FAQ's
"What are the tonal differences between the popular body woods Alder, Ash, Poplar, Basswood, Mahogany and Maple?"
"What does the term "neck radius" mean, relative to my guitar or bass?"
"What is a V, C or U shape neck?"
"How often should I change my strings?"
"Why are set-ups necessary and how often should I have one done on my guitar or bass?"
"How do I intonate my guitar or bass?"
"What precautions should I take when traveling on an airplane with my guitar?"
"What is "stand damage?"
"What can I do to prevent tarnish on the hardware?"
"What is the best way to clean my acoustic? Is it necessary to condition the fingerboard?"
" How do I care for my nitro-cellulose lacquer finish?"
"I have a 12-String. Do I need to "tune-down" my guitar to prevent the possibility of either the bridge lifting or damage to the top of the guitar?"
"What precautions should I take when storing or traveling with my guitar?"
"How do I travel with my acoustic guitar?"
"What should I use to clean the pots in my amplifier or guitar?"
"How does speaker impedance relate to the amplifier output impedance?"
"How did Stevie Ray Vaughan get his tone? How can I get that kind of clean distortion from my amp? Do I need a special pedal or preamp?"
"What are the differences between Tube and Solid-State Amplifiers?"
"When do I need to replace my amplifier tubes?"
"What is the best way to route my guitar effects pedals?"
"Should my first guitar be acoustic or an electric?"
"What do I look for when buying an electric guitar?"
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Q. "What does the term "neck radius" mean, relative to my guitar or bass?" A. The measure of the curvature of the top of the fretboard from edge to edge is often referred to as the "neck radius". Actually, the correct terminology would be either fretboard or fingerboard radius and the neck shape and size would be called "neck profile". The fingerboard radius can be found by first drawing a circle with a corresponding radius, (the "radius" is the distance from the center of a circle to its outer edge), and then cutting out a portion of that circle corresponding to the width of the fretboard. For example, if you have a 7 1/4" radius fingerboard, you could tie a piece of string to a pencil, measure out a length of string to 7 1/4", and put a thumbtack on the other end of the string. Secure the tack, stretch the string, and draw a circle. By cutting out a piece of that circle the width of your fingerboard, you will have an example of an arc with the same curvature as that of your fingerboard radius. Top
Q. "What is a V, C or U shape neck?" A. The letters V, C, and U are used today in an attempt to describe the shape and contour of the back of various guitar necks. Necks described by these letters will correspond (although not quite as exaggerated), to the visual appearance of these letters. The V shaped necks come in two different versions, a "soft" V and a "hard" V. The "soft" V shape is a bit rounded off, whereas the "hard" V is somewhat more pointed. There are a couple of other neck shape descriptions which do not have directly corresponding letters. These are the "oval" and the modern "flat oval". Many people, however, do use the letter "C" when referring generally to these "oval" shapes. The "U" shape is chunky and rounded, with high shoulders, as seen in the exaggerated letter U. There is no doubt that it is easier to understand the application of these terms to the necks when you put your hands on them and get the feel; however, the use of these letters is pretty accurate in describing the shapes of the backs of necks. Top
Q. "How often should I change my guitar or bass strings?" A. There is no set rule for how often you should change your strings. If you're playing on strings which are worn, kinked, corroded, rusted or gunked up with sweat grease and grime, then it is definitely time to change them. If you find that you're having trouble keeping an older set of strings in tune, it's also a good idea to restring. Keep in mind that if you're constantly having tuning problems, especially with newer strings, the problem may actually be with your guitar (See below for common tuning problems and remedies). Really, the only other factors that'll determine how often you restring are how often you play and how much your fingers sweat while playing. If you play a number of times with the same set of strings and you find they're no longer giving you the tone, brightness and response that you desire, then it's time for a change. Some professional artists swear by having new strings put on for every new performance while others prefer the feeling and response of their strings once they have been "broken in". Once again, it is a preference and you should experiment until you determine what works best for you. Tip: wash your hands before playing. Top
Q. "Why are set-ups necessary and how often should I have one done on my guitar or bass?" A. All electric guitars and basses which are made from wood are subject to changes in temperature and humidity. Guitars are machines which have moving parts, and like any other machine, they require periodic maintenance and adjustment in order to ensure a maximum level of performance and playability. It is very important to familiarize yourself with the different points of adjustment on your guitar or bass i.e. truss-rod, tilt-adjust, saddle and bridge height, and intonation, as these features are there for a very important reason. The woods of your guitar absorb the moisture (humidity) in the air, and expand and contract with changes in both temperature and humidity. This phenomenon may be illustrated easily with the following example: Suppose your guitar is already in tune, and you subsequently transport it during the heat of summer, to an air-conditioned venue. When you take it out of the case and let it cool to room temperature, the pitch of the guitar will dramatically drop as the wood cools and shrinks, causing the tension on the guitar to decrease. While this dramatic example may not require immediate adjustment compensation, it is often necessary to make seasonal adjustments in the action of your instrument to compensate for these changes. It is also important to note that changing string gauges or materials will also affect the amount of tension on the neck and will usually require a neck adjustment to compensate for this change in tension. It is also not uncommon to experience a "settling in " period with a new instrument, where periodic adjustments in the action must be made until the wood stops moving, (bear in mind that seasonal adjustments may still be necessary). If you do not feel comfortable making adjustments in the action of your guitar, we would recommend that you have a qualified technician check out your instrument for the proper setup adjustments approximately every 6 months. This would also be a great time for your tech to keep an eye on things such as fret wear, intonation, etc. Top
Q. "How do I intonate my guitar or bass?" A. To maximize the performance of your guitar you must be sure to always keep your guitar properly intonated so that the instrument will be in relative tune to itself. Always check and adjust the intonation as needed after every change of strings. When we intonate a guitar we shorten or lengthen the active vibrating length of a string so that it will be in tune with itself, given the scale length of the instrument, as well as differences in string gauges and micro-variations from string to string which occur in the manufacturing process. To set the intonation for your guitar you will need either a digital or strobe tuner, either a small Phillips or standard screwdriver (depending on the type of saddle length adjustment screws on your bridge). We recommend Floyd Rose tremolo's be adjusted by a professional. It is also important to install new strings just prior to adjusting the intonation. The procedure for setting your intonation is as follows: 1. Plug into your tuner and with the volume full up on the guitar, strike the harmonic at the 12th fret and tune the string to the appropriate pitch. 2. Lightly press the string to the 12th fret and recheck the pitch at the tuner. 3. If the pitch of the harmonic and the pitch of the stopped string at the 12th fret agree, then your string is properly intonated and no adjustment will be necessary. If the pitches disagree you'll need to make an adjustment. 4. If the stopped or fretted note is sharper (higher) in pitch relative to the harmonic, you will need to lengthen the active vibrating length of the string until the pitches agree. To do this, you must turn the saddle length adjustment screw, (located at the rear of the bridge-plate) clockwise, and move the saddle back, until the harmonic note and the stopped note are registering as the same pitch. Make sure you stop and retune the string often at the harmonic, as the movement of the saddle will have an effect on the pitch of the string during this process. 5. If the stopped or fretted note is flatter (lower) in pitch relative to the harmonic, you will need to shorten the active vibrating length of the string until the pitches agree. To do this, you must turn the saddle length adjustment screw, located at the rear of the bridge-plate, counter-clockwise and move the saddle forward until the harmonic note and the stopped note are registering as the same pitch. You may need to press the saddle forward if downward pressure from the strings does not allow the saddle to freely move. 6. When this procedure is complete, simply retune your guitar and you're ready to play. Always make sure that you use proper left hand fretting technique as too much downward pressure as well as a claw type grip will pull your notes out of pitch and your guitar will sound out of tune to itself even if properly intonated. Top
Q. "What precautions should I take when traveling on an airplane with my guitar?" A. First, you'll need to determine if the airline will allow you to carry the guitar on board with you for storing in the overhead compartment, or if you must check it for transport in the cargo hold of the plane. In both instances, you will want to make sure the guitar is packed with sufficient padding to prevent any movement and potential damage within the case. If you are carrying your guitar on board, a gig bag will certainly do the job, as long as you ensure that other harder and heavier luggage does not get either placed on top of or shoved into your guitar. If you must check your guitar, make sure it is in a hard protective case and has extra padding inside to prevent movement within the case. It is highly recommended, (as some baggage handlers may not treat your property with the same amount of care you do), that when transporting your guitar in the hold of any air transport, that you do so in an ATA approved, locking flight case. De-tuning or loosening the strings on most electric guitars and basses is not necessary; however, for acoustic guitars, set neck or hollow body guitars, it is recommended that you de-tune 1/2 to 1 whole step. Just to be safe, it is always a good idea to insure your instrument against loss or damage. Top
Q: What is "stand damage"? A: Stand damage occurs when the chemicals in the rubber used on guitar stands react with the nitro-cellulose lacquer used to finish some instruments. It can range from a slight discoloration to the finish to actually "eating away" the lacquer topcoat. Unfortunately, this situation is not covered under your warranty. The safest way to prevent this from happening is to cover the rubber parts of your stand with a soft cotton cloth (use guitar polishing cloths). Guitar stands should only be used to 'temporarily' store your instrument, such as on a gig. The safest place to store your instrument is in its case. Top
Q: What can I do to prevent tarnish on the hardware? A: Tarnish on hardware occurs due to a reaction between the plating and moisture, either in the air or from perspiration. Keep in mind that all hardware will tarnish eventually- it is not a sign that your hardware is "cheap." In some areas there is low moisture content in the air so the tarnishing process will be slower, but it will eventually happen. You can slow down the tarnishing process by wiping down the instrument every time you play it! This one step will add life to the hardware and slow down the tarnishing process. Also, make sure you store the instrument in its case to prevent it from exposure to high moisture content level in the air. In areas of high humidity add a silicon bag in your case or gig bag. Top
Q. What is the best way to clean my Acoustic ? Is it necessary to condition the fingerboard? A: We recommend that you clean your guitar or bass after each use, taking care to wipe down the entire instrument, including the strings and hardware, with a clean, soft cloth. Periodic cleaning with a good quality pump cleaner/polish is advised when it is necessary to remove fingerprints or body oils. To do this, spray the polish onto a soft cloth and wipe the body and neck, taking care to avoid the strings and hardware. Frequent conditioning of Rosewood and Ebony fingerboards will help prevent the possible cracking of the fingerboard which may occur in dry climates if the fretboard is allowed to over-dry. We would suggest that you use either raw linseed oil, lemon oil, or another commercially available fingerboard conditioner and that you follow the directions provided by the manufacturer of these products. Note: take care to remove the strings before conditioning your fingerboard and dry any excess oils from the fretboard before replacing the strings. Be careful to avoid any contact with your guitar's finish, electronics, and hardware when using these conditioning materials. For regular string care and maintenance, certain products are safe and effective for removing excess oil and dirt from your strings and in turn, prolonging string life. Top
Q. " How do I care for my nitro-cellulose lacquer finish?" Some instruments are finished using layered coats of nitro-cellulose lacquer. Although this material is very beneficial to the overall appearance and tone of the instrument, there are some specific guidelines for its care and maintenance. Exposure to certain synthetic materials, leather straps, and cushions such as those found on some instrument stands could adversely affect the finish. To ensure your finish maintains its beauty, please follow these steps:
Perspiration can also damage the guitar finish as well as the hardware finish. Always clean your instrument and hardware with a soft, non-synthetic cloth before storing it. To prolong the beauty and durability of the finishes we recommend polishing it with a Hi-Gloss Polish. A rapid change in temperature or humidity can result in small cracks in the finish known as "finish checking". In most cases it happens when a chilled instrument is exposed to warm air. It occurs most frequently in the winter when a guitar case is opened in a warm room or studio after being outside. This is a result of the wood expanding faster than the lacquer. While this condition does not affect the tone it certainly does affect the appearance. To eliminate the possibility of this happening to your instrument we recommend you warm it slowly by opening the case slowly and fanning it to induce warm air to circulate over the top. If a bright bluish fog appears on the top, close the case immediately and let it warm up for a few minutes. Then lift the instrument a little bit from the case and allow the rest of it to warm to room temperature. Top
Q) I have a 12-String. Do I need to "tune-down" my guitar to prevent the possibility of either the bridge lifting or damage to the top of the guitar? A: It is just fine for you to tune your 12-String to standard concert pitch when using light or extra light strings. We do recommend, however, that if you use heavier strings, that you do not tune them to concert pitch. Medium or heavy gauge strings, when tuned to concert pitch, create a tremendous amount of tension on the instrument, and may eventually cause damage to the top of the guitar if used for long periods of time. If you feel your technique and playing style dictate that you must use heavier gauged strings, we would indeed suggest that you tune your guitar down either ½ or one whole step to E flat or D, and capo the guitar at the 1st fret. Many 12-string players prefer to de-tune and use a capo regardless of the string gauge used, as they find that the reduced string tension enhances the playability of their guitars. Top
Q) What precautions should I take when storing or traveling with my guitar? 1. Exposure to extreme temperatures or sudden changes in temperature and/or humidity, may cause cracks or "checking", to occur in your guitar's finish. These same conditions may also cause cracks to occur in the wood itself. To ensure the integrity of your guitar's woods during its lifetime, it is critical to maintain the instrument within an acceptable temperature and humidity range. Ideally the temperature should be maintained as closely as possible to 70 F and the humidity should be maintained between 40% and 50%. To ensure an appropriate level of humidity in your instrument's woods, it may be necessary to use a commercially available humidifier. These humidifiers incorporate a system which allows you to monitor the humidity level in your instrument and make adjustments as needed. 2. When traveling long distances with your instrument or when storing it for extended periods of time, you'll want to lower the pitch of the strings approximately 1 to 1½ step to reduce the amount of tension on the neck. When transporting the guitar in either summer or winter from say,… your home, to your car, to a third location, you need to be aware that temperatures can vary dramatically from location to location. ALWAYS allow time for the instrument to sit and acclimatize to room temperature inside the case before opening the case and removing the instrument. As guitars are made from organic components and use different types of woods in one instrument, these woods and materials expand and contract at different rates with changes in temperature and humidity Opening an instrument case prematurely for example: after bringing it in from a cold car to a heated venue or from a hot car to an air-conditioned room is the most common cause of both finish and wood cracks in acoustic guitars. Top
Q. How do I travel with my acoustic guitar? A. Most guitar owners will be adamant about keeping their guitar on the back seat of their car versus the trunk, imagining the worst case scenario of being rear ended on the highway. There are even better reasons. The temperature in the trunk is more extreme, and extreme climatic changes can cause wood cracks and lacquer checks. The car interior is always more comfortable. Hence, your first basic rule of thumb is to keep your instrument where you yourself are comfortable. I'm sure you wouldn't choose the trunk of a black car in July, or the trunk of a white care in sub-zero weather for that matter! Once you arrive, allow the guitar to acclimate. That is, let it sit in the closed case in your new environment for ten to fifteen minutes before playing. For those of you who travel on planes with your Martin, try with sincere and charismatic style to avoid checking your guitar as luggage. Most planes now have overhead compartments that can easily accommodate a guitar in a hard-shell case. What I do is try to always pre-board and politely ask attendants if they would be willing to find closet space if the case doesn't fit in an overhead. However, on really small aircraft like the popular new shuttles, you may have no choice. In some situations, you may be allowed to hand carry your guitar to the steps of the plane, where an attendant will hand load it while you watch. It's always smart to ask if this is possible before checking your guitar in as baggage. I recommend, whether you check your instrument or not to prepare your guitar for air travel in the following manner: 1. Take out the endpin (if there is one and if it is not glued in place). 2. Tune each string down one whole step (DGCFAD). 3. Lock the case and add the key to your key chain. 4. If you must check it in, ask the airline check-in person to put some "FRAGILE" stickers on it and request personal handling. (You may be asked to sign a liability release.) 5. Make sure you have a luggage tag with your name, address, and phone attached to the case handle. Top
Q. "What should I use to clean the pots in my amplifier or guitar?" A. Pots are made with a lubricant in them, so cleaning of any nature may wash that lubricant away. Before cleaning, try turning the pot back and forth vigorously to see if re-distributing the internal lubricant will clean the elements. If that does not cure the problem, then try using a small amount of an external cleaner. Be sure to choose an electrical contact cleaner that is clearly labeled: 1. Safe for plastics 2. Leaves a lubricating film. NEVER, attempt to clean or service an amplifier while the amp is plugged in. Amps contain high voltages which may cause serious injury if handled inappropriately. If you do not have experience and training in amplifier repair, we would suggest that you take your amp to the nearest Authorized Service Center for cleaning, service and repair. Top
Q. "How does speaker impedance relate to the amplifier output impedance?" A. This answer will differ depending on whether you have a solid state amplifier or tube amplifier. The term "speaker impedance", refers to the load which either a speaker, (or the combined load of multiple speakers in a cabinet), presents to an amplifier. The load may vary depending on whether the speakers are wired in series, parallel or series/parallel. 1. In the case of solid state amps, there will normally be a "Max Load" (also called "Minimum Impedance") rating for the amp. The load plugged into the amp should never go below the minimum impedance or serious damage may occur to the amplifier. Maximum power will be obtained when the speaker load matches the minimum impedance. It is perfectly safe to use a higher impedance speaker load, but there will be a corresponding drop in output power (i.e. an 8 ohm speaker load will result in approximately half the output power of a 4 ohm speaker load). 2. In the case of tube amps, it is best to match the speaker load as closely as possible to the amplifier output impedance. In theory, there is some small amount of mismatch (either larger or smaller) that will not hurt the amp. It is, however, always recommended that you match the speakers as closely as possible to the rating of the amp to avoid potential problems. Top
Q. "How did Stevie Ray Vaughan get his tone? How can I get that kind of clean distortion from my amp? Do I need a special pedal or preamp?" A. The primary source of lead guitar tone for Stevie Ray (and many other "Blues" and "Rock" players), is something called "output tube distortion". Output tube distortion is what happens when a tube amplifier is turned up loud enough (or played hard enough) to distort the "power amp" section of the amplifier. This is the type of distortion which translates to the listener as harmonically rich, sweet, sustaining tone and can be heard on countless recordings. While distortion pedals will add sustain and harmonics, they also tend to make all the different instruments played through them, sound the same or "faceless". A pedal may be great when you're a beginner with your first guitar, not so great if you're a pro with an expensive, high quality guitar, and the "fuzz box" makes it sound just like just another $150.00 guitar. While Stevie did use a Tube Screamer pedal, he only used it as a boost. The foundation of his tone was an overdriven tube amp. Top
Q What are the differences between Tube and Solid-State Amplifiers? Tubes and transistors are very different in both construction and sound. A valve or "tube" is an electronic device consisting of a minimum of four active elements : a heater (filament), a cathode, a grid, and a plate. All of these are sealed in a glass enclosure with its air removed - a vacuum - to prevent the parts from burning. Tubes distort uniquely because as the signal emitting from the plate approaches its maximum potential, the tube gradually begins to react less and less to the original signal. This results in a type of compression of the signal and produces a soft clipping. Clipping occurs when the input signal increases, but the maximum power has been reached. Thus the signal becomes cut off or "clipped". They also tend to be subject to mechanical problems and limitations. Tubes tend to be inefficient and exude large amounts of heat and will wear out in relation to the length and intensity of their use, sometimes to the point of becoming microphonic (i.e. unwanted signal being amplified through tube due to excessive vibrations of the tube element).
Solid-state transistors, on the other hand, are very reliable, less expensive, and generate little or no heat. They consist of layers of different semi-conductor materials deposited on top of one another. Unlike tubes, transistors do not need heaters (filament) to make them work. When generating signal and distortion, they react exactly the same to the input signals right up to their maximum power; then, they stop quickly, creating a sharp clipping.
These different types of clipping produce different series of harmonics (overtones). When a transistor amp clips, it produces more odd-order harmonics (at its worst case can be harsh, dry, and hollow), whereas tube distortion provides more even-order harmonics and generally sounds warmer.
Various types of transistor and tube distortions are possible, depending on the amp's components and design. With advanced engineering and digital technology, many of today's modern transistor and digital amplifiers do an excellent job reproducing tube-like distortion, but there is no substitute for the real thing. Top
Q) When do I need to replace my amplifier tubes? Chances are, your power tubes are worn out when your amp starts sounding weak, lacks punch, makes funny noises, has its power fading up or down, or looses highs or lows. If gain in one channel hums, lacks sensitivity to touch, or generally feels as if its working against you, a preamp tube could be malfunctioning and is in need of replacement. In both cases, though, the tubes may not be at fault. Unless you are skilled in specific troubleshooting, regard the high-voltage circuits found in amplifiers as extremely dangerous. Take your amp to a qualified professional technician for diagnosis and repair.
Power tubes can last years in a light duty situation while lasting only six months in another. Preamp tubes will generally last much longer than power tubes unless they are used in the driver stage where they wear out as fast as the power set they are driving. Again, let your ears and fingers be the judge. Top
Q) What is the best way to route my guitar effects pedals? Although it is important for you to experiment with different configurations, there are some basic guidelines for linking your chain of pedal effects. Here is a good place to start: it is common for reverb and delay effects to be placed 1st in the chain (that is, closest to the input of your amplifier) so their effect will be not get lost. If a delay or reverb effect gets "processed" through distortion or "time" effects, they tend to get muddy and undefined. Next, add your "time" or pitch shift effects such as chorus, flanger, phase shifter, etc. Next in line would be your overdrive, distortions, fuzz boxes, etc. and then dynamic effects such as compressors and limiters closest to your guitar. Other "tone" devices such as wahs can be placed before or after your distortion pedals depending on your desired effect. The wah effect is more pronounced when placed after the distortion unit, but can produce interesting and intense sounds when placed after, as well. Equalizers can be used at a variety of stages depending on what effect you would want to EQ. They can be helpful at the beginning of the chain to adjust your overall sound or in the middle to enhance a particular effect such as a distortion pedal. What is important in all of this is not to live by the rules, but to understand the importance of experimentation in order to build your own unique sound. Some of the most adventurous and accomplished players have found unique and interesting sounds by breaking the rules. Top
Q) Should my first guitar be acoustic or an electric? Good question. There is no right or wrong answer, but it really depends on what you want to get out of it. Guitar playing can have many rewards both personally and professionally. If you are just starting out, it may make sense to start small in terms of cost and features. Generally, an acoustic guitar is the most efficient and simple way to go. Unlike an electric guitar, an acoustic requires no additional parts or components, to you can take it right out of the case and start playing. There are some important factors to consider when choosing an acoustic over an electric including the "action", "feel", and "sound". Acoustic guitars tend to have a little higher action (height of the strings from the fingerboard) than electric's and generally use heavier strings making it more difficult for string bends and playing chords. This is not to say they are any worse or better than an electric, only different. An acoustic guitar is excellent for building strength and dexterity and provides excellent preparation for transition into an electric at a later date. Also, the sound of an acoustic is dramatically different from that of an electric since its sound is created and amplified by the body of the guitar alone. Better still, today's low-end or entry-level acoustic guitars have come along way from the mail-order catalog guitars of the past. They offer great playability and excellent sound at a price that is easy to swallow for the first time buyer or parent.
Now, what about that electric guitar? If you can't wait to crank up and play your favorite riffs, then an electric guitar may be for you. With the advent of the popular "gig rigs", it is possible to get a quality electric guitar, amplifier, and accessories all in one package at an incredible price. Electric guitars are fun and easy to play, but require more effort to generate sound. The guitar must be plugged into the amplifier using a guitar cable, then by manipulating the volume and tone controls on the guitar and the amplifier, a variety of tones and volumes can be achieved. If the guitar has more than one pickup, you will use the selector switch to choose which pickup (or both) will be turned "on" and will pick up the string vibrations. Pickups toward the bridge (lead) of the guitar tend to sound louder and brighter and pickups toward the neck (rhythm) tend to sound deeper and softer. Sound complicated? It's really not, but it is more advanced than an acoustic.
With better quality, more affordable electric and acoustic guitars being offered for the beginner, it is getting tougher to decide where to start, but you can't go wrong with the tried-and-true acoustic guitar. Top
Q) What do I look for when buying an electric guitar? There are many factors to consider when purchasing an electric guitar. Is this your first, second, or third guitar? How much money do you want to spend? Is this a guitar for practice at home, local giging, professional studio use? etc. Let's start by assuming you already own one or two guitars and you are purchasing your first "serious" guitar. We will discuss 7 key areas for consideration. They are: construction/materials, sound/tone, playability/action, appearance/body style, cost/resale, domestic/import, and detail work/extras.
Construction. There are two basic types of electric guitar construction: those guitars with bolt-on necks and those with set-in necks. Guitars with bolt-on necks tend to be less expensive due to their streamlined manufacturing capabilities and offer the freedom and flexibility to change necks if you have structural problems or damage or if you would like a different type of neck or fingerboard wood. Set-in or glued-in necks are often more expensive due to the additional labor required for their construction and offer increased sustain and overall strength, but are generally permanent parts of the guitar and require major work if there is a structural problem or damage. Both types of necks can offer great playability and feel, so it is best for you to try them out for yourself.
The types of woods used can also play a big part in the sound and performance of your guitar. Quality tone woods such as mahogany, maple, alder, ash, basswood, and poplar are common. See the wood portion of this FAQ section for more detail on the varying tones of these woods. What you need to watch for is whether the body is composed of solid wood or laminates. Many imported or less expensive guitars are constructed from plywood or have multi-piece bodies. Although this method is accepted and widely used, it does not contribute to professional quality tone or lasting value. Pay attention to the materials used in the manufacturers spec listing. When possible look for A grade materials and solid wood bodies. Neck materials are fairly consistent. Most manufacturers us maple or mahogany for their neck stock and occasionally you will find composite or composite reinforced materials which are very stable and are used to add strength. Fingerboards are generally made from rosewood (dark and warm), maple (bright and snappy), ebony (bright and snappy - similar to maple), and pao ferro (similar to rosewood).
Sound/Tone. The tone of the instrument is basically dependent on three key factors: body materials, construction, and pickups/electronics. We have already discussed materials and construction so lets take a look at pickups. The two most common types of pickups are single-coils and humbuckers. Both have their place in history, but have very distinct properties and sounds. Single-coils peak at the mid-range and offer bright, glassy, and cutting tone. Many of today's single-coils are hum free or have extra coil windings for increase output. If you are looking for the Stevie Ray Vaughan, Eric Clapton, Jimi Hendrix, etc. tone, the single-coil pickup is for you. Humbuckers are two single-coils wire together to create a higher output and hum-free operation. They first appeared in Gibson's 1957 Les Paul's and have a fat, beefy tone and creamy sustain that have made them popular choice among many rock and metal guitar players such as Jimmy Page, Joe Perry, Ace Frehley, etc. When choosing an electric guitar, whether you are a single-coil or humbucker lover, it is important to understand the effect of the pickup on your sound.
Playability/Action. They way a guitar plays and feels is crucial to your appreciation and enjoyment of it. Ideally, you are looking for guitar that has the right "action" for you. Some prefer the lowest action possible and would possibly be interested in a Les Paul style guitar which has a shorter scale (24.75") and the ability to be set up with the strings very close to the neck. Others may prefer the increased tension of a longer scaled (25.5") instrument such as a Strat style. Although this type of guitar is capable of having excellent action, there is always a little more tightness in the strings due to the longer distance between the bridge and nut. Generally, the more expensive hand-crafted instruments tend to play better and respond better than less expensive guitars. Although, in today's competitive market, mid-priced and low-end guitar companies are making great strides in producing great sounding and playing guitars.
Appearance/Body Style. Don't forget about the way the guitar looks. Since many of us are influenced by other musicians, we tend to see ourselves with a guitar like our heroes. Given this, you will want to choose a guitar that you feel comfortable with long term. There are many body styles to choose from. Make sure to make the right decision based on who you are or better yet, who you want to be.
Cost/Re-sale. The almighty dollar can be a strong influence on our ideals and decisions, and buying a guitar is no exception. Sometimes it is difficult to "see" the difference between a $ 500 guitar and a $ 5,000 guitar, but believe us, there is a reason for it. It is important to research the how's and why's and make an educated decision, yet stay true to your gut and your budget. Know the market and the manufacturers and get an idea of what your guitar is worth in relation to what you are paying for it. Be aware that your instrument will more than likely depreciate in value, it's just a matter of how much. Hopefully, you are buying a guitar for life and won't ever have to sell it for the rent, but you never know, so buy smart. Major brand names are usually a pretty safe bet and many of them have reputations for increasing in value. Bottom line, you get what you pay for, so take your time and make sure you are buying a particular guitar for the right reasons. If you just need a second guitar with a whammy to bang around on, you're not at as much risk as if you are buying "that" guitar that you have been saving for years to get.
Domestic/Import. While this may not be a factor to some, it is worth considering. Generally, American made guitars tend to be more expensive and consequently fetch a bigger price if you want to re-sell them. There is also an emphasis on obtaining the highest quality materials, fine craftsmanship, and attention to detail - all at a price. This is not to say that imported guitars are always inferior, quite the contrary. Many overseas manufacturers have mastered the craft of guitar building, but because of the availability of inexpensive labor and the need for mass manufacturing or inability to acquire quality materials in the same quantity as American manufacturers, they generally produce less expensive guitars.
Detail work/Extras. It is also important to pay attention to the details. By this, we mean the little extras that bring beauty, improved functionality, or value to the instrument. If a guitar has binding on the body, neck, or headstock, these are generally signs of a more precision crafted instrument - and usually more expensive. These may not mean much to the playability or tone of an instrument, but they can have an effect on the appearance and resale value. Does the guitar have a new technical improvement or advancement that will take your playing to the next level (synth capabilities, locking tuners, Floyd Rose, coil-splitting, etc.)? These items may improve the playability and sound of your guitar, but may have little or no effect on its value. Getting the picture? Make sure the guitar has quality tuners and hardware - no one wants their dream guitar to have tuning problems. Finally, pay close attention to the cosmetics and set up work. Is the guitar well-buffed, frets crowned properly, no sharp fret ends, nut and bridge slotted correctly, binding is well-scraped and there are not ridges or seams, etc.
Summary. What all of this means is basically, "you get what you pay for". The secret to selecting the perfect guitar is that there is no secret. Just research and educate yourself on the various manufacturers and the different models and options they offer and better yet, understand your needs and wants. At some point, the two will come together and you will find your true love. Top
