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5.2 Humbuckers
5.2 Humbucker 5-9 5.2 Humbuckers The interference occurring with single-coil pickups motivated the development of the Humbucker. Single-coil pickups do not only pickup the vibration of the strings and generate a corresponding electric voltage, but they are also sensitive to magnetic fields as they are radiated by transformers, fluorescent lamps, or mains cables. Instead of having one coil, the "Hum-Bucker" consists of two coils connected to form a dipole and wired such that they are out of phase. The magnetic field generated by external interference sources induces in each coil the same voltage. Because of the anti-phase connection of the two coils the voltages cancel each other out. If the field generated by the permanent magnet would also flow through both coils with the same polarity, the signals generated by the vibrating string also be cancelled – this of course must not happen. For this reason the permanent field flows through the two coils in an anti-parallel manner such that the voltages induced by the vibrating strings are out of phase. Because the coils are connected out of phase, the voltages are turned twice by 180° i.e. they are again in phase (180° +180° = 360° corresp. to 0°). With this arrangement the signal-to-noise ratio can be improved somewhat compared to single-coil pickups (chapter 5.7). As early as the 1930s designers sought to develop a marketable pickup based on compensation principles which were generally already known. Seth Lover, technician with the guitar manufacturer Gibson, achieved the commercial break-through. -
Fender VG Stratocaster Issue 57
REVIEW FENDER VG STRATOCASTER Fender and Roland have joined forces again, this time to produce a Stratocaster with a difference. Text: Brad Watts It’s not all that often we review a guitar in you’ve got a spare $2.5k to drop on a guitar. And while the AudioTechnology – that’s a job best left to the guitar VG Strat comes with either a rosewood or maple fretboard, magazines. But every now and then an instrument hits the colour options are limited to black or three-tone the streets that truly embraces some of the technological sunburst (the sunburst is a tad pricier, as per usual). Fender advances we’ve all witnessed during the last 10 years or so. also supplies American series guitars with a solid moulded DSP modelling is one such field, and an area that ‘serious’ case rather than the padded gig bags that arrive with the guitarists do their best to steer clear of. But in the last lower-priced models. They’re a very nice guitar and well couple of years systems such as Line 6’s Variax range, along worth the extra lolly if you can stretch your budget. with various incarnations of the Roland ‘GK’ standard The VG model up for review possessed an extremely nice and the digital Les Paul from Gibson, have infiltrated the maple neck, which for me is the ultimate neck – standard ‘wood & steel’ domain. headstock design of course! The body, however, (black in The big drawcard of these guitars is versatility. I’m not this case) looked as though it hadn’t been sanded correctly. -
Our Comprehensive Technical Inspection Ensures Your Guitar Ships in Peak Condition and Is Ready to Play Right out Of
238 ELECTRIC GUITARS FENDER FENDER CLASSIC CORONADO SERIES LACQUER FENDER • Thinline semi-hollowbody • Strats have 6-saddle vintage-style STARCASTER guitar with binding bridge; Tele has 3-barrel saddle bridge • Offset thinline semi-hollowbody • Laminated maple body Period-correct controls and switching guitar with binding with alder center-block • Alder body Stratocasters or • Laminated maple body • Dual Fideli’Tron™ ash body Telecaster with alder center-block humbucking pickups • Gloss nitrocellulose lacquer • Dual Wide Range • 21-fret “C”neck; 9.5" radius finish will relic/age naturally humbucking pickups • Pinned Adjusto-matic™ bridge • Vintage-style single-coil pickups • 22-fret “C”neck; 9.5" radius w/floating “F” trapeze tailpiece • Maple neck with vintage- accurate 7.25" radius • Pinned Adjusto-matic™ bridge CORONADO-RW with anchored tailpiece Semi-hollowbody • 50’s Strat has ‘V’-neck; electric guitar ..................699.99 60’s Strat has ‘C’-neck STARCASTER-MN Offset semi-hollowbody TELE-50S-MN-WBL ............ 899.99 electric guitar ......... 699.99 STRAT-50S-MN-CAR .......... 899.99 STRAT-60S-RW-3TSB ......... 899.99 FINISH OPTIONS: FINISH OPTIONS: FINISH OPTIONS: 50’s 50’s 60’s Tele Strat Strat NEW! FENDER AMERICAN FENDER DELUXE NEW! FENDER FISHMAN® DELUXE STRAT® PLUS STRATOCASTER® HSS TRIPLEPLAY NEW! • 3 Strats in one - “Personality cards” PLUS TOP WITH IOS STRATOCASTER® HSS allow you to instantly rewire the guitar CONNECTIVITY • HSS guitar with onboard with pickup/circuitry modifications • Onboard USB audio interface and -
The Gibson Flying V
#1695702 in Books 2007-09-07Original language:EnglishPDF # 1 10.50 x 8.25 x .50l, .69 #File Name: 1886768722104 pages | File size: 60.Mb Zachary R. Fjestad, Larry Meiners ePub | *DOC | audiobook | ebooks | Download PDF [Library ebook] The Gibson Flying V The Gibson Flying V Zachary R. Fjestad, Larry Meiners : The Gibson Flying V before purchasing it in order to gage whether or not it would be worth my time, and all praised The Gibson Flying V: 8 of 8 people found the following review helpful. Everything about The Mighty VBy SGsStratsI just received this book in the mail yesterday and I love it. From design beginnings to a complete model listing with production dates and factories to headstock designs, it's all in here. There's even a section on the cases!My first lasting impression from the Flying V was as an 8 year old kid in '65 watching "Shindig" and The Kinks came on. They played "Tired Of Waiting" and there was Dave Davies with his Korina V, playing it with his arm in the fork of the body. Well, this book mentions not only when and where Dave bought his V but how much he paid for it (you won't believe it).I've been a V fan ever since from Andy Powell to the Schenker Brothers to Dave Meniketti (the first Yesterday and Today album) and Albert King and beyond. I wish the color section was a bit longer but everything else about this book is outstanding. Great detail about the Hendrix "Flying Angels" as he called them with photos of Jimi in action as well.The "Flying V Wanna- Bees" section is great also with coverage on Epiphone,Dean,Hamer and Ibanez models.This book is awesome and will give me hours of enjoyment.Now if I could just find that used Epi '67 style I've been looking for.2 of 2 people found the following review helpful. -
Contents About the Author
2 THE SERIOUS GUITARIST | EsseNtiaL BOOK OF Gear CONTENTS About the Author ..................................................... 3 2000 and Beyond ............................................38 Part 3: The Technical Stuff ..................................82 Introduction .............................................................. 4 Amp Modeling ...............................................39 The Science of Sound .....................................82 Guitar Apps ...................................................39 Vibrations........................................................82 Part 1: The History of Guitar Gear ...................... 5 8- and 9-String Guitars ...............................39 Amplitude and Types of Waves .................82 The1930s ............................................................. 5 Guitar-Based Video Games ......................40 Overtones (Harmonics) ..............................82 The First Electric Guitars .............................. 5 Look, Ma, No Amp! ......................................40 Modulation .....................................................83 The First Amplifiers ........................................ 6 Fractal Audio Systems Axe-FX II ..............40 The Order of Effects ....................................83 Early 7-String Guitar ...................................... 8 Looking Ahead ..............................................41 Understanding Guitar Amps ..........................84 Early Talk Box .................................................. 8 Tube Amps .....................................................84 -
Humbucker Wiring 2014 Final A4
HUMBUCKER INSTALLATION GUIDE Thanks for purchasing a Tonerider Humbucker. This guide provides wiring and installation information for all our four-conductor humbuckers. This included Alnico II Classics, Alnico IV Classics, Rocksong, and Generator models We’ve included several common guitar wiring configurations; however if you need any extra information, don't hesitate to contact us. We are musicians at heart and no question is too large or too small. All Tonerider pickups have a lifetime warranty when purchased new. Please see your warranty card for details. POLARITY AND WIRING: NORTH North/Slug Coil Start North/Slug Coil Finish South/Screw Coil Start South/Screw Coil Finish SOUTH THE QUICK GUIDE: * Install with screw coils facing outwards. * Pressing the strings against the high frets, set the pickup heights to 3mm from the strings (neck) and 2mm (bridge). * The RED wire is “hot” and connects to the input lug of the volume pot or switch. * The GREEN wire and SHIELD are “ground” and connect to the back of a grounded pot. * The BLACK & WHITE wires should be soldered together. This is done at our workshop. * Test the guitar through an amplifier and make final adjustments to the height of the pickups. FROM NECK PICKUP 3-WAY TOGGLE SWITCH FROM “HOT”/ BRIDGE PICKUP SIGNAL OUT GROUND Diagram 2 DPDT (on/on) COIL SPLITTING: This wiring option leaves one coil on, making the pickup work like a true single coil. It is a useful modification to increase your tonal options. “Hot” - SPLITTING TO THE SLUG COIL (Diagram 3): This is gives a fuller sound than the screw Diagram 3 coil, especially in the bridge position. -
2014 Fmic Accessories Product Guide
2014 FMIC ACCESSORIES PRODUCT GUIDE 2014 PRODUCT GUIDE | EFFECTIVE JANUARY 1, 2014 LIST PRICE 2014 FMIC Accessories Product Guide Strings .........................................................................................4 Picks ...........................................................................................6 Cables .........................................................................................9 Straps ........................................................................................ 11 Pickups ...................................................................................... 13 Effect Pedals ............................................................................... 19 Stands ....................................................................................... 20 Tuners & Capos ............................................................................ 21 Slides, String Winders & Power Products ............................................. 22 Care Products .............................................................................. 23 Ear Plugs & Mini Amplifiers ............................................................. 25 Cases ........................................................................................ 26 Gig Bags ..................................................................................... 27 Books, Books with CDs & DVDs ......................................................... 28 Pickguards ................................................................................. -
Hamer 02/Wright/Jul/2000
22 Vintage Guitar July 2000 www.vintageguitar.com BY MICHAEL WRIGHT WITH ANDREW LARGE, The Different Strummer STEVE MATTHES AND PETER FUNG LEFT TO RIGHT ’84 Hamer Special, mahogany body with custom factory yellow Stevens I with rare white/gold hardware option. ’85 Hamer Phantom A5, later and black graphics Courtesy of the A. Stein collection. Rare short-scale ’84 Hamer version with six-in-line headstock and bound fingerboard with crowns. Courtesy A. 4 Bass. Ca. ’85 Hamer Standard Lefty. Courtesy DiPinto Guitars. ’85 Hamer Steve Stein collection. Short-lived ’85 Hamer Scepter Vee. were the days before Rose won his patent rights). These were advertised as being, “...small, lightweight, versatile, and ag- Hamer Guitars gressive.” Finishes were either custom colors or graphics. High-End Boutique or Budget Vintage? Part II In ’86 the Prototype SS became known as the Steve Stevens model, a name it s we discussed last month, Hamer using Hamers inevitably led to the intro- bound fingerboard of either rosewood or enjoyed until its demise in ’92. Also at was started when Jol Dantzig and duction of models named for individual ebony, with dot or crown inlays. The that time the 22-fret fingerboard was ex- Paul Hamer, partners in North- artists. One of the earliest to get an artist ebony and crown version was sometimes tended to 24 frets, although some 22-fret A ern Prairie Music in the early 1970s, association was a version of the Special known as the Custom. The pickup layout models continued to be made. Begin- moved from repairing old guitars to mak- introduced in ’84, and carrying a Floyd consisted of a bridge humbucker and two ning in ’87, some came with Fender-style 1 ing new, improved versions of their Rose double-locking vibrato system. -
Patented Electric Guitar Pickups and the Creation of Modern Music Genres
2016] 1007 PATENTED ELECTRIC GUITAR PICKUPS AND THE CREATION OF MODERN MUSIC GENRES Sean M. O’Connor* INTRODUCTION The electric guitar is iconic for rock and roll music. And yet, it also played a defining role in the development of many other twentieth-century musical genres. Jump bands, electric blues and country, rockabilly, pop, and, later, soul, funk, rhythm and blues (“R&B”), and fusion, all were cen- tered in many ways around the distinctive, constantly evolving sound of the electric guitar. Add in the electric bass, which operated with an amplifica- tion model similar to that of the electric guitar, and these two new instru- ments created the tonal and stylistic backbone of the vast majority of twen- tieth-century popular music.1 At the heart of why the electric guitar sounds so different from an acoustic guitar (even when amplified by a microphone) is the “pickup”: a curious bit of very early twentieth-century electromagnetic technology.2 Rather than relying on mechanical vibrations in a wire coil to create an analogous (“analog”) electrical energy wave as employed by the micro- phone, “pickups” used nonmechanical “induction” of fluctuating current in a wire coil resulting from the vibration of a metallic object in the coil’s magnetized field.3 This faint, induced electrical signal could then be sent to an amplifier that would turn it into a much more powerful signal: one that could, for example, drive a loudspeaker. For readers unfamiliar with elec- tromagnetic principles, these concepts will be explained further in Part I below. * Boeing International Professor and Chair, Center for Advanced Studies and Research on Inno- vation Policy (CASRIP), University of Washington School of Law (Seattle); Senior Scholar, Center for the Protection of Intellectual Property (CPIP), George Mason University School of Law. -
Charvel® R&D Guitar Specification Sheet
Charvel® R&D Guitar Specification Summary Model: San Dimas™ Style 1 - 2H Series: U.S.A. Production Model Neck-thru or Bolt-on Bolt-on Description San Dimas™™ Style 1 Body Wood Alder (no veneer) Body Binding No BODY Scallop Heel No Scallop Horn No Other Charvel USA San Neck Description Dimas™ Reg./Reverse Headstock Regular 1 pc Maple - Neck/Centerblock Wood Quartersawn Fingerboard Wood n/a Inlay Dots 42.86 mm [1 11/16 Nut Width inch] Butt Width 57.15 mm [2 ¼ inch] NECK Scale Length 25.5" # of Frets 22 Dunlop® Jumbo 6100 Fret Wire (or SBB equivalent) Fret Scallop No Neck Binding No Head Binding No Charvel USA San 12”-16” Compound Neck Backshape Dimas™ Other Radius Bridge Floyd Rose® Recessed/Pullback No Nut Floyd Rose R3 Strap Button Dunlop Jack Location Side Jack Type Oval Grover® Mini Tuners Rotomatic Parts Color Black PARTS Knobs Black (knurled) Pickguard No Rear Control Yes – San Dimas™ Battery Cavity No Other Pickup Route 2H Active Electronics No Bezels Yes Covered Pickup No Bridge Pickup Seymour Duncan® TB4 Middle Pickup Neck Pickup Seymour Duncan SH1N Volume One Tone No Other Knobs Pickup Selector 3 Way Toggle Position 1 Bridge CONTROLS Position 2 Bridge & Neck Position 3 Neck Position 4 Position 5 Other Switches Placement Instructions Recessed back plates – (black) Standard Colors Black Rotation Colors Candy Apple Red (next TBA) Neck Finish Gunstock oil Painted Pickups No Artwork or Color Sample FINISH Natural – stain matte Headstock Color on front Logo Type Charvel Logo Color Black Other Case Charvel padded gig bag ©2008 JCMI, Inc. -
Telecaster Buying Guide
Telecaster Buying Guide Posted on Sunday, 01 December 2013 16:19. From: Musiciansfriend’s hub The Electric Guitar that Transformed American Music Table of Contents A Brief History of the Telecaster Tele Players: a Who’s Who of Guitar Wizardry Basic Telecaster Features Squier Telecasters Fender Telecasters USA Made Telecaster Guitars Fender Custom Shop So, Which Telecaster is Right for You? A Brief History of the Telecaster In 1951 the Telecaster was introduced to the world by Leo Fender, a Southern California inventor and businessman. Now a legendary instrument available in dozens of variations, the iconic “Tele” became the world’s first successfully mass-produced solid body electric guitar. Fender's Esquire guitar was the first prototype for the Telecaster and was produced in limited numbers. It was introduced in 1950 and renamed the Broadcaster shortly after. To avoid confusion and trademark issues with Gretsch Broadkaster drums, the guitar was renamed as the Telecaster. The Esquire was brought back as a single-pickup version of the Telecaster in 1951. The Telecaster’s simple, straightforward design along with its versatility and playability have led to its longevity. It features a single cutaway body and two single-coil pickups that produce the Tele’s bright and twangy trademark tone. The headstock has six single-side tuners, and the original design featured three innovative barrel-shaped saddles that allowed guitarists to adjust the string height for better playability. Fender incorporated production techniques no other guitar builder had used previously. Bodies were built using solid pieces of wood, referred to as blanks, and cavities for the electronics were made using a router. -
Secondhand Blues Dennis Michael Davis University of Missouri-St
University of Missouri, St. Louis IRL @ UMSL Theses Graduate Works 8-9-2013 Secondhand Blues Dennis Michael Davis University of Missouri-St. Louis, [email protected] Follow this and additional works at: http://irl.umsl.edu/thesis Recommended Citation Davis, Dennis Michael, "Secondhand Blues" (2013). Theses. 127. http://irl.umsl.edu/thesis/127 This Thesis is brought to you for free and open access by the Graduate Works at IRL @ UMSL. It has been accepted for inclusion in Theses by an authorized administrator of IRL @ UMSL. For more information, please contact [email protected]. SECONDHAND BLUES by Dennis Michael Davis B.A., English Language and Literature, Southern Illinois University – Edwardsville, 2010 A Thesis Submitted to The Graduate School at the University of Missouri – St. Louis in partial fulfillment of the requirements for the degree Master of Fine Arts in Creative Writing with an emphasis in Fiction July 2013 Advisory Committee Mary Troy, M.F.A. Chairperson John Dalton, M.F.A. Shane Seely, M.F.A. Copyright, Michael Davis, 2013 1 Table of Contents Abstract 2 Secondhand Blues 3 Stealing Home 108 2 Abstract “Secondhand Blues” is the first part of a novel-in-progress of the same title. It is a work of realist fiction that tells the story of an aspiring rock & roll artist, exploring the nature of ambition and how it affects (and is affected by) personal relationships. It also seeks to depict the world as it exists on the fringes of fame and success through the eyes of several different characters whose talents and ambitions have led them to take up residence there.