Bass Guitar Owner's Manual Bass Guitar Configuration
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Ultimate Guitar Online's Revisions: Instrument
1.5 6.0 6.0 178.3 279.6 29.2 120.0 29.2 54.1 171.5 54.1 7.5 11.5 16.0 12.0 4.5 4.5 A B 2.4 6.0 3.0 228.5 54.1 120.4 54.1 151.3 26.5 98.3 26.5 11.5 16.0 5.0 4.5 4.5 10.7 10.7 104.6 C E 4.8 7.2 3.0 6.0 385.3 117.1 54.1 61.9 54.1 51.6 109.6 54.1 26.5 64.2 26.5 11.5 16.0 5.0 4.5 M D 3.0 3.0 23.4 197.1 210.1 26.5 144.2 26.5 26.5 157.1 26.5 5.0 5.0 192.3 F G 3.0 224.7 251.7 26.5 171.7 26.5 26.5 198.8 26.5 5.0 5.0 H J 3.0 3.0 205.7 165.6 26.5 152.7 26.5 26.5 112.6 26.5 5.0 5.0 K L Certain Luthiers Tune The Top By Making The Top Progressively Thinner As It Reaches The Guitar Edge And Remain Full Thickness At The Top. If You Do This Do Not Reduce The Edges Below 2.2mm And Make The Center Slightly Thicker. Center Bridge Brace On 660mm Line For Scale 52.4 Length. (4500 C F Brace Key Numbers. Refer To Brace Diagram Plan For 54.0 Bracing Layouts 20.8 4.8 (4500 G 29.1 R 36.8 Dashed Line Indicates Rossette 85.7 12.7 1.2 Reinforcement Extends Beyond Rossette Approx. -
Roger Sadowsky Interview, Bass Guitar Magazine UK
ROGER THAT 028 BASS GUITAR MAGAZINE 028-030 Sadowsky_rev3JH.indd 28 13/07/2015 18:17 BASSISTS ROGER SADOWSKY Roger Sadowsky, one of the world’s leading bass luthiers, stopped by at the London Bass Guitar Show to talk to Mike Brooks about his bass building philosophy stroll around Olympia during the “I recommended a good fret job, shielding the London Bass Guitar Show can be electronics, a better bridge and a preamp – actually, a noisy experience to say the only the second bass preamp I had ever installed. I was least – yet on both days of this using a circuit by Stars Guitars from San Francisco, a year’s event back in March, group that had come out of the Alembic school. That’s A there was a tangible buzz: an what I gave Marcus – but within a year, they went out audible sound of hushed of business and Marcus’s preamp died! They told me mutterings between those in attendance. “It is him, when they were closing up that the closest thing to isn’t it?”... “Is that really him? Here in London?” what they were making was a Bartolini TCT preamp. Who could they have been talking about, you ask? I used that until 1990, when I wanted to create my Well, yes it was true – one of the premier luthiers outboard preamp box and Alex Aguilar [of Aguilar of the bass world was there at the London Bass fame] helped me to design my own circuit.” Guitar Show, and boy did Roger Sadowsky make a Back in those days, there was no internet or social splash. -
Layout 1 (Page 1)
OWNER’S MANUAL 1550-07 GUS © 2007 Gibson Guitar Corp. To the new Gibson owner: Congratulations on the purchase of your new Gibson electric guitar—the world’s most famous electric guitar from the leader of fretted instruments. Please take a few minutes to acquaint yourself with the information in this booklet regarding materials, electronics, “how to,” care, maintenance, and more about your guitar. And then begin enjoying a lifetime of music with your new Gibson. The Components of the Solidbody Electric Guitar 4 Gibson Innovations 6 The History of Gibson Electric Guitars 8 DESIGN AND CONSTRUCTION Body 13 Neck and Headstock 13 Pickups 14 Controls 15 Bridge 17 Tailpiece 18 CARE AND MAINTENANCE Finish 19 Your Guitar on the Road 19 Things to Avoid 20 Strings 21 Install Your Strings Correctly 22 String Gauge 23 Brand of Strings 23 NEW TECHNOLOGY The Gibson Robot Guitar 24 64 Strap Stopbar Tune-o-matic Three-way 12th Fret Button Tailpiece Bridge Pickups Toggle Switch Marker/Inlay Neck Fret Fingerboard Nut Headstock The Components of the Solidbody Electric Guitar Featuring a Les Paul Standard in Heritage Cherry Sunburst Input Jack Tone Volume Binding Body Single Truss Machine Tuning Controls Controls Cutaway Rod Heads Keys Cover 57 Strap Stopbar Tune-o-matic 12th Fret Button Body Tailpiece Bridge Pickups Neck Marker/Inlay Fret Fingerboard Nut Headstock Three-way Toggle Switch The Components of the Solidbody Electric Guitar Featuring a V-Factor Faded in Worn Cherry Input Jack Tone Volume Pickguard Truss Machine Tuning Control Controls Rod Heads Keys Cover 6 Here are just a few of the Gibson innovations that have reshaped the guitar world: 1894 – First archtop guitar 1922 – First ƒ-hole archtop, the L-5 1936 – First professional quality electric guitar, the ES-150 1947 – P-90 single-coil pickup introduced 1948 – First dual-pickup Gibson, the ES-300 1949 – First three-pickup electric, the ES-5 1949 – First hollowbody electric with pointed cutaway, the ES-175 1952 – First Les Paul guitar 1954 – Les Paul Custom and Les Paul Jr. -
Overview Guitar Models
14.04.2011 HOHNER - HISTORICAL GUITAR MODELS page 1 [54] Image Category Model Name Year from-to Description former retail price Musima Resonata classical; beginners guitar; mahogany back and sides Acoustic 129 (730) ca. 1988 140 DM (1990) with celluloid binding; 19 frets Acoustic A EAGLE 2004 Top Wood: Spruce - Finish : Natural - Guitar Hardware: Grover Tuners BR CLASSIC CITY Acoustic 1999 Fingerboard: Rosewood - Pickup Configuration: H-H (BATON ROUGE) electro-acoustic; solid spruce top; striped ebony back and sides; maple w/ abalone binding; mahogany neck; solid ebony fingerboard and Acoustic CE 800 E 2007 bridge; Gold Grover 3-in-line tuners; shadow P7 pickup, 3-band EQ; single cutaway; colour: natural electro-acoustic; solid spruce top; striped ebony back and sides; maple Acoustic CE 800 S 2007 w/ abalone binding; mahogany neck; solid ebony fingerboard and bridge; Gold Grover 3-in-line tuners; single cutaway; colour: natural dreadnought western guitar; Gruhn design; 20 nickel silver frets; rosewood veneer on headstock; mahogany back and sides; spruce top, Acoustic D 1 ca. 1991 950 DM (1992) scalloped bracings; mahogany neck with rosewood fingerboard; satin finish; Gotoh die-cast machine heads dreadnought western guitar; Gruhn design; rosewood back and sides; spruce top, scalloped bracings; mahogany neck with rosewood Acoustic D 2 ca. 1991 1100 DM (1992) fingerboard; 20 nickel silver frets; rosewood veneer on headstock; satin finish; Gotoh die-cast machine heads Top Wood: Sitka Spruce - Back: Rosewood - Sides: Rosewood - Guitar Acoustic -
Client Price List.Pdf
Page 1 Price List.xls Brand Model DESCRIPTION Retail Price GUITARS CLASSIC GUITARS STARFIRE SAC31 1/8 SIZE 523.09 STARFIRE SAC34 1/2 SIZE 523.09 STARFIRE SAC36 3/4 SIZE 523.089 STARFIRE SAC39 4/4 SIZE 654.189 SUZUKI SG1B 1/2 SIZE NYLON STRING GUITAR WITH BAG 916.389 SUZUKI SG2B 3/4 SIZE NYLON STRING GUITAR WITH BAG 916.389 SUZUKI SG3B 4/4 SIZE NYLON STRING GUITAR WITH BAG 916.389 SUZUKI SCG6CE CLASSIC 4/4 SIZE EELECTRIC CUTAWAY GTR W/NYLON BAG 1566.645 SUZUKI SCG36CE CLASSIC 4/4 SIZE EELECTRIC CUTAWAY GTR W/NYLON BAG 1566.645 ARIA AKN15 CLASSIC 1047.489 ARIA AK20 CLASSIC - 1/4, 1/2, 3/4 1173.35 ARIA AK30 CLASSIC 1566.65 ARIA AK35 CLASSIC 2091.05 ARIA AC25 CLASSIC PRO MADE IN SPAIN - CEDER TOP 6548.445 ARIA AC25CE CLASSIC WITH FISHERMAN PICK UP & EQ 9301.545 ARIA AC35 CLASSIC PRO MADE IN SPAIN - CEDER TOP 8383.845 ARIA AK30CE CLASSIC - WITH PICK UP & EQ. 2615.45 ARIA AC35CE CLASSIC WITH FISHERMAN PICK UP & EQ 10612.545 ARIA AC50SP CLASSIC PRO MADE IN SPAIN - CEDER TOP 11792.445 ARIA AC50CE CLASSIC WITH FISHERMAN PICK UP & EQ 9437.889 ARIA AC70F FLAMENGO CLASSIC MADE IN SPAIN - CEDER TOP 10219.245 ARIA AC70FCE FLAMENCO CLASSIC MADE IN SPAIN - WITH CUTAWAY AND PICKUP 17429.745 ARIA AC80SP CLASSIC PRO MADE IN SPAIN - SPRUCE 18740.745 ARIA AK45 CLASSIC 2163.15 ARIA AK40 CLASSIC-SPRUCE TOP 1304.445 WASHBURN C40 CLASSIC ACOUSTIC GUITAR 1965.189 WASHBURN C44CE CLASSIC ACOUSTIC ELECTRIC GUITAR 2746.545 WASHBURN C80S CLASSIC ACOUSTIC GUITAR 2615.445 WASHBURN C64SCE CLASSIC ACOUSTIC GUITAR 3800.589 WASHBURN ACB40PROWAK AON CLASSIC ELECTRIC BASS -
ICA 2010 Paper
Proceedings of the International Symposium on Music Acoustics (Associated Meeting of the International Congress on Acoustics) 25-31 August 2010, Sydney and Katoomba, Australia Experimental Approaches on Vibratory and Acoustic Characterization of Harp-Guitars Enrico Ravina (1) (1) University of Genoa, MUSICOS Centre of Research, Genoa, Italy PACS: 43.75.- z; 43.75.Gh ABSTRACT The paper describes the results of a research activity, still under development, oriented to the vibratory and acoustic characterization of harp-guitars. Vibration analyses show interesting differences between harp-guitars and classical guitars about displacements detected on the soundboard and on the bridge and their dependence to frequencies. Acoustic analyses detect very different responses of harp-guitars to various frequencies, showing also the different acoustic emission at sound holes. Comparisons between signals detected by external and surface internal micro- phones allow estimating effects of the acoustic damping in these particular instruments. INTRODUCTION later two designs are technically harp guitars with open strings. They were smaller in size as was fashionable at the Harp-guitars represent a separate and distinct category within time. Barry and Harley of London, excellent craftsmen, built the guitar family, are those most commonly and popularly these instruments for Light. Many of these table harp lutes, as referred to today as harp guitars. This particular category of they were called, are still around today. The desire for ex- instruments includes guitars with any number of additional tended range on a guitar was evident as composers, such as unstopped strings that can accommodate individual plucking. Fernando Sor (1778-1839) and Matteo Carcassi (1792-1853) The word "harp" is a specific reference to the unstopped open wrote music on a three necked, 21 strung guitar, called a strings, and is not specifically a reference to the tone, pitch hypolyre. -
Guitars, Keyboards Wind/Brass Instruments and Accessories ROL-243 61-Key Keyboard with LCD Display
www.rollinsguitar.com Guitars, Keyboards Wind/Brass Instruments and Accessories ROL-243 61-key keyboard with LCD display Touch sensitivity. Metronome. MIDI Output. Vibrato/Sustain/Transpose. 128 Rhythms/128 Timbres. One-key/Ensemble. 61 keyboard percussion. Headphone Jack/Speaker Outputs(L/R)/MIDI 15 Demonstration Songs. Output Jack. Volume Control/Tempo Control. Keyboard Split Feature. Record and playback. Memory function: M1/M2/M3. Single Finger/Fingered Chord/Full Chords. AC/DC Adaptor Included. Rhythm Programming Function/Sync/Fill-in/Intro/ Ending. 2 www.rollinsguitar.com ROL-343 61-key keyboard with LCD display USB Capability/MIDI(USB line is included). Programming Editing/Intro/Ending/Fill-in. Touch sensitivity. Metronome. 128 Rhythms/128 Tones. Vibrato/Sustain/Transpose/Tune. 8 panel percussion & 61 keyboard percussion. 3-Lesson Feature:One-key/Follow/Enesmble. 30 Demonstration Songs. Headphone Jack/Speaker Output(L/R). Volume Control/ Tempo Control. AC/DC Adaptor Included. Record and playback. Chord Accompaniment: Single-finger,Bass. www.rollinsguitar.com 3 ROL-443 61-key keyboard with LCD display USB Capability/MIDI(USB line is Metronome. included). Vibrato/Sustain/Transpose. Touch sensitivity. 3-Lesson Feature: Lesson 1/Lesson 2/Lesson 200 Rhythms/162 Timbres. 3/Left&Right Hand Lesson Mode. 8 panel percussion & 61 keyboard Headphone Jack/Speaker Outputs (L/R)/Sus- percussion. tain Pedal Jack. 100 learning songs & 2 Demo Songs. Keyboard Split Feature. Volume Control/ Tempo Control. Memory function: M1/M2/M3/M4/M5/M6 Record and playback. Pitch Bend/Vibrato Bend. Chord Function/Chord Dictionary. AC/DC Adaptor Included. Programming Editing/Sync/Fill in A & B/Intro/ Ending/Fade in/Fade Out. -
Designing and Building an Electric Baritone Guitar
Hendrik Gideonse Audio Research December 14, 2008 Designing an Electric Baritone Guitar 0 Anatomy of a Guitar ................................................................................................... 2 1 Introduction ................................................................................................................. 3 2 Baritone History .......................................................................................................... 3 3 Problems with Existing Designs ................................................................................. 5 3.1 String Tension ..................................................................................................... 5 3.2 Balance, Ease of Playing 1st Position Chords and Bridge Position .................... 7 3.3 Rigidity for Tone and Sustain ........................................................................... 11 4 Designing the Baritone Guitar .................................................................................. 12 4.1 Woods, Tone and Rigidity ................................................................................ 13 4.2 Angled Headstock and ‘V’ Neck Contour ........................................................ 16 4.3 Headstock Shapes ............................................................................................. 19 4.4 Joining the Neck to the Body ............................................................................ 24 4.5 Body Shape ...................................................................................................... -
Automatic Transcription of Bass Guitar Tracks Applied for Music Genre Classification and Sound Synthesis
Automatic Transcription of Bass Guitar Tracks applied for Music Genre Classification and Sound Synthesis Dissertation zur Erlangung des akademischen Grades Doktoringenieur (Dr.-Ing.) vorlelegt der Fakultät für Elektrotechnik und Informationstechnik der Technischen Universität Ilmenau von Dipl.-Ing. Jakob Abeßer geboren am 3. Mai 1983 in Jena Gutachter: Prof. Dr.-Ing. Gerald Schuller Prof. Dr. Meinard Müller Dr. Tech. Anssi Klapuri Tag der Einreichung: 05.12.2013 Tag der wissenschaftlichen Aussprache: 18.09.2014 urn:nbn:de:gbv:ilm1-2014000294 ii Acknowledgments I am grateful to many people who supported me in the last five years during the preparation of this thesis. First of all, I would like to thank Prof. Dr.-Ing. Gerald Schuller for being my supervisor and for the inspiring discussions that improved my understanding of good scientific practice. My gratitude also goes to Prof. Dr. Meinard Müller and Dr. Anssi Klapuri for being available as reviewers. Thank you for the valuable comments that helped me to improve my thesis. I would like to thank my former and current colleagues and fellow PhD students at the Semantic Music Technologies Group at the Fraunhofer IDMT for the very pleasant and motivating working atmosphere. Thank you Christian, Holger, Sascha, Hanna, Patrick, Christof, Daniel, Anna, and especially Alex and Estefanía for all the tea-time conversations, discussions, last-minute proof readings, and assistance of any kind. Thank you Paul for providing your musicological expertise and perspective in the genre classification experiments. I also thank Prof. Petri Toiviainen, Dr. Olivier Lartillot, and all the collegues at the Finnish Centre of Excellence in Interdisciplinary Music Research at the University of Jyväskylä for a very inspiring research stay in 2010. -
Electric Guitars and Basses
About Electric Guitars and Basses Since the development of the Spanish six-string guitar in the early 1800s, guitar makers and players had searched for a way to make the guitar's sound louder. (See Acoustic Guitars for more info.) Big changes came at the beginning of the 20th century when a number of guitar players and designers experimented with electrical amplification. Major changes in guitar design began with the invention of the electromagnetic transducer commonly known as a "pickup." A pickup is a device placed underneath the strings of a guitar converting string vibrations into electrical energy. This energy is converted back into sound by an amplifier. The amplifier has knobs or switches that allow the player to increase or decrease the sound level of the guitar. (See section on Amplifiers for more info.) As early as the 1930s guitar players began installing pickups in their acoustic instruments. Although this helped make the sound louder, it created a whole new set of problems - especially "feedback" when the guitar was played at high volume. Several inventors developed a solution to this problem by experimenting with a solid body for the instrument by attaching a neck with strings to a solid block of wood. This solid wood body - not as resonant as a hollow body - created less feedback when amplified. By the 1950s solid body electric guitars were mass-produced to keep up with the increasing demand for these new instruments. First seen as just a novelty, electric guitars have become one of the most popular and influential instruments in modern music - used to play blues, jazz, rock & roll, country, and rhythm & blues styles. -
SKU DESCRIPTION MODEL Retail Price W/GST SALE PRICE W/GST DISC %
Acoustic Guitars Clearance Promotion SKU DESCRIPTION MODEL Retail Price w/GST SALE PRICE w/GST DISC % 137157 GUITAR ELEC ACOUS A1M TBS A1M TBS $ 889.00 $ 445.00 50% 137156 GUITAR ELECT ACOUS A1M VIN NAT A1M VN $ 889.00 $ 445.00 50% 137159 GUITAR ELEC ACOUS A1R TBS A1R TBS $ 989.00 $ 495.00 50% 137158 GUITAR ELEC ACOUS A1R VIN NAT A1R VN $ 989.00 $ 495.00 50% 137253 GUITAR ELEC ACOUS A3M TBS A3M TBS $ 1,199.00 $ 719.00 40% 137161 GUITAR ELEC ACOUS A3M VIN NAT A3M VN $ 1,199.00 $ 719.00 40% 137254 GUITAR ELEC ACOUS A3R TBS A3R TBS $ 1,299.00 $ 779.00 40% 137162 GUITAR ELEC ACOUS A3R VIN NAT A3R VN $ 1,299.00 $ 779.00 40% 138402 GUITAR ELEC ACOUS AC1M TBS//02 AC1M TBS//02 $ 889.00 $ 445.00 50% 137160 GUITAR ELEC ACOUS AC1M VIN NAT AC1M VN $ 889.00 $ 445.00 50% 138614 GUITAR ELEC ACOUS AC1R TBS//02 AC1R TBS//02 $ 989.00 $ 495.00 50% 138612 GUITAR ELEC ACOUS AC1R VN//02 AC1R VN//02 $ 989.00 $ 495.00 50% 138404 GUITAR ELEC ACOU AC3M TBS//ARE AC3M TBS//ARE $ 1,199.00 $ 719.00 40% 138399 GUITAR ELEC ACOUS AC3M VN//ARE AC3M VN//ARE $ 1,199.00 $ 719.00 40% 138397 GUITAR ELEC ACOUS AC3R VN//ARE AC3R VN//ARE $ 1,299.00 $ 779.00 40% 120607 GUITAR ELEC ACOUS APX1000 CRB APX1000 CRB $ 1,099.00 $ 769.00 30% 117659 GUITAR ELEC ACOUS APX1000 NAT APX1000 NAT $ 1,099.00 $ 769.00 30% 117295 GUITAR ELEC ACOUS APX1000 PWH APX1000 PWH $ 1,099.00 $ 769.00 30% 121837 GUITAR ELEC ACOUS APX1200II NA APX1200II NAT $ 1,769.00 $ 999.00 44% 121838 GUITAR ELEC ACOUS APX1200II TB APX1200II TBL $ 1,769.00 $ 999.00 44% 139127 GUITAR ELEC ACOUS APX600 BLACK APX600 BLK $ -
THE WORLD's FIRST PLAY-IN DEVICE the Tonerite
1 THE WORLD'S FIRST AND PREMIER AUTOMATIC PLAY-IN DEVICE Now Available for String Instruments and Drums! Acoustic, Electric, and Bass Guitar Mandolin, Violin, Viola, Cello, Double Bass & Ukulele Percussion Instrument: Drum The ToneRite PRODUCT AND PROCESS WORKS IN TWO SIMPLE STEPS First, to unlock the maximum potential of your instrument… The play-in de-dampening process is a well-known phenomenon that occurs when wood instruments are played regularly for many years. Through on-going research, ToneRite has developed automatic play-in technology that can rapidly and safely take your instrument to its highest potential in less than a week. The ToneRite is nearly silent, lasts a lifetime, and will improve your instruments tone, volume and playability whenever you are not playing it yourself. Second, to keep your instrument at its best… The ToneRite is also great for keeping your instrument in top playing shape. As instruments go un-played they begin to build up a natural tension which results in the gradual loss of tonal quality. Continual use of the ToneRite allows your instrument to be ready for you whenever you have the inspiration to play. Your instrument is at its best, all the time. 2 THE SECRET BEHIND THE TONERITE IS its ability to (continually) produce and efficiently transfer vibrational energy into an instrument, safely recreating and magnifying the physics that occur naturally while playing. This stimulation produces a change to the integrated components within an instrument and increases their ability to resonate together as a whole. The result is added volume and instruments that are easier to play with a sound that is more full and balanced.