (tried many others, this one is the best) For an uncompressed Audio version: www.tylergrund.com Hope you dig it.



http://www.youtube.com/watch?v=exbxZbGrVfE&hl=en

Super Reverb a Campi Salentina

Festa della Sinistra giugno 2007



http://www.youtube.com/watch?v=3lbQWVfIMKw&hl=en

Rodgre and the body of Tel-Ray Sound

Roger Lavallee shows the Tel-Ray Body Oil Super sound can echo / vibrato with Tremolo Lounge Recording Studio. www.tremolo.com www.rogerlavallee.com www.curtainsociety.com



http://www.youtube.com/watch?v=82N-F2NOxKk&hl=en

2009 11 07 17 40 45 610

More Improv same setting, same session!



http://www.youtube.com/watch?v=A0OMcjnJ_hg&hl=en

Couldn't Stand the Weather - SRV

Cover with a backing track



http://www.youtube.com/watch?v=YaYsM23UWf0&hl=en

Folsom Prison Blues Live - Full lesson

At least I think it's a lesson ... It shows the progress of Luther and I, Tabs, and I along with the fingering for the record. Please note that I did take guitar Luther pan and put me there. If you can not see the cards go into full screen mode, it works. One last thing, the video and audio may be out of sync, I had to re-record the video taken after the first part was not bright enough. Please note the line "It was Luther, who I was." was determined not to "bust Luther"(A song I wrote), but to appease all the idiots we are, in fact, to play, I'm not dubbing from Luther or any other person.



http://www.youtube.com/watch?v=YAn57Tvbw8I&hl=en

Fender Stratocaster Classic 50's Amateur position 1

A test of Le petit but dont est de la faire Écouter Player Classic 50's à ceux qui s'en une Offrir voudraient. Voilà the position of channel 1 sur Fender Super Champ XD amp UN clean avec reverb 2 / 3 Les autres vidéos dans du 4-position switch 4 autres ;-)



http://www.youtube.com/watch?v=DGUsK1PILnw&hl=en

How do I buy a guitar amplifier

You can simply go to the store and buy what amp, right? Yes, it could be easier. But without proper information, you may end up making a very costly mistake. So we are in the world of music and how to create a dip more informed buying decision.

Why look at what you find - the right tone. Tone is the combination of guitars, amplifiers and fingers. The amplifier is of fundamental importance because it provides the tools for self-realization.
This isthe first installment of two articles that attempt, you will be in choosing an amplifier. I will focus today on the best players and advanced players in the next installment. First, what kind of music do you play? There are not that many choices, such as guitar amplifiers, but are more or less designed for specific groups of players and / or music. This does not mean that an amplifier is not more things in the world of sound, but they usually shine in only a few areas. Last but not least,PRICE! Some of us can go and buy one, what our heart desires, but for most of us plays an important role in price in the search for tone.

Although I would like to know as a beginning guitar player, you do not go and buy that massive Mesa or Marshall stack or even a 2 x 12 "combo amp. You start with something basic. A small practice amp with an 8", 10 "or 12 "speakers should be sufficient. Channel change is very nice to have. Channel switch lets you switch from dirtClean with a push of a button on the front panel or by a switch on the floor. Reverb and chorus, is a nice option to have. (Do not hold your breath for chorus, though.) These features make it much more fun to play.

I do not want to spend more than $ 300 on an entry-level amp, and this figure should probably end up somewhere between $ 100 and $ 200. I do not recommend the purchase of $ 100. I do not think that all sound so good. has the price under $ 300, not joined tonnethe building, and pipes are hard to find (there are few, but we will not go into here). Decent noise can have, even if his. For most sounds, entry-level amplifiers are buying from the leading manufacturers of large dimensions. I would stay away from tube amps, because they show more errors. This can be very frustrating when just starting. All we need is an amplifier, sound relatively decent and will keep you playing.

As a beginning guitarist, you have to play in the store.Have a certain turnover through amplifiers Guy take his steps. Listen carefully to the amplifier. And 'the sound clear? Where appropriate, as the reverb sound? Lush and warm or Boingy? We want to close as lush and warm as possible. Changing channels? E 'pop when changing channels? What range do the knobs produce? A wide frequency range is cut, what we want here in order to obtain the possible sounds. amplifiers tend to be cheaper only passive toneControls (ie only for low frequencies). The more expensive amplifiers can control the tone sometimes active (ie cutting and increased frequencies is possible). The Peavey 5150 II is. Remember that the sales guy was probably playing with all these amps for 4 hours a day for several years, and he can do much better than they sound, but also knows the amplifiers.

If the feel of playing in the shop, we define some terms that arelabeled on the amp and do the sockets on the front. Some of the amplifiers, the higher end of this category can jack / control on the back. On the amplifier, you will find one or two 1 / 4 "input jacks labeled input. With two boys, are high or low or is labeled 0 dB and-6dB. High/0db Entry for guitars with passive pickups, and low /-6db is for guitars with active pickups, which have a higher output than passive pickups. The one,lower input is padded input bias control, the sound is pretty bad. I discovered that the only difference may vary in volume with transistor amps, but your experience.

Next are the controls. The number of controls may vary from one to twelve years and was never seen again. In general, there is a volume control, bass control, a control center and high control. These are quite understandable. Sometimes the volume control is identified, its contribution to win. The amplifierChannel change, a pre-gain is usually present. Controls the amount of dirt or distortion. If you are lucky to be a reflection that the amplifier will be an amount of control, "echo" heard from zero to complete saturation. With amplifiers, more than this minimum number of controls and channel switching, a separate set of tone controls are usually used for the clean channel, I know you not clean the same settings on your useChannel to use for your distortion channel. With the choir, the frequency and depth controls. Rate is the speed and depth of the effects is the amount of effect you hear.

For power, ten to thirty watts is all that really necessary. Nothing more, and hearing loss, parents, brothers and neighbors become a problem. If the amp has no channel switching, I recommend purchasing the footswitch that goes with it. Thank me. to see manufacturers specifications Peavey,Fender, Marshall, Randall, and Waller (this is a new manufacturer that puts some great sound amplifier). If you get the budgetary effect of a box with the amp, I recommend you do not know, is a distortion. Let the amp do the work. Furthermore, the noise problems usually pop up, especially with transistor amp.

Finally the choice of a starter amp is to have a decent sound, you continue to play when your ego stroked or watch in front of good willYour friends with the latest and best amplifiers on the market. The tone of your favorite guitarist is unnecessary and may even fool. If you spend a lot of money and not keep up with her, you bought your self wearing a very expensive parking. Remember to buy what you want, and listen to your ears!

Fender Stratocaster Classic 50's Amateur Position3

A test of Le petit but dont est de la faire Écouter Player Classic 50's à ceux qui s'en une Offrir voudraient. Voilà the position of the channel 3 sur UN Fender Super Champ XD amp clean avec reverb 2 / 3 Les autres vidéos dans du 4-position switch 4 autres ;-)



http://www.youtube.com/watch?v=oRSJVwehaOY&hl=en

A small country with a 51 Fender Super Reverb and pickin Nocaster BF

Only a small country pickin a BT from a brother created the LPF. Excuse me tryin mussels and seafood inhabitants of this weak attempt at 'something Down Home Chickin' Pickin '. How the hell is Nashville guys do?



http://www.youtube.com/watch?v=Fwzg4RlA2fg&hl=en

1959 Gibson ES-355 with the addition of Fender Vibrolux Reverb Okko Diablo Part1

www.gregorhilden.de 1959 Gibson ES-355 with Fender Vibrolux Reverb Okko more Diablo (Diablo 4-Channel - Custom Order) more Akai Headrush Delay



http://www.youtube.com/watch?v=07Nno7ZzLp0&hl=en

Rich Cohen

Rich Cohen also plays the blues guitar deep



http://www.youtube.com/watch?v=Vl28N_hfADk&hl=en

The Smiths - Girl [Afraid HD]

The most important pieces for guitar "Girl Afraid" by The Smiths. Performed by Mark Paterson. Guitar: 2008 Fender American Standard Stratocaster Amps: Roland JC-120, Fender Deluxe Reverb. Effects: Roland JC Chorus, MXR Super Comp Compressor. Tuning: Standard tuning. Chapter 2 of the Covenant.



http://www.youtube.com/watch?v=4nI1fL4podo&hl=en

Martin's song (Selmer tube amp + reverb + Gretsch guitar bounce)

Selmer tube amp + spring reverb + Gretsch guitar



http://www.youtube.com/watch?v=8c4hEfwhxKM&hl=en

Crate best club 30 with modded Xavière XV-700 Funk / Fusion

I play my crate vintage club 30 with modded pipe tungsol 4 JJ 12AX7 and 4 EL84 same speakers! Played with my modded modded Xavière XV-700 guitar and friend fetish and retail musician! Done yourself! GraphTech TUSQ deluxe black or 1 / 4 of the mother, locomotives and Wilkerson ez roller bearing bridge, 2 alpha 500k mark moves to push the volume position, just 2 extra GFS Loudmouth! The drums were thrown my cheap Yamaha keyboard as a stereo signal mixer fx65 miced Crete! Reverb, just enjoyThey show people out there, as it looks funky!



http://www.youtube.com/watch?v=W9GW0ih_Ysw&hl=en

Papa George-Tommy Emmanuel

Learnt this song yesterday, no cards, so it will not be 100% perfect. :-) Things are smooth, but here is a first attempt ;-) Tip: Add fmt "& = 18" (without ") at the end of the YouTube link for HD quality. This works for all YouTube videos.



http://www.youtube.com/watch?v=g1fLSFuGjvA&hl=en

corrugated sliding harmonics. Derek Trucks style.

Derek Trucks slideing harmonic style.



http://www.youtube.com/watch?v=ynBeoWZcGZk&hl=en

Review of the Rivera Knucklehead guitar amplifier

Not surprisingly, it is by a guy named Paul Rivera Rivera heard. I think it's a little 'surprising that his name is Paul, but that was it. While I hate to spread rumors about facts, I do not know, this press release, namely that the press is all about. The voice on the street is that Paul Rivera has worked for Fender and Marshall amp for the annual change for the rock star who could afford to change them. If this is true, it will explain much about theRivera Knucklehead.

The Rivera Knucklehead is a 100 watt all tube, 2 - channel guitar head. Each channel has a gain. Both channel change and increases in profit are controlled by the pedal. As with any 100 watt head, this thing is proudly aloud. It includes an effects loop with input and output control for the effects and so on. The Knucklehead uses 5 12AX7 preamp tubes and 4 EL 34 power tubes. Each channel has tone controls and a greater focus andPresence control are global, that affect both channels. It would have been nice to have, Rivera has a spring reverb on. This is the only missing feature.

American Channel (Clean Channel)
First, I must say that is not the clean channel so much as a clean channel, absolutely. It's more like a channel of Fender. I mean, if you crank the gain on the clean channel, it will sound very distorted distorted so that a Fender.This sound is not to be what you want for metals in many cases, even if he can pull an Iron Maiden type sound. Turn the "Ninja Boost" and supports the gain you back in the fender. It is not an exact replica of the Fender sound, absolutely. The tubes are not used normally found in Fenders and even if you had the tubes themselves, the sound is very different from the Fender amp to amp. Have enormous potential in your tone. ISeriously awful! You have the typical low, medium and high. Pulling the pot high for the "Bright Boost" and pull out when you take the middle, take the "Mid Scoop". The tone controls are the most vulnerable I've ever seen on a guitar amplifier. Indeed, the tone knobs to be sensitive.

Connect offers a start or tele tone that bargain. It is basically a Fender amplifier. Connecting a Les Paul or PRS is a different ball game. The tones are absurdon this channel. You should be able to get anything you want from this side fender expected, a Fender. This amp is very sensitive to different guitars and sounds more dramatic change Than other amps.

Distortion channel (Channel Marshall)
Well, I called this side of the channel amplifier Marshall. The sound is not exactly a Marshall. I have a Marshall Super Lead 1971. And 'the sound is a bit' different from what you hear inRivera. I would not say that the tone is necessarily better or worse, but different. If you get this caliber of guitar amplifiers are all good, it's just a matter of preference.

The distortion channel has a gain boost, low, medium and high. Again, these tone controls are sensitive as you will ever find in a guitar amplifier. It's stupid how much control you have over your tone. This amplifier has gain a lot if you want to win too. With a Les Paul, I do not think I have broughtthe gain past 12 watch, ever. It is incredible how different sounds this amp, if you take the half and then in 0 to 10 bar. There is a difference like night and day.
With the gain boost off, this thing feels like a good medium-low gain amplifiers distorted. As I said, choosing the right guitar and sound settings can be time consuming, but always what you want is a possibility. It is worth to try this amp with all the guitars. There will be some which are obviously more shinethan others. In this setting, there is absolutely no problem pulling out sounds like AC / DC and 70 other sounds. I would probably go first with my 1971 Superlead for this application, but only because the difference in sound, but I was a guitarist in search of that sound very happy, but to do so.

If you take the pressure gain, this thing is far from dead. I'm talking about death metal death, if this is what you are looking for. In my opinion, to raise the gain to a stupid amount of cranksDepth and height and digging all the centers is grossly exaggerated. I would say it is unusable. The child on the street can all love him, though. I guess the great thing about this amp. You can choose the sound too thin or too fat .... too light or too boring to do. Is the game, guitar, and sound settings.

With the push on and gain all the settings to 7, this amplifier is a car full blown rock sound of this amp are staggering. Here you will find a soundas. It just takes time to find the perfect combination. This requires more than a Marshall. Sometimes half of 5 is too much when the bass is 6 but the lower depths of up to 5 may take a little 'more than the average, for example. I say that the tone controls are highly interdependent.

This amplifier would always live in my first choice. It is a mammoth sound when I want and gives me 4 sounds great with the pedal. Going from dirty MEGA GAINcleaned only a step away. Moving from a fairly clean low distortion gain is just a click away. I guess that's one of the best live-amps you can buy.

In the studio .... Well, this whole thing on almost every project that I used to do. I have a project that has not worked well on getting. I have included country, rock and death metal with this amp and every one of them was very satisfied.

Finally, I would not change anything about Rivera. It is worth everyPenny.

Suhr Badger 18 Watt / Gibson Les Paul / T-Rex Reverb

Taken with flipvideo Cam @ very low volume. Connected directly to the head and 18wt Suhr 1x12 bottom with a 50 Watt Celestion Gold and a roommate of T-Rex reverb effects loop loaded. re cs 1957 Gibson Les Paul Blackbird w / Burstbucker 1 & 2



http://www.youtube.com/watch?v=ryqJgDunOXs&hl=en

9 tips on rocking electric guitar

So you received your first e-guitar, and you're going to think a rock star. Have you worked on your skills, and want to start wowing the girls. Here is a list of nine tips will help you keep dancing in the free world:

1st Keep fresh strings - the strings of the guitar lose some 'of its luster, metallic sound, and can over time. A good rule is to change every 3 months or so.

Get a 2nd tuner - There's nothing worse than to hear some aspirantsBang by Clapton "Cocaine" on a detuned guitar. While you should develop your ear, you want to bet also that electric voted.

3rd Do not be afraid to play loud - you have the ability. Now listen, you let your neighbors. If you want to play with the big boys, you have this confidence. Nothing helps more that the opportunity to hear what you play. If you keep quiet, he would have bought an acoustic guitar anyway.

Get a 4th effects pedal - If you wantas Guns N Roses', Green Day and The Red Hot Chili Peppers sound, you will need an effects pedal. Whether you want reverb, chorus, echo, distortion, or other sounds, you can not get it without a pedal or an amp special. The pedals are cheaper.

5th Stretch your fingers - Many aspiring guitarists do not realize how important a sound stretching routine. Stretching loosens the muscles in the motor skills involved in electric guitar, and allows muscle faster memoryRetention. It also increases the dexterity and reduce fatigue.

6 Know your keyboard - Most electric guitars have six strings, with about 21 bridges. That makes for about 126 notes. This makes a ton of diversity observed in selection. The knowledge of the board, you can quickly learn the guitar, play, and dominance.

7th Learning and practicing scales - the cornerstone of any good electric guitar is often controlling the balance. Work on these exercises will help increase speed, agility, muscleMemory, strength, and you would be surprised how many riffs are only appropriate scales.

8th Slow speed - a rock can sometimes be difficult to learn at full speed. If you have difficulty, slow down a cliff in a rocking chair, often accelerate the speed at which to learn.

9th Active listening - not too many new guitarists realize the importance of a decent ear. The tonal quality of a guitar has a huge impact on overall performance. Knowing when youtune is good, and so is knowing what your sound structures common agreement, so be sure to work on this ear.

To improve your guitar skills, be sure to implement the nine recommendations set out above, such as learning to play the electric guitar.

Super Champ XD finger

Clean channel with a little reverb '



http://www.youtube.com/watch?v=4ksgFAa4kV8&hl=en

1966 Fender amp cool reverb3 4 09 007

Sorry for the crappy video, I had to use my old car, which not only video of 10 seconds, the sound is quite good, but



http://www.youtube.com/watch?v=TX5pTTlREcE&hl=en

BJF pedals, A / B with Roland JC-120 vs. top 67 Super Reverb activated

George Scholz suggest some A / B test, the pedals with the Roland JC-120 amp, to see how they sounded in comparison with the year of birth 67 Super Reverb. The pedals came in with bright colors and through the amps! You should never Shoegazer Dig the demo at the end of the video clip!



http://www.youtube.com/watch?v=cxeqjdmLtd8&hl=en

When The Music's Over (Doors) Vox Continental & Fender Bass

Dedicated to the serenity PAPLOOO Picure PEACEFROG35 Entity is not (with the right tools: but u will never be able to play on it it hahaha), which is great for everyone ....... fucking outstanding performance, put the losers in their place .... This time there is an echo of the track down, you can listen and record, not by me, and this time the organ is located just in front of ur. But just so no one thinks the mime to the reef record IVE another body at the end of proving theto play what you feel. The course is worth the admission alone, still the largest ever opening BODY RIFF and the only person alive who can do the same .... Ray Manzarek This stuff is very tight, and the song that I started playing, I was interested, so my absolute pleasure, really fucking nail once and for all. Oh and its true Dedicated To ... Ray Manzarek, if watching your man, it was for you! Greet the champions! not bad"Imitation": P



http://www.youtube.com/watch?v=Z7bVkWBJZUk&hl=en

How to get a sound of jazz guitar

The word often reminds Dark Light Smokey Jazz Club with musicians improvise masterfully against seemingly complex chord progressions. With a passionate - if that can jazz sound is a complex process - in this article we will talk about what you need at a great acoustic jazz guitarist.

A Jazz Guitar

Is the right guitar for a jazz sound expensive. Jazz masters such as Wes Montgomery and Joe Pass played Gibson expensive seeds, but thisDay, there are a number of entry-level guitars, which are suitable for the generation of a jazz sound.

For an authentic jazz sound, you should be a semi-acoustic hollow body electric guitar. Models such as the Gibson ES-175 or the Gretch Tennessean can run in thousands of dollars, but there are also excellent entry models like Ibanez Artcore line of guitars. Guitar manufacturers such as Yamaha or Guild also semi-335 entry-model noise similar to the more expensive Gibson There aremany Hollowbody Epiphone Guitars will also be appropriate and stable coming out of Gibson. Discover your music store and try to understand what they're playing for something that is easy to find and create a strong accent clean with lots of support.

Hollow body guitars provide adequate Mellow Tone and most are with two humbuckers so you can vary the sound to be properly equipped. Most of the guitars are equipped with sound system. Practice rolling the trebleThe sound and experimentation - jazz guitarists often play with a triple less useful because they provide a rich sweet resonance, which is suitable for the style of product.

A jazz-guitar-amplifier

Although one could say that there is "no jazz amp, there are a number of considerations for choosing a jazz guitar amp.
First, it is important to determine how to play and sound that you want to achieve. The creation of traditional jazz guitarists often choose amplifiers that can beclean sound, acoustic archtop guitars compliment. The sound solid-state amplifiers produce sound nice and clean. For a somewhat distorted a tube amp may be more applicable. There are many popular amplifiers, used by jazz guitarists, for example - the trial of a Fender Pro or a Polytone
Another requirement of the board, these effects can be simple to reverberation of a range of overdrive channel - even the style of its attempt to blockachieve.

Effects

Traditional jazz can be just a hint of reverb delay, but many modern jazz guitarists for a number of effects of chorus, overdrive al. There are many effects of the individual units effects of ground available for complex digital "modeling" devices like the Line 6 Pod. Be sure to choose the effects that compliment your style of play and maintain clear that "in your tone. Too many effects that often sound muddy and not produceSound quality.

Conclusion

In summary, there are primarily 3 things you should consider when trying to get a jazz sound. Ultimately, you should also listen to a wide range of jazz greats - listen carefully to their sounds and groped to emulate them. Ultimately, if you've done a couple of times it starts to melt and begin to develop your own sound, the sound just as brilliant!

What kind of PA system should I use my band?

There comes a time in the life of every band, if someone really wants them to play somewhere. (To be somewhere that is not the drummers basement, I do. Mean) So far, the singer was using a microphone plugged into the keyboard amp, but that would be enough if we (play in a restaurant or a barn or a patio)? The truth dawns: we need a PA system for vocals. But what is it?

There are several factors you must consider and have a number of traps to avoid.I'm here for the highlights, in which the most important decisions that need you and your band to be the right system for your hard-earned money. Since I only had a long time with a couple of these systems, I do not recommend specific brands or models. But I'll give you some points to consider its way through the available systems.

1. Powered mixer or individual components?

The first thing to decide if an all-in-one PA useSystem or separate components. An all-in-one, also known as "Power Mixer", contains a mixer (usually 8 channels), a power amplifier (two channels for main and monitor), speakers, and maybe some basic effects like reverb and delays.

If this is your very first band PA system, do this type of unit, especially if you do not have a healthy person for your band. An all-in-one unit is easy to install and requires only power supply, microphone and speaker portsand is ready! You can get them at the side of the stage and monitor, with easy access to controls, including levels important.

A separate component system with mixer, power amplifier and effects devices set up requires more time and get to go to a concert, even if it provides more flexibility. If you are someone who organize and manage the PA for you, a component could operate the system. Otherwise I would keep it simple and with the all-in-one go.

2. Asmuch more power?

The level of power you need from the PA system depends on the size of the places await, as well as the type of music you play, the game. (An acoustic band without drums PA consumes less energy than a head-banging metal suit.) Another consideration is whether one thinks only in singing, singing or instruments, more determined to run through the PA. To multiply by putting down (a little ') on stage PA amp really eat power!

The fact is thatshould purchase the system for maximum power you can absolutely afford. You are only required to guarantee more power than you think. Then throw in the fact also that the services for these marketing systems as two-digit years as the number of engineering are often misleading and ... Conclusion: I have never heard of a retrospective of the band and say they wish they had bought a small PA system!

3. How many speakers?

I would recommend two speakers and two monitorsSpeakers. Even in a small town, you really need the left and right main speakers distributed sound properly balanced throughout the room. (When I say left and right, I'm not talking about a stereo setup - the signal in both speakers.) With two speakers, you reduce the number of listeners who are closer to the finale as PA speakers are, and therefore can not at listen to the song.

One might be tempted to skimp on the monitor and speakers do with one. This may be fine, if onlya singer, instrumentalist, but also to listen to themselves and other players to enjoy properly. After two monitor speakers so that everyone should be somewhere near at least one of them!

4. What about microphones and other accessories?

If you do not have anything else at hand, I would choose a faithful Shure SM58 for any singer. Probably do not need Mike on drums. In fact, you should avoid, with microphones for something different to sing, ifpossible, since every scream from the stage microphone feedback breathtaking on us!

When you run the tools for the PA, the use of direct field of view between the different instruments - guitar, bass, keyboard - and its amplifier stage, a part of the signal to the PA. If there is an acoustic guitar, you use the signal from the pick-up, instead of acceptance. If you do not have a built-in pick-up, which also have an add-on type, though the attempt may have the sound quality is required. FortunatelyAcoustic seems that most are equipped with pickups in those days.

It is also necessary cables for microphones, monitors, main power cable, and possibly a snake (a multi-core cable allows you to eight or more signals between the stage and the PA mixer running).

9 Rocking Tips for How to Play the Electric Guitar

So you have your first electric guitar, and he always thinks of a rock star. Worked on your skills, and want to start wowing the girls. Here is a list of nine tips to help you keep rocking in the free world:

1. Keep fresh strings - the strings of the guitar lose some of their luster, and may, in the metallic sound of the time. A good rule is, that change every 3 months or so.

2. Get a tuner - There's nothing worse than listening to some wannabe --Blast from Clapton "Cocaine" on a detuned guitar. As you develop your ear, it is necessary that wants to preserve power law.

3. Do not be afraid of playing too strong - has the skills. Now you can hear your neighbors. If you want to play with the big boys, you've got to build trust. Nothing helps that more than a chance to hear what you play. If you want peace, you bought an acoustic guitar, though.

4. Achieve an effect pedal - If you wantsound like Guns N 'Roses, Green Day and The Red Hot Chili Peppers are, you need an effects pedal. If you want reverb, chorus, echo, distortion, or other sounds, you can not do it without a pedal, or a special purpose. The pedals are cheaper.

5. Extend your fingers - Many aspiring guitarists do not know how important a sound stretching routine. Stretching loosens the muscles in fine motor play the electric guitar are involved, and allows for muscle memory fasterRetention. It also increases the dexterity and reduce fatigue.

6. Know your keyboard - Most electric guitars have six strings, with about 21 keys. This means that about 126 notes. This makes a ton of diversity observed in the selection. Knowledge of the executive committee can learn the speed of your guitar, play, and craftsmanship.

7. Learning and practicing scales - The cornerstone of any good electric guitar player is often the control of balance. Work on these exercises will help increase agility, muscle --Memory, concentration, and you'll be surprised how many riffs are only appropriate scale.

8. Slow down to speed - a rock can sometimes be difficult to learn at full speed. If you have problems with a riff rocker and can slow down the speed too much, how quickly you learn it.

9. Active listening - Many new guitarists do not understand the importance of a decent ear. The quality of the sound of a guitar has a huge impact on overall performance. Knowing whenbit 'of humor is helpful, and so is knowing what your agreement of joint structures, such as clay, to be sure that the ear to work.

To improve your guitar, you should implement the above nine tips for learning to play the electric guitar.

How to Buy a Pawn Shop Guitar The experiment safely

And 'something pawnshops. In fact, some people recorded whole albums about them. As a man, I think it's the smell. Really. A taste of the next time you walk past a pawn shop, and walking into a large one. And 'the scent of a potential tear opportunity. Pawn shop hunting is the hunting modern civilization.

In a recent hunting trip I could trap a PRS SE Single Cut Soap Model. This is an SE, so that a Korean model. I have listed on line andabout 700 kg, is still a bargain.

Basically I was looking for a cheap guitar, leaving the farmers, because I only have one case in these days, and when I went I saw in the window. I went home, asked the better half if I have the number seven guitars and she said okay, because she knows how much I want a PRS, and [suck mode] because she is the most beautiful person in the word [/ mode next] .

I returned to the pawnshop, and asked for a game. It 'was terrible.Absolutely unplayable. He said he was there for a while 'and it was because, for some reason you can not reduce your own. All the problem was that WAAAYYY the low side of the bridge was too low. I pulled out a dime, four corners of the pin bridge, bingo, perfect playability.

Yes, the sound system will probably be replaced, but great clamor. It looks nice, with strings dead. I myself have put a case for 0 €. Bargain and a half.

Asmuch, I felt that I ask everyone.

$ 499 Australian dollars. Go do the math! I can not wait to finish the purchase of this in the coming weeks and will be wild. Seems to be just that every guitar I want to fall in front of me. I have a couple of months ago I was really a beginning SSS. Then I get a call from someone I've never seen in two years, offered me his guitar partner who is not playing. It was a beginning SSS. $ 100 later, and that was me. Now I have the PRS, I've been missing forYears.

So here are my rules for Guitaring pawn shop.

1. Never impulse buy
You see something you want, not only for accessing and running (unless you think you can not path) of being caught. Playing the guitar for a while '. Put down and come in the next few days. See if it is still the same opinion and has the same appeal as the first reaction. The last thing you want to do is make a guitar, loved to buy at this moment only to resume the same pawn shop a fewWeeks later.

2. Have a goal
This follows from a number of tip. They have a goal, what kind of guitar for you. By this I mean, you should have a clear definition of what you want to buy. This avoids the impulse to buy, and you concentrate so as not to detract from all the brilliant things in the store. Going back to my PRS, for example, I searched for a nice guitar with a pickup style soap now to complete my collection. I was not necessarily after a PRS,But this is like a huge bonus entry. E 'was the only guitar that features that I had, after, and as such has been the only guitar I have collected and tested. Let need a guitar, is not, unless it is obviously something special.

3. Play with the controls and the expertise of a guitar
Those with the guitar devil dirt. Turn all the knobs, waggle the lead, and flick the switches. Make sure all work, and if they have a vague idea when you solve the problem or whatyou can taste. Not want to spend $ 100 for a guitar and then make up to $ 300 worth of work. SPE "clay pot bust, and I can fix most probable that I, and even worse, I'm not a person to solve the problem for a couple of beers. You must know a little 'of creating guitars. The PRS is another good example. The ropes were too low, and to have them on my neck, I could say that the problem was the high bridge. The simple things you can do a deal. This guitar wasignore my goodness knows how many people before me, they do not know how to resolve the issue. A bit 'of knowledge is your friend here.

4. Try different amplifiers
This is very important. The person who is the pawn shop is always linked in a small Fender combo and crank the reverb. I really think that these small combos have been designed by Fender, the pawn shop exclusively for industry, because they make every guitar sound great. Sotry the guitar with that crappy 15W no name amp too. Will give you an idea much better with the sound true.

5. Do not pay for the case
From my experience, the person, the peasants of every decent guitar that is coming true in one case and the case is probably caused by the back door of the shop. Ask appropriate, ask if it is included in the price, and if not, why not. 75% are found free in the case received heavy discount of 20%, and the remaining 5% is from Gostore. Male wanting to sell just like buying a guitar, so they can hunt you want.

Well, I have a couple of weeks until I have my beauty pawnshop again. I will ensure that you understand how they settled in.

Tightrope (SRV tent of No Slack)

Beautiful, soul, funky blues of Stevie Ray Vaughan blues mister Dutch Explotion Education, No Slack. Photo taken by Lucy van der Sluis, a photographer of the Netherlands in the Great Smoky Mountains.



http://www.youtube.com/watch?v=N2huF3KlkRk&hl=en

'64 AND '62 Super Reverb Stratocaster.1

This is Super Reverb '64 and '62 Stratocaster without pedal Mike san Thank you! I'm so happy man! The tubes are Sovtek 12AT7 GE 12AX7 Sovtek 6L6



http://www.youtube.com/watch?v=6nsxETvXQ0A&hl=en

FENDER BLENDER (2 / 2)

70 Blender Fender Stratocaster original Suhr, Fender Twin Reverb



http://www.youtube.com/watch?v=7XZylNRR8iI&hl=en

A closer look at Fender guitar amplifier

When shopping for an amplifier, will sound quality and a well-known name, you should first look at Fender guitar amplifiers. Be sure to visit your authorized dealer so they can send all the questions in advance in this way, colleague and give him the opportunity to respond to howl.

The most popular Fender guitar amplifiers are those that have been made in the 50s, the "black box" with a gray mesh front grill is a staple food in amplifier identifiable. TheSound that comes out of this is unmistakable. If you want the sound of the pipe or the clean sound, reverb Fender is famous for the home, studio or performance for professional use. It might seem old school, but a final classic never goes out of fashion, no matter what kind of music is played through them.

The most recent to Fender, the series Hot Rod has changed the colors, and churn out 15 watts, are all tubular and weighs 31 pounds.They are fairly easy to obtain from concert to concert, and robust enough traffic on a foot switch to use an option. If you have a different color other than black or tweed, you can use the Fender Frontman, red and goes well with a red Fender Stratocaster.

One of the most important aspects of Fender amplifiers, power depends on how you want to use and what kind of music you are playing. Some amplifiers are designed for a vintage guitarwith a foot pedal. Some of the latest amplifiers are the inputs for drum machine and outputs for audio. Controls and input jacks help to Fender as a musician ready as possible.

Since the Fender amps are the most popular on the market, who have played more. There are many famous names associated with them, and if you search the list for at least a few guitarists that you admire, who play a Fender amp. CleaningChannel standard controls, volume, treble and bass. Channel disk gives you the freedom to create a signature sound all their own.

Since the music is constantly evolving, the demand for greater innovation by Fender guitar amplifier significantly. Celestion, chorus, vibrato and delay effects, and for visitors looking for a more aggressive sound, what they're looking for with Fender. If you have a Fender amp under your boat, while on stage the audience knows,It is dirty business.

Amplifiers, as well as your instrument of accompaniment. This stylish hard look Fender, so you know what you want from the guitar and are willing to share a sound with others. Distortion is one of her most popular guitarists who want their amplifiers. Mudguards distortion and has many useful if you want to play classic rock or blues is a Fender guitar amplifier is a two-stroke is necessary.

Forto those who add a little fender 'more in their day, wants to invest in an amp head. This addition is sitting on your Fender amp has 40 watts of power. Has the familiar silver and black for the grid and has more similar delay, mix, repeat, and choir. You can use the depth of time and switch between two channels, clean and drive. This is half as heavy as standard Fender guitar amplifier and is therefore easy to carry, if you need to study Working with colleagues or you want to jam. It 'also known as a stomp box.

Another thing to consider is the price that most musicians see my Fender guitar amplifier as an investment in their musical career. Even if you never on the head, because you want to play a show with friends, choosing the appropriate amplifier you buy says a lot about who you are. Everyone who starts playing the guitar at the basic level, when you get better you want to be better equipped to find themselves, can find a beginner> Amplifiers Fender breaking a big advantage, without the bank. Similarly, experienced professionals will find Fender guitar amplifier, that their courage even more urgent.

For the beginning guitarist, Fender has a lot of guitar and amp combo will help you play while getting the best sound possible. If you want a Fender guitar to a qualified dealer about your situation. They offer extrasuch as headsets, cords, instrument cables, all you need to get a new player and make themselves feel accepted.

By the strong, proud, short and sweet, can not beat guitar amps Fender. If you are planning a trip and listen to the same 500 songs back onto your MP3 player and you're afraid of the unit, grab a mini amplifier Fender Deluxe. E 'with 1 watt and a headphone jack you can play the guitar until the 9 volt batterydrained. It would be a great gift to yourself or someone you know who plays the guitar all the time, even in the car.

Some Fender is made for certain types of music. If you play the blues, you might want to consider a Hot Rod Blues Junior. This little amp has 15 watts of power and is the coveted "fat" switch to give you a tone of great blues. Its warm sound comes from two tubes of groove, this is a pedal that allows you to stay away when it's time toYou know your talent.

Hot Rod Series allows more choice in color. Black, white blonde, surf, red, green and Texas are some of the colors. Plug-in and you can see, if not turn some heads. Fender guitar amplifiers are so many ways can be difficult to make a decision. If you are Deluxe, the mini-double or just a junior Fender amp has it all.

Electric guitar lessons for beginners - you buy your first electric guitar amplifier

Electric guitar amplifiers are available in many sizes, performance, features and prices. They are much cheaper and of better quality than before, because it controls the transistor and computer technologies, better treatment and faster sound effects and sound and different innumerable. Common guitar effects including reverb, distortion and overdrive are now built this guitar amplifiers. There are also amplifiers, playing guitar tuner, like drum samples,Metronomes, and various add-ons.

For the first time, guitarists can have a good practice amp for less than $ 100, powerful enough to fill a room. These types of amplifiers do little more than the increase in volume and allow the bass, treble controls and MID sounds. Most of these types of amplifiers, including the effects of base, such as distortion and overdrive. Extensive features and units can usually drive the cost of the guitar and professional reasons can cost up to several thousand dollars.
A common choice forNovice guitarist is a basic 15 watt amp, fill a small amplifier, a space, but not strong enough to be a full sound that people wow. Are practicing in the bedroom, but not suited to playing in a studio or in combination with a full band live. The sound that comes from the small amp like this can be stifled by a strong drumming.

Not all 15-watt amplifiers are the same, but. Some have a better tone and sound quality than others and are therefore more expensive. OneExample is the Fender Pro Junior, which extends the end of the beginner. While there is no reverb or EQ is high quality sound that can be used in a full band setup. The trick is that it is less than $ 400 and maybe a little 'too expensive for the beginning guitarist.

In the end, choosing the right amplifier is preferred is a matter of economics. Some hotter than others (tube amps, for example, that a vintage sound) for the production, while others sound bright and clean.Depending on the type of music you want to play, then you can base your decision to buy the type of amplifier. Some are better for jazz and blues playing, while others are great for metal or stone. When shopping for an amp, go to a music store for guitar and try to see themselves as different amps for different sounds at relatively the same settings. A minimum of a few, you should see how a clean channel and overdrive, 3 band equalizer (low, medium, high), Hall, andMonitoring attendance.

Keeping above points in mind will help you when buying your first amp.

Play Creedence Songs On Guitar

Anyone who has bought an "easy-play" guitar book and tried to
play a Creedence song on guitar will know the frustration and
disappointment as the sound of the first wrong chord echoes
across their practice room.

The problem is Creedence songs seem easy to play (that's why they
turn up in so many beginners guitar books), however like every
thing, there is a trick to getting something so simple to sound
like the recorded version.

John Fogerty is the lead guitarist and songwriter behind the
popular Creedence songs. John is a master of understatement on
guitar who understands that true technique is the ability to be
able to create a simple memorable musical phrase (guitarist's
often call these phrases riffs) that people can immediately
identify with a particular song. Guitarist's often call these
phrases riffs.

Within the first three seconds of any Creedence song you can tell
which song you are listening to. These guitar riff's are like
musical "number plates" that help the audience identify the song
... and they work!

Listen to the first five notes of "Down On The Corner", the riff
un mistakenly belongs to that song. Whereas a guitarist of lesser
caliber than John Fogerty could waffle on with dozens of notes
that would have little impact on the listener.

John is also the master of the basic three minute radio song.
Most Creedence songs range between three to four minutes in
duration which is ideal for radio airplay. Three minute songs
are the favorite length for radio stations as they allow for the
maximum number of advertisement slots per hour that can be sold
thereby creating the most revenue for the radio station and of
course the more radio friendly the song is the more likelihood of
the song getting played on air.

The first issue when playing Creedence songs on guitar is how to
get that Creedence sound. The chord progressions look simple, why
don't they sound like the record?

There's two main reasons why most guitarists don't get that
Creedence sound on their guitar: (a) Most Creedence songs in the
"easy play" style books are written in a different key than the
recorded version. (b) for certain songs John Fogerty uses a
guitar that is tuned differently than standard tuning.

Standard guitar tuning is:

6th string = E,

5th string = A,

4th string = D,

3rd string = G,

2nd string = B,

1st string = E

John Fogerty's guitar tuning for songs such as "I Heard It
Through The Grapevine", "Run Through The Jungle", "Midnight
Special" etc., is:

6th string = D,

5th string = G,

4th string = C,

3rd string = F,

2nd string = A,

1st string = D,

Basically it's your standard guitar tuning a whole step lower
(two frets), this creates a big, rich, dark guitar sound and also
makes the strings easier to bend because there is less tension on
the strings.

Another tip for playing Creedence songs on the guitar is to use
an effect called "tremolo", you can hear great example of what
the tremolo effect sounds like if you listen to the first chord
of midnight special.

Tremolo is an electronic effect that was standard on many
amplifiers built in the 70's amps such as the Fender Twin reverb
and Kustom amps had two controls in the tremolo section of the
amp.

One control was "depth", which was the amount of the effect you
could mix with your original sound. The other control was "rate"
which was used to control the speed or rate of repeats of the
effect per minute.

When you play Creedence songs on the guitar keep this in mind
some songs are standard tuning and other songs use the whole step
down tuning.

Jazz Guitars - 5 Guitars for a abundant Jazz Tone

As a musical genre traditional Jazz requires a fairly specific Guitar sound - generally this has involved a very clean dry tone - with little to no effects (perhaps only a hint of reverb) - usually the neck pickup is used with the resultant sound required to be clear enough to pickup the subtle nuances and articulation of the playing.

Jazz Guitarists therefore need to carefully consider their Guitar when setting out - luckily Jazz has been around for many years and there is a wide selection of instruments available. Traditionally Jazz Guitars are hollow body semi acoustics (though not always) and these have tended to favor P90 or Humbucker style pickups to produce the required sound - as stated there are many guitars on the market today - but here we list 5 classic Jazz guitars that helped shape the scene.

1 Gibson ES150

Made famous to the jazz community by Charlie Christian the ES 150 became his guitar. The ES150 became one of the world's first commercially available electric guitars. With its single coil pickup fitted at the neck and its acoustic shaped body with f holes - the 150 has that sweet warm jazz tone that became a world favorite.

2 Gibson L5

Another of Gibson's Jazz power trio (the others are the ES150 and the ES175) - the L5 features a large resonant body. With a history that goes back nearly 90 years the L5 has changed a little over this time and has featured different pickups (from P90's to Humbuckers). As the prestige rhythm guitar it has been played by a variety of greats including Wes Montgomery.

3 Gibson ES-175

With it's stylish Florentine single cutaway - the ES175 represented a departure for Gibson from their usual design - Debuting in 1949 - the 175 has been associated with a variety of Jazz greats from Herb Ellis to Pat Metheny.

4 Gretsch Country Gentleman/Nashville

While Gretsch are not considered jazz guitars per se - both the Country Gent and the Nashville are able to produce both versatile and authentic jazz tones. Both guitars offer a range of controls for adapting the tone of the guitar and can produce some versatile jazzy results - whilst the FiterTron pickups produce something that's unlike it's Gibson counterparts.

5 Fender Telecaster

With it's sweet and mellow neck pickup tone the telecaster offers something a little different that the usual Jazz fare - Traditionally a country guitar the telecaster has been featured with Jazz artists including Ed Bickert and Mike Stern.

Brands of Guitar Amplifiers

A wide range of instrument amplifiers is now available, some for general purposes and some designed for specific instruments and even for particular sounds. Traditional guitar amplifiers come up with a clean, warm sound, a sharp treble roll off at 5 kHz or less and bass roll off at 60 to100 Hz, often with built in reverb and tremolo units. Bass amplifiers have extended bass response and tone controls optimized for bass guitars (or more rarely, for upright bass).

Higher end bass amplifiers sometimes include compressor or limited features, which help to keep the amplifier from distorting at high volume levels. Keyboard amplifiers have a very low distortion and extended flat frequency response in both directions. Keyboard amplifiers often have a simple onboard mixer, so that keyboardists can control the tone and level of several keyboards. Acoustic amplifiers are designed specifically to produce a clean, transparent, acoustic sound when used with acoustic instruments with built in transducer pickups and microphones.

Some well known brands of guitar amplifiers

While there are almost innumerable manufacturers of guitar amplifiers, we will be discussing the most important brands that have created history in guitar amplification.

Carvin Corporation

The Carvin Corporation is a musical instrument and equipment manufacturer, located in San Diego, California, well known among guitar players for their guitars. Carvin was founded in 1946 by Lowell Kiesel, and originally manufactured guitar pickups. Carvin Corporation manufactures acoustic and electric guitars, bass guitars and accessories, amplifiers, live studio sound equipments, microphones and lighting gears.

Korg Corporation

Korg Corporation is a Japanese multinational corporation that manufactures electronic musical instruments and guitar tuners. The company is one of the most widely used and respected names in the electronic music world. Founded in 1962 in Japan by Tsutomu Kato and Tadashi Osanai, Korg was originally known as Keio Electronic Laboratories because its fledgling offices were located near the Keio train line in Tokyo and Keio can be formed by combining the first letters of Kato and Osanai. Yamaha Corporation has always been a major partner of Korg, supplying them with circuitry and mechanical parts.

Marshall Amplification

Marshall Amplification is a British company which designs and manufactures electric guitar amplifiers. Marshall Amplifiers are well known and highly popular among guitarists. Marshall Amplifiers were originally built as direct copies of Fender amplifiers, but soon incorporated certain traits which made them more favorable to guitarists seeking a heavier sound. Like most professional level amplifiers, Marshall amplifiers still use valve preamp and power amplifier stages instead of solid state devices. Marshall also manufactures cheaper solid-state or hybrid devices.

Vox

Vox is a musical equipment manufacturer, which is most famous for making the AC30 guitar amplifier and the Vox electric organ. Founded in Great Britain, Vox is now owned by the Japanese electronics firm Korg. In 1959, with sales under pressure from the more powerful Fender Twin and from The Shadows, who requested amplifiers with more power, Vox produced what was essentially a double powered AC15 and named it the AC30.

Roland Corporation

Roland Corporation is a Japanese manufacturer of electronic musical instruments, electronic equipment and software. It was founded by Ikutaro Kakehashi in Osaka on April 18, 1972 with 33 million yen in capital. Some of the recent amplifiers from Roland Corporation are Roland SH 201, Roland Juno G, Roland MV 8800 and Roland V Synth GT.

How to Play Country Lead Guitar

In the late nineteen thirties a cowboy musician called Bob Willis introduced the electric guitar to his audiences. Nobody knows whether they noticed this historic innovation but ten years later a whole generation sat up and took notice when Arthur Smith released his recording of "Guitar Boogie". This hit instrumental established the electric guitar as a musical force to be reckoned with. While the world of rock and roll moved to the music of Stratocasters it took a while for country musicians to move from the more restrained tones of the Gretsch archtop to the more "biting" Fender sound.

Many guitarists play their country solos on the Fender Telecaster with a Fender tube "Twin", Super Reverb or Deluxe Reverb amplifier. On the other hand, if they are on a tight budget they have been known to settle for a Peavey tube amp. One piece of equipment you will not need is the whammy bar. It is not used in playing country music.

In contrast to other musical genres that use the electric guitar, country music does not employ a wide variety of electronic effects in guitar solos. Alot of country guitar players use a strictly clean sound, maybe sprucing the music up with a little reverberation. The only effect consistently utilized by country guitar soloists is compression which enforces limits on the sound waves produced by the guitar. This effect enhances the volume of the softer notes, and slightly mutes the louder notes. This makes the overall volume seem more even.

When it comes to technique you can start off as a flatpicker but many country guitar players will use a thumbpick in combination with the index and ring finger. This naturally increases your level of versatility more than somewhat. There is a technique called "chicken pickin" which involves popping the guitar strings with your fingers. It is a little hard to describe in writing but you can see plenty of examples on YouTube, but to get the general idea, try this experiment: hold your right hand over the guitar strings, then mute your E (sixth) string by resting your index finger on it down towards the bridge. Next, pluck the string with your thumb. This will give you a "thuck" sound. To complete the chicken pickin move, pluck the open string with the nail of your index finger. This move is repeated until it comes naturally.

Country solo playing can easily begin in the first position on the guitar. When you begin to play country guitar solos just play over the chords. Do not go looking for a "country scale", although the blues scale is quite handy in country guitar playing. The trick is to practice with whatever chord shapes you have at your stage of playing and see what kind of riffs, licks and tricks you can get out of each of them. It is a very interesting way to learn because every chord has its unique character. Start with your basic chords like C, D, E, G, and A.

So if you want to learn to play country guitar solos which guitar players do you listen to? Listening to Chet Atkins will teach alot to a guitarist in any genre. He is largely responsible for the smooth Nashville sound which is so attractive to many music lovers. Chet owes his style to Merle Travis, using his thumb to pick bass notes and other fingers to play the melody and fills. And do not forget to look for music recorded by Merle Travis himself. Another guitar great is Jerry Reed. A guitarist with boundless energy and enthusiasm, he played on the Elvis Presley single of his own compositions "Guitar Man" and "US Male". This list could go on and on, so let us finish by mentioning Albert Lee, a British guitar player admired by many other famous guitarists.

How to Buy a Guitar Amp

You can just go into the store and buy whatever amp, right? Yes, it could be that simple. But, without proper information, one could end up making a very costly mistake. So, we will delve into the world of tone and the steps to making a more informed buying decision.

Because that's what you're looking to find - the right tone. Tone is the combination of your guitar, your amp, and your fingers. The amp is crucial because it provides the means for self expression.
This is the first installment of two articles that will try to help you choose an amplifier. I will focus on beginning players today and intermediate players in the next installment. First, what style of music do you play? There aren't as many amp choices as for guitars, but they are more or less designed for specific groups of players and/or genres of music. This doesn't mean one amp won't do most things in the world of tone, but they usually shine in only a few areas. Last, but definitely not least, PRICE! Some of us can go out a buy whatever our hearts desire, but for the majority of us, price plays a major role in the search for tone.

Although I know you want to, as a beginning guitar player, you don't need to go out and buy that massive Mesa or Marshall stack or even a 2 x 12" combo amp. Start with something basic. A small practice amp with an 8", 10", or 12" speaker should be sufficient. Channel switching is very nice to have. Channel switching allows you to go from dirty to clean with push of a button on the front panel or with a switch on the floor. Reverb, as well as chorus, is a nice option to have. (Don't hold your breath for chorus, though.) These features make playing much more fun.

I wouldn't spend more than $300 on an entry-level amp, and that figure should probably end up somewhere betweeen $100 and $200. I don't recommend buying below $100 dollars. I don't think they sound all that good. At the sub-$300 price level, pro tone hasn't entered the building, and tubes are hard to find (there are a few, but we won't go into that here). Decent noise can be had, though. For most tones, the entry level amps of the major manufacturers are great buys. I would stay away from tube amps, because they tend to show more mistakes. This can be very frustrating when just starting out. All that is needed is an amplifier that sounds relatively decent and will keep you playing.

As a beginning guitar player, you don't have to play in the store. Have the sales guy take a particular amplifier through its paces. Listen closely to the amplifier. Is the sound clear? If applicable, how does the reverb sound? Lush and warm or "Boingy"? We want as close to lush and warm as possible. Channel switching? Does it pop when changing the channels? What kind of range do the knobs produce? A large margin of frequency cutting is what we want here, for the purpose of getting as many sounds as possible. Cheaper amps tend to only have passive tone controls, (i.e they only cut frequencies). The more expensive amplifiers can sometimes have active tone controls, (i.e. cutting and boosting of frequencies is possible). The Peavey 5150 II is like this. Remember that the sales dude has most likely been playing with all these amps for 4 hours a day for several years, and he may sound a lot better than you do, but he also knows the amps.

If you do feel up to playing in the store, we need to define some of the terms that you will find labeled on the amplifiers and what some of the jacks on the front do. Some of the amps in the higher end of this category may have jacks/controls on the back, too. On the front the amplifier, you will find one or two 1/4" input jacks labeled input. With two jacks, they are either labeled high and low or 0db and -6db. The high/0db input is for guitars with passive pickups, and the low/-6db is for guitars with active pickups, which have a higher output signal compared to passive pickups. The one, lower input is padded to help control input distortion, which can sound pretty bad. I have found that the only difference is in volume with transistor amps, but your experiences may differ.

Next are the controls. The number of controls can vary from one to about twelve, and more have been seen. Generally, you will find a volume control, a bass control, a middle control, and a high control. These are pretty explanatory. Sometimes, the volume control will be labeled post gain. On amps with channel switching, a pre gain control is usually present. This controls the amount of dirt or distortion. If you are lucky enough to get an amplifier that has reverb, there will be a control to adjust the amount of "echo" that you hear, from none to full saturation. With amps that have more than this minimum number of controls and channel switching, a separate set of tone controls are usually added for the clean channel, so that you don't have to use the same settings on your clean channel that you use for your distortion channel. With chorus, the controls are rate and depth. Rate is the speed of the effect and depth is the amount of the effect you hear.

For power, ten to thirty watts is all that is really needed. Anything more, and hearing loss, parents, siblings, and neighbors become a problem. If the amp does have channel switching, I strongly recommend purchasing the footswitch that goes with it. You will thank me. Specific manufacturers to look at are Peavey, Fender, Marshall, Randall, and Waller (this is a new manufacturer that puts out some great sounding amplifiers). If you do have the budget to get an effects box along with the amp, I don't recommend getting a distortion pedal. Let the amp do the work. Besides, noise problems will usually pop up, especially with transistor amps.

In closing, choosing a starter amplifier is more about getting a decent sound that will keep you playing than stroking your ego or looking good in front of your friends with the latest and greatest amplifier on the market. The tone of your favorite guitar player isn't necessary, and can even be foolish. If you spend alot of money and don't keep with it, you have bought your self a very expensive door stop. Remember, purchase what you want and listen to your ears!