Gear en Vox Releases AC Clip Tune Clip-on Guitar Tuner <!--paging_filter--><p>Vox has announced the release of its new AC Clip Tune clip-on tuner. </p> <p>“High precision, a color LCD display and a flexible clip mechanism demonstrate the AC Clip Tune’s quality as a tuner,” said John Stippell, product manager for Vox. </p> <p>The Vox AC Clip Tune will be available July 2015 with a U.S. MSRP of $29.99. Check out the specs below and visit <a href=""></a> to find out more. </p> <p><strong>Specifications:</strong></p> <p>• <strong>Scale:</strong> 12-note equal temperament<br /> • <strong>Range (sine wave):</strong><br /> • <strong>Chromatic:</strong> A0 (27.50 Hz) – C8 (4186 Hz)<br /> • <strong>Guitar:</strong> B1 flat5 (46.25 Hz) – E4 capo7 (493.88 Hz)<br /> • <strong>Bass:</strong> B0 flat5 (23.12 Hz) – C3 (130.81 Hz)<br /> • <strong>Precision:</strong> +/-1 cent<br /> • <strong>Reference pitch:</strong> 436 – 445 Hz (1 Hz steps)<br /> • <strong>Flat tuning:</strong> 1 – 5 semitones (in semitone steps)<br /> • <strong>Capo tuning:</strong> 1 – 7 semitones (in semitone steps)<br /> • <strong>Battery:</strong> CR2032 lithium battery 3V<br /> • <strong>Battery life:</strong> approximately 8 hours (tuner continuously operating, A4 input)<br /> • <strong>Dimensions (W x D x H):</strong> 61 mm x 65 mm x 28 mm/ 2.40" x 2.56" x 1.10"<br /> • <strong>Weight:</strong> 26 g / 0.92 oz. (including battery)<br /> • <strong>Included items:</strong> CR2032 lithium battery</p> VOX Accessories News Gear Mon, 29 Jun 2015 19:03:12 +0000 Guitar World Staff 24840 at The Top 10 Blues-Approved Overdrive/Distortion Pedals <!--paging_filter--><p>The origin of guitar distortion goes back to the earliest electrified blues guitarists. </p> <p>They didn’t care that their primitive tube amps were breaking up and distorting, as long as they were loud. Soon, blues guitarists grew quite fond of those nasty, gnarly distorted tones, and they sought to replicate them by any means necessary. </p> <p>Enter the overdrive pedal. Designed to push an amp to the brink, the overdrive pedal allows players to summon singing sustain, compelling crunch, and glorious grit at any volume level, giving guitarists the bite and balls they need for genuine blues-approved tone. </p> <p>While a handful of purists prefer to plug a guitar straight into an amp, most blues guitarists these days have a handful of overdrive, distortion and even fuzz boxes in their rigs. </p> <p>Thanks to the proliferation of boutique pedal builders over the past 20 years, there are easily more than a thousand distortion devices available to help guitarists find their signature blues sound. </p> <p>The following pedals are the top 10 classics and modern marvels that get our mojo working when we spank that plank and crank up the volume.</p> <p><strong>10. Way Huge Pork Loin</strong> </p> <p>By blending modern soft-clipping BiFET overdrive and classic clean “British” preamp tone pathways, the Pork Loin allows players to dial in raw, raunchy tones that never lose bottom-end clarity or definition. The Pork Loin plays a massive role in Joe Bonamassa’s bigger-than-life modern blues sound. </p> <p><img src="" width="500" /> </p> <p><strong>9. Klon Centaur</strong> </p> <p>The Klon Centaur’s legendary clean boost transforms a guitar’s natural tone the same way a livestock farmer turns a piglet into a prize-winning porker—by making it bigger, fatter, juicier, meatier and more muscular. </p> <p>Centaur designer Bill Finnegan discontinued production several years ago, driving prices for used Klons well above $1,000, but he’s trying to bring a similar pedal to the market again with the same hand-selected parts, attention to detail and signature sound that the numerous “klones” have failed to match. </p> <p><img src="" width="500" /></p> <p><strong>8. PaulC Audio Tim</strong> </p> <p>Thanks to its impressive tonal range and expressive touch sensitivity, the Tim is a favorite of tube amp aficionados who don’t want to sacrifice the dynamic response of their favorite amps but need more gain and tonal-shaping capabilities. With the EQ controls set at 12 o’clock, it provides some of the most transparent clean boost and overdrive tones available. </p> <p><img src="" width="500" /> </p> <p><strong>7. Fulltone Full-Drive 2</strong> </p> <p>Fulltone makes an impressive variety of incredible overdrive, distortion and fuzz pedals, including the OCD, PlimSoul and Fat-Boost FB-3, but when it comes to the blues, most guitarists choose the Fulltone Full-Drive 2. </p> <p>With separate overdrive and boost footswitches and mini toggle switches for selecting clean boost, midrange emphasis, MOSFET clipping and more, the Full-Drive 2 is a versatile overdrive pedal that makes it easy to dial in your own signature blues tones. </p> <p><img src="/files/imce-images/full%20drive.jpg" alt="full drive.jpg" width="540" height="429" /></p> <hr /> <p><strong>6. Ibanez TS-808 Tube Screamer</strong> </p> <p>Thanks to Stevie Ray Vaughan’s use of an Ibanez Tube Screamer (he replaced the TS-808 with a TS-9 and TS-10 later in his career), this pedal has gone on to become the best-selling and most copied overdrive pedal of all time. </p> <p>The Tube Screamer’s output boost and signature midrange hump, along with a characteristic warmth that the TS-808’s successors lack, make it ideal for playing fat, aggressive solos that destroy everything else in its path. </p> <p><img src="" width="500" /> </p> <p><strong>5. Electro-Harmonix Big Muff π</strong> </p> <p>Most staunch traditionalists think that the raunchy fuzz tones of a Big Muff π are a little too furry and furious for the blues, but that hasn’t stopped a new generation of blues-inspired players from using one. The Big Muff is a key element of 21st century blues as envisioned by Dan Auerbach of the Black Keys and Jack White of the White Stripes, the Raconteurs and the Dead Weather. </p> <p><img src="" width="500" /></p> <p><strong>4. Dallas-Arbiter Rangemaster Treble Booster</strong> </p> <p>Eric Clapton’s alleged use of a Dallas-Arbiter Rangemaster Treble Booster on John Mayall’s legendary <em>Blues Breakers with Eric Clapton</em> album remains the source of much controversy, but the Rangemaster was also a key element of Rory Gallagher’s late-Sixties rig that similarly redefined blues guitar tone during the British blues revival, thanks to its marvelous midrange and gritty germanium transistor grind. </p> <p>Numerous clones are available today, including the Analog Man Beano Boost and Keeley Java Boost. </p> <p><img src="" width="500" /> </p> <p><strong>3. Boss BD-2 Blues Driver</strong> </p> <p>Not since the late Seventies, when the Ibanez Tube Screamer and Boss OD-1 made their debut, has a mass-produced overdrive pedal won over the great unwashed and cork-sniffing tone snobs alike. The BD-2 delivers a wide variety of overdrive tones, from creamy to crunchy, with personality that ranges from retro smooth to modern blues-rock raunch. </p> <p><img src="" width="500" /></p> <p><strong>2. Blackstone Appliances MOSFET Overdrive</strong> </p> <p>This pedal’s nameplate and crinkle finish may have the retro-cool vibe of a Thirties toaster, but underneath the hood lies a modern circuit that uses small-signal MOSFETs and an unconventional input stage to cook up distortion and overdrive with rich harmonic overtones that will melt your face off like a million-watt microwave. </p> <p>“It’s heavy stuff, not the sound of a popcorn machine,” says Billy Gibbons, who used the Blackstone in tasteful excess on several new ZZ Top tunes.</p> <p><img src="/files/imce-images/Blackstone.jpeg" width="620" height="472" alt="Blackstone.jpeg" /></p> <p><em>Blackstone photo by William Baeck, <a href=""></a></em></p> <p><strong>1. Analog Man King of Tone</strong> </p> <p>With a two-year waiting list, the Analog Man King of Tone is one of the most sought-after overdrive pedals, and for a very good reason: it provides a clean boost that preserves a guitar’s tone, making it sound bigger, badder and more bodacious, with just the right amount of natural-sounding distortion. </p> <p>Kenny Wayne Shepherd, Gary Clark Jr. and Buddy Miller are just a handful of the pros who have discovered that the King of Tone truly rules.</p> <p><img src="" width="500" /></p> Boss EHX Electro-Harmonix Fulltone Ibanez Kion October 2012 PaulC 2012 Guitar World Lists Effects News Features Gear Magazine Mon, 29 Jun 2015 14:30:09 +0000 Chris Gill 16822 at How to Buy a Fuzz Box: A Guide for the First-Time Buyer <!--paging_filter--><p>Is there anything more luscious than a Big Muff? </p> <p>Who can resist those hairy, in-your-face mouthfuls of fuzz? It’s the box guitarists dream about plugging into all day and night. No wonder Electro-Harmonix named the Big Muff Pi distortion pedal after it. </p> <p>But the Pi ain’t the only box in town. In fact, there are probably more than 300 models of overdrive, distortion and fuzz pedals in production today. How do you decide which one is right for you? Well, good readers, it’s time to practice your licks and get ready to blow some tweeters as we show you 10 things you should know before you buy a fuzz box.</p> <p><strong>01. What’s Your Flavor?</strong></p> <p>Distortion pedals generally come in one of three varieties: overdrive, distortion and fuzz. Overdrive provides a gain boost that pushes an amp harder and causes it to distort. Distortion processes the guitar’s signal and transforms it into a screaming, vicious beast before it hits the amp. And fuzz produces an extreme form of distortion called square-wave clipping: like a Sixties barbershop, everything that goes into it come out with a flat top. Note: Many manufacturers use these terms interchangeably, so don’t ignore overdrive or fuzz boxes when you want distortion and vice versa.</p> <p><strong>02. Fuzz Factors</strong></p> <p>When auditioning a pedal, make sure you play chords as well as single-note riffs and leads. As true fuzz pedals produce exaggerated distortion, they generally can’t handle chords other than a fifth diad, familiarly known as a power chord. But that doesn’t mean you should avoid fuzz altogether. The best fuzz boxes can make a single note sound like a 2,000- pound bee plugged into a wall of Marshalls, while the worst pedals will make your guitar sound like an elephant dropping a 2,000-pound load of dung.</p> <p><strong>03. No Gain, No Pain</strong></p> <p>If you plan on using a distortion box for playing lead, make sure that it also provides a good amount of gain boost, otherwise your guitar signal may disappear faster than Michael Jackson evading a summons. Extra gain can increase sustain, which is a good thing, but excessive gain may result in noise, feedback and hiss…which can also be a good thing. At the very least, the gain control should provide enough boost to match the guitar’s volume level when the effect is bypassed. Many players use overdrive pedals like the Ibanez Tube Screamer to boost the guitar’s gain for solos.</p> <p><strong>04. What’s the Frequency, Kenneth?</strong></p> <p>With the exception of a handful of overdrive pedals like the Klon Centaur, most distortion boxes boost or cut EQ frequencies and affect the guitar’s tone. Many pedals sound wicked when you’re playing by yourself, but their sound virtually vanishes when you use them with a band, and you end up looking like the world’s worst air guitarist. If the pedal you’re auditioning has tone controls, dial in a sound you like, then have a friend jam along with you. If the tone doesn’t cut through, you may want to consider another pedal.</p> <p><strong>05. Avoid the Idiot Setting</strong></p> <p>While many pedals sound great with every knob turned up to 11, some pedals, like the Z-Vex Fuzz Factory, generate such extreme distortion that they don’t produce any sound at all when everything is maxed. The best tones usually lurk in those elusive in-between settings, so take your time and tweak those knobs. Start with the knobs turned down and work your way up.</p> <p><strong>06. Talk Dirty to Me</strong></p> <p>A lot of distortion pedals sound best when the amp is dialed to a clean setting. But many stomp boxes, especially overdrive and fuzz effects, sound better when the amp has a dirty edge. Experiment with various amp distortion settings while you mess around with the pedal’s knobs. Get rough with that amp; no one will slap you or call you a perv.</p> <p><strong>07. Crashing by Design</strong></p> <p>They don’t call them stomp boxes for nothing. Look for a pedal that is built like a tank and will support your weight even if you should balloon to John Popper-like proportions. Control knobs should be easy to reach and see, but they shouldn’t be placed where you can mistakenly step on them and disrupt your carefully dialed-in settings. The bypass switch should engage with a noticeable click, or the pedal should have an LED that lets you know when the effect is on.</p> <p><strong>08. Battery Aggravations</strong></p> <p>Trust me—James Hetfield wasn’t singing about the Duracells in Kirk Hammett’s Boss distortion in “Battery.” You may think your pedal is going to last all night because you put the Energizer Bunny in it, but remember that rabbits have a habit of dying when it’s least convenient for you. If you plan to use your pedal onstage, buy one that can be powered with AC. You may need to shell out a few extra bucks for an AC adapter, but in the long run it’s a lot cheaper than what you’ll spend replacing batteries.</p> <p><strong>09. Drastic Bypass</strong></p> <p>Look for pedals that offer true-bypass circuitry. This feature removes the pedal’s electronic circuit when the effect is switched off, letting your guitar signal pass through the pedal without affecting its tone or gain. Effects without true bypass bogart tone like your bass player sharing his stash, and when you chain several of these pedals together your tone will be as mighty as an outfielder on steroids. If someone offers you a triple bypass, leave the store immediately—you probably walked into Surgery Center by mistake.</p> <p><strong>10. Ignore the Tone Snobs</strong></p> <p>Tube-amp elitists may declare that everything solid-state is crap, yet they exalt the tones of players like Jeff Beck, Jimi Hendrix and Stevie Ray Vaughan, each of whom relied heavily on solid-state Rat, Fuzz Face and Tube Screamer pedals, respectively, to create their signature sounds. Fuzz fanatics argue at length about the virtues of germanium versus silicon transistors. Don’t obsess about minute electronic circuitry details; let your ears be your guide. There’s nothing wrong with using a pedal with an integrated- circuit design if it sounds sweeter to you than an expensive tube-equipped stomp box.</p> fuzz Effects Blogs News Features Gear Magazine Mon, 29 Jun 2015 14:10:04 +0000 Chris Gill 10906 at Zero to Sixties in Five Pedals: Five Modern Effects that Conjure Far-Out, Vintage Tones <!--paging_filter--><p>Many guitar players—at some point—can't help but fall under the spell of the sounds found on classic rock albums of the mid- to late Sixties. </p> <p>Players like Jimi Hendrix, Eric Clapton, Jeff Beck, Jimmy Page, Pete Townshend and Robby Krieger were synonymous with wah, fuzz, univibe and/or tremolo. Throw George Harrison and Brian Jones into the mix and you get sitars and other sound- (and mind-) altering effects. They were always experimenting, changing things up, trying to outdo each other. </p> <p>Modern players who are obsessed with classic Sixties rock sounds can glue their eyes to eBay, waiting for pricey, hard-to-find vintage gear to show up. Or they can check out these five easy-to-find, modern effect pedals, as chosen by a group of <em>Guitar World</em> staffers including Gear Editor Paul Riario. </p> <p><strong>Vox V846-HW Hand-Wired Wah Wah</strong></p> <p>Stop, children, what's that sound? ... Well, if we're talking about the Sixties (and we are), it's probably Jimi Hendrix playing "Voodoo Child (Slight Return)" on a Fender Strat through a Vox V846 Wah Wah pedal.</p> <p>Vox actually created the first wah pedal in the Sixties, spawning an army of imitators that continues to grow, NAMM Show after NAMM Show. Back in the day, the Vox wah and its competitors found their way into the hands—or in this case, the feet—of countless top-notch rock guitarists, from Hendrix to Jeff Beck to Jimmy Page to Eric Clapton. But again, Vox was there first. </p> <p>Just a few years ago (2011), the company issued its V846-HW Hand-Wired Wah Wah Pedal, which does a fine job of capturing the tone, feel and weight of the original Vox pedal. Every component in the new model—inductors, resistors, capacitors and the potentiometer—is carefully selected. And like its name suggests, each unit features hand-wired turret board construction with no printed circuit boards. The only difference is a true bypass, a handy update for modern players. </p> <p><strong><a href="">Check out this pedal at</a></strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Dunlop Jimi Hendrix Fuzz Face Distortion</strong></p> <p>The Sixties may have started out clean, but by the end of the decade there were some pretty gnarly distortion and fuzz sounds filling clubs and arenas around the world. </p> <p>Among the most distinctive fuzz tones of the late Sixties undoubtedly belonged to Jimi Hendrix, who utilized a Dallas Arbiter Fuzz Face to add that extra layer of dirt to his already gritty brand of hard blues. Unless you're quick on the draw with your eBay bids or simply owned one back in the day, you won't have much luck finding Hendrix's original fuzz source these days, but fortunately Dunlop has produced a faithful replica in the Dunlop Jimi Hendrix Fuzz Face.</p> <p>Hand-wired and built around a BC108 silicon transistor, the Hendrix Fuzz Face is nothing less than a meticulous reproduction of the original pedal, one you'll need if you'll want to summon your inner-voodoo child.</p> <p>And if a Tone Bender is more your thing, check out the <a href="">OC81D Williams Vintage Tone MK11 Professional</a>, as used by Ben King, a former Yardbirds guitarist. </p> <p><strong><a href="">Check out this pedal at</a></strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Electro-Harmonix Ravish Sitar</strong></p> <p>You're in a Sixties cover band. The rowdy, drunken audience is clamoring for your "Paint It, Black" / "Norwegian Wood" medley. Do you just play the sitar parts on your Fender Esquire and smile knowingly, like, "Yeah, I know these notes were originally played on a sitar, but what the hell am I supposed to do?" Well, yes, you could do that. But you also could check out Electro-Harmonix's Ravish Sitar pedal. </p> <p>As we say in a recent <a href=";;utm_medium=article&amp;utm_campaign=60sPedals">Guitar World Buyer's Guide</a>, it's the "world's best sitar emulation for guitar. With the Ravish Sitar pedal, Electro-Harmonix has streamlined the essence of the sitar into a compact enclosure that offers a polyphonic lead voice a tunable sympathetic string drones that dramatically react to your playing with adjustable timbre."</p> <p>And besides all that, guitarists can finally tackle "Bangla Dhun," Ravi Shankar's 15-minute Indian-music recital that kicks off <em>The Concert for Bangladhesh</em>. Or not! </p> <p><strong><a href="">Check out this pedal at</a></strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Dry Bell Vibe Machine V-1</strong></p> <p>You'll find vibe effects all over the music of Jimi Hendrix and Procol Harem's Robin Trower, a fact that, in and of itself, makes a good vibe pedal an essential part of any Sixties guitar rig. </p> <p>There's no shortage of great vibe units to choose from, but for our money, the Dry Bell Vibe Machine is the top of the heap. Not only is it among the more compact options, it allows for maximum tone control with its "Bright" switch, avoiding the sound-dampening side effects of some of the other pedals on the market.</p> <p>If you want to nail that Hendrix-at-Woodstock tone, adding this little beauty in your arsenal certainly can't hurt. What it can't help? Your nerves playing "The Star-Spangled Banner" in front of a few hundred-thousand fans.</p> <p><strong><a href="">Check out this pedal at</a></strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Fulltone Supa-Trem 1</strong></p> <p>As <em>Guitar World</em> has said in past reviews, Fulltone's Supa-Trem 1 is a tremolo pedal that lives up to its name. As you can tell by the photo in the gallery below, it's a simple, basic, gimmick-free effect that inadvertently captures the look of Sixties pedals while working hard to capture the sound. </p> <p>From personal experience, it's also a rugged pedal that can take a licking and keep on waving. It features a footswitchable Half/Full speed footswitch that stays in tempo and lets you channel some authentic-sounding Leslie-like moves. Another footswitch lets you choose between "Soft" smooth wavering or "Hard" square-wave machine-gun stutter. There's also an internal trimmer to fine tune the feel of the waveform.</p> <p>As a side note, Sixties rocker John Fogerty uses one of these pedals today to recreate his powerful CCR-era tremolo effects.</p> <p><strong><a href="">Check out this pedal at</a>.</strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/jimi-hendrix">Jimi Hendrix</a> </div> <div class="field-item even"> <a href="/eric-clapton">Eric Clapton</a> </div> <div class="field-item odd"> <a href="/beatles">The Beatles</a> </div> <div class="field-item even"> <a href="/george-harrison">George Harrison</a> </div> <div class="field-item odd"> <a href="/jeff-beck">Jeff Beck</a> </div> <div class="field-item even"> <a href="/cream">Cream</a> </div> <div class="field-item odd"> <a href="/jimmy-page">Jimmy Page</a> </div> <div class="field-item even"> <a href="/robby-krieger">Robby Krieger</a> </div> </div> </div> </fieldset> Damian Fanelli Dry Bell Dunlop EHX Electro-Harmonix Fulltone George Harrison Jimi Hendrix VOX Guitar World Lists Effects News Features Gear Mon, 29 Jun 2015 12:16:27 +0000 Damian Fanelli, Josh Hart 16374 at Pigtronix Releases Infinity Looper 2.0 Firmware and New Infinity Website <!--paging_filter--><p>Pigtronix has announced the release of 2.0 Firmware for its Infinity Looper pedal. </p> <p>The company also has launched an interactive tutorial and support website for the pedal. </p> <p><strong>Included in the Infinity 2.0 firmware:</strong></p> <p>• 50 presets (up to 100 loops maximum)<br /> • Minimum Loop Time - 10ms shortest loop<br /> • Alternate Remote Switch options - Stutter, Instant Erase, Vari-speed<br /> • MIDI CC overhaul - Complete MIDI control of all functions and parameter selection<br /> • Vari-speed - Change pitch of loops by any musical interval over a three octave range<br /> • Reverse Playback - Each Loop can be individually toggled between forwards and reverse<br /> • Advanced expression pedal mapping - Foot control of Vari-speed, loop aging and loop volume<br /> v"Active" MIDI Tracking - accurately track even the most unstable MIDI clock sources</p> <p>The new Infinity website features an array of tutorial videos—featuring NYC loop-master Teddy Kumpel (Joe Jackson, Rickie Lee Jones)—that walk users through all the pedal's functions. </p> <p>An interactive manual allows visitors to contribute questions and add to the knowledge base. In addition, the artist section features inspiring looping videos by a wide range of musicians including Doug Wimbish (Living Colour), Eric Krasno (Lettuce, Soulive), Joseph Arthur, Michael League/Bob Lanzetti (Snarky Puppy), Dick Lövgren (Meshuggah), Julie Slick (Adrian Belew), Evan Marien, Yolanda Charles and others. </p> <p><strong>You can check out the new website—and learn more about the firmware—<a href="">right here.</a></strong></p> Pigtronix Effects News Gear Fri, 26 Jun 2015 19:50:25 +0000 Guitar World Staff 24828 at We Came As Romans: Exclusive Gear Tour with Joshua Moore and Lou Cotton — Video <!--paging_filter--><p>We Came As Romans are out on the road at the moment—with a very busy July ahead of them. </p> <p>But that didn't prevent WCAR guitarists Joshua Moore and Lou Cotton from showing <em>Guitar World</em> their live rig/gear setup. </p> <p>Check out the brand-new video below.</p> <p>For more about We Came As Romans, their current tour dates and their new self-titled album, visit <a href=""></a></p> <p><strong>For more exclusive <em>Guitar World</em> videos, <a href="">be sure to follow GW on YouTube right here.</a></strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> Gear Tour Joshua Moore Lou Cotton We Came As Romans Videos News Gear Fri, 26 Jun 2015 19:22:03 +0000 Guitar World Staff 24829 at Review: Music Man Stingray 4 Neck Through Bass — Video <!--paging_filter--><p><strong><em>PLATINUM AWARD WINNER</em></strong></p> <p>While set neck basses have their place in history, generally the most popular models for bass players are either bolt-on neck instruments (like the Fender Precision and Jazz Bass and the Music Man StingRay) or neck-through-body designs (like the Rickenbacker 4001, Gibson Thunderbird and various Alembic and Spector models). </p> <p>Each version has its advantages, but now Ernie Ball Music Man has widened the spectrum even further with the introduction of the StingRay Neck Through model. </p> <p>Identical in almost every way to the beloved bolt-on versions of the StingRay bass other than its neck-through-body construction, the StingRay Neck Through provides different tonal and dynamic personality.</p> <p><strong>FEATURES:</strong> Music Man offers the StingRay Neck Through in a wide variety of configurations. Players can choose 21-fret four-string or 22-fret five-string models with single humbucking, dual humbucking or single-coil (neck) and humbucking pickup configurations, and the four-string/single-humbucking version is available either with the classic two-band (treble, bass) active EQ controls or with the three-band active EQ (treble, middle, bass) featured on all of the other versions. Our evaluation example was a four-string model with three-band EQ.</p> <p>From the front, the StingRay 4 Neck Through looks identical to the bolt-on version of the StingRay 4. The telltale difference is only notable when looking at the back, which reveals the lack of a heel, replaced by a smooth transition where the body meets the neck. High gloss polyester finish also covers the entire back of the neck as well as the body (in contrast to the gunstock oil and hand-rubbed special wax blend used to finish the standard StingRay’s maple neck). Also, the StingRay Neck Through is only available with a rosewood fingerboard (no maple or fretless fingerboard options). </p> <p>Construction consists of a three-piece maple neck through design with ash body “wings.” The neck has a 34-inch scale, 11-inch radius, flat C-shaped profile and 1 5/8-inch nut width. The nut features Music Man’s patented compensated design, and the truss rod is adjusted via an easily accessible wheel located above the highest fret. In addition to three-band EQ, the StingRay features a volume control for the active preamp circuit. All of the hardware is chrome plated, including the hardened steel bridge plate (with stainless steel saddles), control knobs and Schaller BM tuners with tapered posts.</p> <p><strong>PERFORMANCE:</strong> Perhaps the best way to describe the difference between the StingRay Neck Through and the standard StingRay is that the neck-through version sounds bigger. The low end has more body, the treble has more presence and its sustain is virtually endless. The attack may not be as prominent—instead notes have more roundness and warmth—but it still can sound very aggressive. Our example came from the factory with new Ernie Ball Slinky Flatwound strings, but the bass delivered very satisfying growl with plenty of high-frequency bite. The three-band EQ controls can dial in an incredible range of tones and provide perfect string-to-string balance with almost any bass amp or speaker configuration.</p> <p>While the StingRay Neck Through’s versatile tones are absolutely killer, what really seals the deal is how solid it feels and how incredible it plays, particularly at the uppermost frets. The rock-solid, flex-free neck is by far the most comfortable and fast bass neck I’ve ever played, facilitating precise fretting and runs that often feel uncomfortable to play on classic bolt-on instruments. The frets are wide and just high enough to provide a solid anchor without getting in the way when performing slides, hammer-ons or pull-offs. The Ernie Ball flatwound strings added to the playing comfort, of course, but when flatwounds sound this punchy, bright and round, there’s little need to use roundwounds.</p> <p><strong>LIST PRICE:</strong> Four-string SR4 3EQ, $2,820; five-string SR5 3EQ, $3,070<br /> <strong>MANUFACTURER:</strong> Ernie Ball Music Man, <a href=""></a></p> <p>Three-piece maple neck-through-body construction provides wider frequency response and eliminates the cumbersome neck heel to facilitate playing the entire fretboard. </p> <p>The active preamp system with three-band EQ delivers a wide range of tones ideal for any style of music and balancing string-to-string response with any amp.</p> <p><strong>THE BOTTOM LINE:</strong> The bolt-on version of the Music Man StingRay remains an attractive classic, but the new Neck Through model expands its tonal versatility while providing a more solid feel and enhanced playability.</p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at --><script language="JavaScript" type="text/javascript" src=""></script><object id="myExperience4305046310001" class="BrightcoveExperience"> <param name="bgcolor" value="#FFFFFF" /> <param name="width" value="620" /> <param name="height" value="348" /> <param name="playerID" value="798983031001" /> <param name="playerKey" value="AQ~~,AAAAj36EdAk~,0qwz1H1Ey92wZ6vLZcchClKTXdFbuP3P" /> <param name="isVid" value="true" /> <param name="isUI" value="true" /> <param name="dynamicStreaming" value="true" /> <param name="@videoPlayer" value="4305046310001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. 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If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --> August 2015 Music Man Videos Bass Guitars News Gear Magazine Fri, 26 Jun 2015 15:57:43 +0000 Chris Gill, Video by Matt Scharfglass 24761 at Review: Bogner Burnley, Harlow and Wessex Effect Pedals — Videos <!--paging_filter--><p><strong><em>PLATINUM AWARD WINNER</em></strong></p> <p>Names like Leo Fender, Jim Marshall and Ted McCarty are rightfully revered in the guitar community. </p> <p>Rupert Neve is another luminary whose name belongs in that company, but he’s not as well known because his contributions and influence have more to do with recorded guitar sound than the usual day-to-day playing or performing. </p> <p>His Neve 1073 and 1081 mic preamp/EQ modules introduced in the Seventies are probably responsible for more classic guitar recordings and tones than any other single other piece of gear short of perhaps the Shure SM57 mic.</p> <p>Reinhold Bogner, a modern-day legend who has made his own significant contributions to guitar tone, recently joined forces with Rupert Neve to produce a trio of pedals—the Burnley, Harlow and Wessex—that take an entirely different approach to overdrive and distortion. </p> <p>These pedals are inspired by the dynamic and detailed sounds of classic Neve mixing consoles, which featured custom transformer-coupled inputs and outputs. Neve designed special custom audio transformers for these pedals, which deliver studio-quality sound, dynamics and tonal dimension that transcend the typical performance capabilities of a standard stomp box.</p> <p><strong>FEATURES:</strong> Each of the three pedals offers its own distinct personality provided by unique transformer designs for each model. The Bogner Burnley is a dedicated distortion pedal with level, gain and tone controls and a Fat/Tight switch. The Wessex is an overdrive pedal featuring level, gain, treble and bass controls and an Enhance/Normal switch. The Harlow is described by Bogner as “Boost with Bloom” and provides level, tone and bloom controls. </p> <p>All three pedals share a variety of common characteristics and features. A “jewel light” indicator illuminates red when the pedal is engaged and turns progressively bluer depending on playing dynamics and the guitar’s output level. Other common features include true bypass switching, mono inputs and outputs and battery or 9VDC power (50mA or more). The compact housings are built like tanks, and an optional bubinga hardwood top panel is available for an additional $60.</p> <p><strong>PERFORMANCE:</strong> The sound quality and performance of all three pedals is on another level compared to the average overdrive and distortion pedal. Whereas many overdrive and distortion pedals boost everything going into it, including noise, these pedals kept the noise from a particularly troublesome single-coil guitar at bay while increasing the level of notes played quite impressively. Each pedal has its own tonal personality, but it’s a personality that complements the sound of your guitar and amp rig rather than dominating it. </p> <p>The Wessex offers the widest variety of tones and textures thanks to its individual treble and bass EQ controls. Clean boost is produced by cranking up the level and keeping gain at low settings, and as the gain control is turned up the personality changes from slight grit to aggressive crunch, ending up just shy of full-on high-gain distortion. The Enhance setting boosts both bass and treble without scooping out mids to maintain full-boded tone and expressive midrange. This is the most versatile pedal of the bunch, and I recommend it as a first purchase for guitarists who can only afford one.</p> <p>The Burnley is a very aggressively voiced distortion pedal that can boost both gain and output level quite significantly, but the tone never gets over the top and remains musically useful throughout its entire range. The Fat setting produces fat, rich, slightly compressed lead tones, making the Burnley a great choice for a solo boost pedal, particularly for players who love smooth, singing sustain. The Tight setting is better for rhythm playing and single note lines where a little more dynamic edge and responsiveness is preferred. The Tone control thickens up lower midrange frequencies to give the overall tone more heft.</p> <p>The Harlow boost pedal provides the most distinctive effect of the group. With the bloom control rolled all the way off, it produces a range of overdrive tones from clean boost to crushed glass crunch, but as the bloom control is turned up the tone becomes more aggressive. The effect is similar to a combination of tube amp sag and a compressor pushed until it begins to breathe, but it is much more dynamic, responsive and detailed. It’s almost like extreme fuzz, but the notes are much more musical and refined.</p> <p><strong>LIST PRICE:</strong> $269.99 (each, $329.99 for bubinga front panel)<br /> <strong>MANUFACTURER:</strong> Bogner Amplification, <a href=""></a></p> <p>Each model features its own unique custom transformer designed by Rupert Neve to provide incredibly dynamic and detailed boost, overdrive and distortion effects.<br /> The Burnley includes a Fat/Tight switch that provides a selection of slightly compressed lead tones or dynamically responsive rhythm and solo textures.</p> <p>The Harlow’s bloom control radically changes the personality of clean boost and overdrive crunch to aggressive fuzz- and compressor-like sag.</p> <p>The Wessex’s treble and bass tone controls and Enhance/Normal switch deliver a wide variety of textures from clean boost to hard rock distortion.</p> <p><strong>THE BOTTOM LINE:</strong> Bogner’s Burnley, Harlow and Wessex are studio-quality pedals that greatly expand your rig’s tonal and textural range, providing incredibly expressive overdrive and distortion tones with impressive dynamics and noise-free performance.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> August 2015 Bogner Videos Effects News Gear Magazine Thu, 25 Jun 2015 21:20:54 +0000 Chris Gill, Video by Paul Riario 24759 at TC Electronic Introduces PolyTune 2 BlackLight Tuner — Video <!--paging_filter--><p>TC Electronic announces PolyTune 2 BlackLight, the new ultra-cool and visually stunning addition to the company's line of polyphonic tuners.</p> <p>PolyTune 2 BlackLight sports everything that's made TC Electronic's polyphonic tuners the new tuning standard on pedal boards. </p> <p>The polyphonic tuning mode that lets you tune all strings at once, the super fast chromatic tuner and the ultra-precise strobe tuner are all there, and now they are housed inside a black metallic enclosure with a new super-bright blue-and-white LED display.</p> <p><strong>Features</strong></p> <p>• Polyphonic Tuner<br /> • Chromatic Tuner (+/- 0.5 cent)<br /> • Strobe Tuner (+/- 0.1 cent)<br /> • Super sleek black enclosure<br /> • Stunning blue and white LED display with ambient light sensor</p> <p>With extra features like dedicated Bass, Drop-D and Capo tuning modes, plus up to 5-semitones of flat tunings, this tuner is sure to up the wow-factor of every rig.</p> <p>For more information, visit <a href=";utm_campaign=TCE+PR+PolyTune+2+BlackLight&amp;utm_content=TCE+PR+PolyTune+2+BlackLight+CID_54df28286c4c34724b3692fc38d70081&amp;utm_source=Campaign%20Monitor&amp;utm_term=PolyTune%202%20BlackLight%20Website" target="_blank"></a>.</p> <p>

Available: Late June in Europe and late July in the U.S.
<br /> Price: $99.99 </p> <div><iframe src="" allowfullscreen="" frameborder="0" height="365" width="620"></iframe></div> TC Electronic Accessories Videos News Gear Thu, 25 Jun 2015 15:04:55 +0000 Guitar World Staff 24808 at Mass Effect: The Top 50 Stomp Boxes, Devices and Processors of All Time <!--paging_filter--><p>Has any piece of musical equipment proliferated more, or more rapidly, than the humble electric guitar effect unit? </p> <p>Though there is no official tally, suffice it to say that thousands of stomp boxes, effect devices and processors have been created for the electric guitar over the past 60 years (and that’s not including rackmount effects). Conceivably, more than half of those devices are distortion, fuzz and overdrive effects.</p> <p>So how did we come up with a list of the top 50 electric guitar effects of all time? Actually, it was easy, as most of these stomp boxes and devices turn up in the pages of this magazine on a regular basis every time we ask artists what they use in the studio and onstage.</p> <p>Other effects got the nod for being the first of their kind (like the DeArmond Tremolo Control, which dates back to the Forties and was the first optional effect device) while a few passed muster for being undeniably cool or influential — even if they’re so rare that it will cost you a few thousand bucks to score one on eBay.</p> <p>Popularity also was a critical factor in our choices, although we generally passed over a few best-selling reissues or boutique clones in favor of the real deal. So even though the Bubba Bob Buttcrack Tube Overdrive may sound more soulful than an original Tube Screamer, if it’s little more than a copy with slightly upgraded components, it didn’t make the cut. </p> <p>If you love effects like we do, we hope you'll find this top-50 list a useful guide to discovering the classic effect boxes that have shaped the guitar sounds of rock, metal, blues, punk and many other styles. And if you're like us, it will undoubtedly compel you to plunk down a chunk of cash for a collectible pedal or two on eBay. Don't say you weren't warned.</p> 2011 Articles Boss GW Archive Ibanez July 2011 Roland Guitar World Lists Effects July News Features Gear Magazine Thu, 25 Jun 2015 12:25:16 +0000 Chris Gill 17196 at Steve Lukather Demos Signature Ernie Ball Music Man Luke III Guitar — Video <!--paging_filter--><p> In this new video, guitarist Steve Lukather walks you through his signature Luke III—also known as the LIII—model guitar from Ernie Ball Music Man. </p> <p>For more about this guitar, check out the specs below and visit its page on <a href=""></a></p> <p><strong>SPECIFICATIONS:</strong></p> <p><strong>Model:</strong> Luke III<br /> <strong>Size:</strong> 12-3/16" wide, 1-3/4" thick, 36-7/16" long (31.0 cm wide, 4.5 cm thick, 92.6 cm long)<br /> <strong>Weight:</strong> 7 lbs, 8 oz (3.40 kg) - varies slightly<br /> <strong>Body Wood:</strong> Alder<br /> <strong>Body Finish:</strong> High gloss polyester<br /> <strong>Body Colors:</strong> Black, Bodhi Blue<br /> <strong>Bridge:</strong> Standard - Music Man® floating vintage tremolo of chrome plated, hardened steel with bent steel saddles<br /> <strong>Scale Length:</strong> 25-1/2" (64.8 cm)<br /> <strong>Neck Radius:</strong> 12" (30.5 cm)<br /> <strong>Headstock Size:</strong> Only 5-7/8" (14.9 cm) long<br /> <strong>Frets:</strong> 22 - Low profile, wide<br /> <strong>Neck Width:</strong> 1-5/8" (41.3 mm) at nut, 2-3/16" (55.6 mm) at last fret<br /> <strong>Neck Wood:</strong> Select roasted maple neck<br /> <strong>Fingerboard:</strong> Rosewood<br /> <strong>Neck Finish:</strong> Gunstock oil and hand-rubbed special wax blend<br /> <strong>Neck Colors:</strong> Standard – Natural with finished headstock<br /> <strong>Tuning Machines:</strong> Schaller M6-IND locking<br /> <strong>Truss Rod:</strong> Adjustable - no component or string removal<br /> <strong>Neck Attachment:</strong> 5 bolts - perfect alignment with no shifting; Sculpted neck joint allows smooth access to higher frets<br /> <strong>Electronic Shielding:</strong> Graphite acrylic resin coated body cavity and aluminum lined control cover<br /> <strong>Controls:</strong> Custom Music Man® active preamp; push/push volume for gain boost, 500kohm passive tone - .022µF tone capacitor<br /> <strong>Switching:</strong> 5-way lever pickup selector<br /> <strong>Pickups:</strong> Standard - HH with 2 DiMarzio Transition humbucking; Optional - HSS with 1 DiMarzio <strong>Transition humbucking;</strong> 2 DiMarzio custom single coil<br /> <strong>Left Handed:</strong> No<br /> <strong>Strings:</strong> 9p-11p-16p-24w-32w-42w (RPS 9 Slinkys #2239)</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> Ernie Ball Music Man Steve Lukather Videos Electric Guitars News Gear Wed, 24 Jun 2015 20:21:15 +0000 Guitar World Staff 24804 at Jeff Beck Shows Off His Favorite Guitars — Video <!--paging_filter--><p>Fans of Jeff Beck—and of vintage gear in general—might get a kick out of the video below.</p> <p>In the nearly 15-minute-long clip, which appears as bonus content on Beck's 2011 <em>Rock 'n' Roll Party</em> DVD, Beck shows off some of his favorite guitars.</p> <p>These include a worn-in Fender Telecaster with humbuckers (which he got from Seymour Duncan), the Fender Strat he got from John McLaughlin, an original Gretsch Rancher, a 1954 Telecaster (which he plugs in and demos), a 1956 Gretsch Duo Jet and more.</p> <p>This is, of course, the same Duo Jet Beck used on his 1993 <em>Crazy Legs</em> album (a tribute to Gene Vincent and Cliff Gallup) and at the 2010 <em>Rock 'n' Roll Party</em> Les Paul tribute show at the Iridium in New York City.</p> <p>Note: In the video, it seems Beck misidentifies his Gibson ES-175 as a Gibson L5. Just pointing it out! Hey, it could happen to anyone!</p> <p>Beck is expected to release a new studio album, the long-awaited followup to 2010's <em>Emotion &amp; Commotion</em>, later this year. Enjoy! </p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/jeff-beck">Jeff Beck</a> </div> </div> </div> </fieldset> Jeff Beck Videos News Gear Wed, 24 Jun 2015 11:55:57 +0000 Damian Fanelli 22657 at 'American Sniper' Guitar: How Tim Montana's Whim Turned Into a One-of-a-Kind Gibson Les Paul <!--paging_filter--><p>The winning bid of $117,500 for a factory-fresh Gibson Les Paul Standard Special—in a satin finish of red, gun-metal grey and viper blue, and sporting bullet shell knobs, no less—caught even its country-rock instigator off guard.</p> <p>“I dreamed of maybe $50,000,” says neo-outlaw singer/guitarist Tim Montana, who dreamed up the one-off Chris Kyle commemorative guitar after seeing <em>American Sniper</em> last year. </p> <p>“That last day of the auction it just sat at $25,000 forever. I kept telling myself, ‘It's still a good amount of money, it goes to a worthy cause, you did good.’ Then right in the last hour the thing just exploded.” (All proceeds went to Kyle’s <a href="">Guardian for Heroes Foundation</a>.)</p> <p>Montana, best known for <a href="">“This Beard Came Here to Party,”</a> the ZZ Top homage that became the 2013 World Series anthem of the Boston Red Sox, has been a Gibson man since pal Billy F. Gibbons gave him a personal walk-through at the Nashville factory two years ago. </p> <p>“I had written a song [‘Freedom’s Never Free’] for a friend who battled PTSD, so after I saw the movie I thought, I'm going to call Gibson and see what the odds are of doing a Chris Kyle Les Paul.”</p> <p>Montana, who performs with his band the Shrednecks, suggested finishing the guitar in the Kyle foundation’s logo—a skull with a rifle-scope crucifix over its right eye. </p> <p>“I’m not a huge guitar collector or anything,” Montana says. “My first guitar, when I was six, was a classical guitar because my parents moved off the grid in Montana and we never had electricity. I remember taking it to a guitar store to see if they could help fix it up, and the guy told me, ‘Yeah, I’ll help you—take it out back and smash it.’ I left the store in tears.”</p> <p><strong>For more about this guitar, including specs, visit <a href=""></a></strong></p> <p><img src="/files/imce-images/american-sniper-main.jpg" width="620" height="349" alt="american-sniper-main.jpg" /></p> August 2015 Gibson Tim Montana Electric Guitars Interviews News Gear Magazine Tue, 23 Jun 2015 22:18:45 +0000 Greg Evans 24799 at Review: Vox Custom Series AC10C1 Guitar Amp — Video <!--paging_filter--><p>The original, single-speaker Vox AC10, introduced as early as 1959, had undergone several cosmetic changes before it was finally discontinued in 1965, but what mostly remained intact was its distinct circuit, found in many of the company’s flagship line of amplifiers. </p> <p>Having more power than the diminutive, practice-sized AC4 and being more compact than the influential and gig-ready AC15, the AC10 occupied a desirable space between those two popular amplifiers that were recognized for their harmonically rich overdrive and jangly clean tone. </p> <p>Now, Vox has revived this classic all-tube amplifier with the Custom Series AC10C1, which brilliantly reproduces Vox’s legendary Top Boost sound in a lower-wattage amp with the addition of an onboard studio quality reverb for even more versatility. </p> <p><strong>FEATURES:</strong> The AC10C1 foregoes the original’s square shape for a more portable, rectangular housing, similar to the AC15 Custom. With this extra length, the amp has more low-end resonance and greater projection in volume. Considering it feels lighter than its stated 27 pounds, it’s an ideal candidate for a personal stereo rig when using two. Dick Denney’s original design of normal and vibrato channels has been replaced with a single input to accommodate this model’s built-in Top Boost circuit. </p> <p>The AC10C1 features top-mounted “chicken-head” controls for gain, bass, treble, reverb and master volume, along with an external speaker jack, two 12AX7 preamp tubes and two EL84 tubes pushing 10 watts of output power. The single 1x10-inch Celestion VX10 speaker is evenly voiced, providing the bell-like tone of Celestion’s blue alnico speaker at lower volumes and the bark of their Greenback when cranked.</p> <p><strong>PERFORMANCE:</strong> As the owner of three AC30s from different eras, I’m obviously a sucker for the Vox sound. Fortunately, the AC10C1 lets me get that tone in an amp that’s both portable and loud enough for gigging. What makes it impressive is how detailed and focused its Top Boost tone is no matter what guitar is plugged into its input. </p> <p>The bass and treble EQ knobs deliver precise tone shaping, and the even taper of the gain and master volume knobs allows for enough clean headroom before blossoming to complex overdriven crunch. Turning up the treble produces sparkling cleans that have razor-sharp top-end sheen. For more muscular tones, the bass knob provides ample body to shape the amount of heft. The reverb has an expansive splash but doesn’t overwhelm the sound because it lacks the noisy digital artifacts found in most built-in reverbs.</p> <p><strong>LIST PRICE:</strong> $599.99<br /> <strong>MANUFACTURER:</strong> Vox Amplification, <a href=""></a></p> <p>The studio-quality reverb adds incredible dimension and ambience considering the AC10’s portable size.</p> <p>At 10-watts, the AC10 has plenty of volume and nails all the ringing clean jangle and chunky overdrive that Vox is famous for. </p> <p><strong>THE BOTTOM LINE:</strong> The compact VOX AC10 packs all the legendary Top Boost character of the flagship AC30 and is cleverly voiced for more headroom, versatility and chime.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> August 2015 gear review VOX Videos Amps News Gear Magazine Tue, 23 Jun 2015 14:42:53 +0000 Paul Riario 24760 at Review: Danelectro Baby Electric Sitar — Affordable Ticket to an Exotic Wonderland <!--paging_filter--><p>The electric sitar is often considered a novelty instrument that’s useful only for corny Indian music simulations, but songs like Steely Dan’s “Do It Again” and Van Halen’s “Primary” prove it can be a very inspiring alternative to the usual six-string solution. </p> <p>The reason more guitarists haven’t explored the sonic possibilities of the electric sitar is that original Sixties examples are rare and expensive, and newer reissues cost more than most guitarists want to pay for something that probably won’t be their main ax. </p> <p>Enter Danelectro’s new Baby Sitar, which is based on the Danelectro Sitar from the late Sixties, which the company offered as a lower-cost alternative to the Vinnie Bell Coral Sitar.</p> <p><strong>FEATURES:</strong> The Baby Sitar is almost identical to the 1967-69 version, with the same round, gourd-shaped body, single lipstick-tube pickup and “thermometer”-shape headstock. It also lacks the sympathetic strings found on the Coral sitar (which don’t really work as true sympathetic strings) and has a “buzz” bridge (now made by Gotoh), which is the source of the buzzing, sitar-like sound. However, this version also lacks the aluminum leg rest that supports the instrument when it’s played in a sitting position. Controls consist of volume and tone, and the neck has a 25-inch scale and 21 frets. </p> <p><strong>PERFORMANCE:</strong> The compact body shape may make the Baby Sitar “junior” sized, but the instrument is really a full-size guitar. It has six strings and is played just like a regular guitar, although for authentic sitar effects players may need to work on their string bending techniques and study a few exotic scales. The buzz bridge makes the attack more percussive and notes don’t sustain very long, but that’s the nature of sitar-like tone. With distortion and some effects, the Baby Sitar stimulates exploration of new sounds that go well beyond Ravi Shankar territory.</p> <p><strong>STREET PRICE:</strong> $499<br /> <strong>MANUFACTURER:</strong> Danelectro, <a href=""></a></p> <p><strong>THE BOTTOM LINE:</strong> Whether you want to simulate authentic sitar tones or stimulate exploration of an entirely new tonal territory, the Danelectro Baby Sitar provides an affordable ticket to an exotic wonderland.</p> August 2015 Danelectro Videos News Gear Magazine Mon, 22 Jun 2015 09:20:55 +0000 Chris Gill 24765 at