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  • Sheptone Unveils the Miles Bass Pickup
    by PRESS RELEASE on May 6, 2021 at 2:36 pm

    From classic cars to vintage guitars, short-lived designs are often the most sought-after. Sheptone goes the distance to achieve true vintage tone with the introduction of the Miles single coil bass pickup. Designed to accurately reproduce the tone of the milestone Fender 1951 Precision Bass, Sheptone’s Miles bass pickup stays true to the original design specifications and can transform a contemporary bass guitar into a living legend. Sheptone’s construction begins with vintage-accurate fiberboard flatwork and Alnico 5 magnets for excellent performance. Plain enamel magnet wire, 42 AWG, is scatterwound for great harmonics and string-wrapped to protect the single coil. Average resistance is 7.32kohms.The single-coil design of the Miles bass pickup has a dynamic response that delivers classic, smooth sound with a fat, yet tight, low-end. By simply rolling back the tone, players can walk right into a classic upright bass riff. This is vintage bass tone at its finest.Introducing the Miles Pickup from SheptoneThe Sheptone Miles 1951 P Bass Pickup Demo by Steve CookThe single-coil design of the Miles bass pickup has a dynamic response that delivers classic, smooth sound with a fat, yet tight, low-end. By simply rolling back the tone, players can walk right into a classic upright bass riff. This is vintage bass tone at its finest.While the classic P Bass served as the true-vintage inspiration for the Miles bass pickup, a special cause is the true heart and soul of Sheptone’s design. The son of Nashville bassist Steve Cook, 4-year-old Miles, was diagnosed with hearing loss and recently received life-changing cochlear implants. Miles and the Cook family are staying the course and overcoming obstacles on their journey, and Sheptone wants to help others do the same. Proceeds from the sale of the namesake Miles bass pickup will be donated to further enhance research and education in hearing loss. $109.00 USDFor more information: Sheptone

  • Gilmour’s Magic Mid-’90s Modulator Made Small
    by Charles Saufley on May 6, 2021 at 12:00 pm

    When you think about David Gilmour’s guitar sounds, you tend to think of big Hiwatts, creamy Big Muff or blazing Fuzz Face tones, and Echorec delays bouncing infinitely off the columns of Roman amphitheaters.But modulation has always been an equally foundational part of Gilmour’s outsized sound picture. And while he’s probably most famously associated with the Electro-Harmonix Electric Mistress when it comes to signal wobbling, he has embraced rotary speakers regularly since 1969. For much of his career, Gilmour used Leslie 147s or Yamaha RA-200s in this role. But at some point, he started to work with the Maestro Rover—an unusual stand-mounted rotating speaker that his technicians would use as inspiration for his more powerful, custom Doppola units. By the mid ’90s—a period that looms large for Gilmour tone hounds of a certain breed—the Maestro and Doppolas were elemental parts of his sound.Recorded with Squier HH Jaguar, Fender black panel Tremoloux head through Universal Audio OX using Fender Tweed 12″ cabinet emulation.First segment moves from slowest rate to fastest, uses closest possible mic’ proximity setting, and wet/dry mix at noon.:43 – Moves from slow speed at 10 0’clock to fast rate at 2 o’clock, uses furthest mic proximity setting, mix at maximum1:27 – Moves from slow speed at 10 0’clock to fast rate at 2 o’clock, uses closest mic proximity setting, mix at maximumIf the name wasn’t hint enough, Dawner Prince’s Pulse pays homage to this sound in a loving and well-executed way. But even if you aren’t out to replicate Gilmour modulation textures from The Division Bell and Pulse, this Croatian company’s exceptional rotary simulator is a fine way to introduce the immersive, extra-liquid textures of a rotary speaker to your signal chain without hauling a cumbersome antique and its own team of mechanical medics.Surprising SimplicityWith five staggered knobs, two footswitches, stereo outs and an expression input, the Pulse looks more complex than it is. In reality, it’s very intuitive to use. And even superficially esoteric controls like the distance knob (which shifts the proximity of the virtual “mic” picking up the rotary speaker signal) and the inertia knob (which regulates the rate of the virtual speaker’s acceleration or deceleration) have a very organic, natural feel and are simple to add and modify to taste. The more straightforward controls are satisfying to use, too. The slow and fast speed controls have great range (the modulation rate spans .4 to 8 virtual speaker rotations per second). You can toggle between fast and slow rates using the fast-slow footswitch and you don’t have to worry about “progamming” a fast or slow preset—the switch simply ramps up or down (at a rate prescribed by the inertia control) between whatever speeds you’ve set on the respective knobs.Dawner Prince also accounted for the possibility of perceived volume loss at some of the most intense modulation levels by mounting small gain pots adjacent to each output jack. You need a small flathead screwdriver to adjust them. Obviously, top-mounted knobs would be user friendly, but I was generally pleased with the output level at maximum modulation intensity. And on the whole, I’d venture that Dawner Prince made a smart compromise between cluttering the main control panel and concealing these pots inside the enclosure.Worlds of WhirlIf you had to briefly characterize what sets the Pulse apart from lesser rotary simulators, it would be the deep and real sense of motion that pedal communicates. This quality is especially apparent if you take time to set it up for stereo output, which I did through two amplifiers as well as a DAW.The Pulse’s output very effectively replicates the complex interactions between fundamentals and overtones that occur when moving air and speakers are added to a tone equation.These highly kinetic qualities don’t just come from bouncy stereo pictures, however. Even in mono, the Pulse’s output very effectively replicates the complex interactions between fundamentals and overtones that occur when moving air and speakers are added to a tone equation. At the right settings, you can almost see and feel the rise, dissipation, and passing of sound as bodies and particles (entirely without pharmaceutical assistance, I might add). It’s a very visceral way to experience a guitar sound, and it comes pretty close to the thrill of parking your head right by a rotary speaker in motion.The harmonic complexities and kinetic sensations generated by the Pulse are best enjoyed, at least to my ear, at slower settings where it’s easier to perceive the bloom of these sounds. And even though the Pulse’s fast modulation settings generate very rich, throbbing pulses, I preferred to keep my fastest modulation sounds on the slower side so I could bask in the dimensionality of the sound picture.The Pulse also excels at walking the fine line between the practical and the ridiculous. Even the most modulation-heavy mix settings are never overbearing. And while you can generate relatively extreme metallic high-mid peaks in the modulation by bringing the virtual mic proximity in close and cranking the mix, these sounds still have a full-spectrum richness and help the Pulse achieve some of the funkier sounds you hear from Leslies and Fender Vibratones.The very-well-made Pulse is also super quiet, by the way. I wouldn’t hesitate to try it on other instruments or vocals in a mix situation.The VerdictIf you’re chasing realistic rotary speaker tones in a stompbox, the Pulse will likely pay back the extra money you’ll spend. The sense of real mechanical motion and dimensionality is perceptibly stronger than a lot of digital rotary simulations I’ve played. And while the Doppola/Rover-based tone emphasis does give the Pulse a unique voice, it rivals the best high-end Leslie emulators I’ve encountered in terms of realism and atmosphere.

The Classical Guitar Corner Podcast Teaching and Learning the Classical Guitar Online

  • CGC 105 : Sor Study in Bminor – Singing and Playing the Melody
    by Simon Powis on January 31, 2021 at 5:11 am

    This famous study by Fernando Sor gives us the the challenge of separating melody from harmony and bass while all being bundled up into continuous eighth notes. One of the most powerful techniques you can use to clarify the melodic part is to isolate the melody, play it separately and even sing the melody too. The post CGC 105 : Sor Study in Bminor – Singing and Playing the Melody first appeared on Classical Guitar Corner.

  • CGC 104 : CGC’s 10-Year Anniversary!
    by Simon Powis on December 22, 2020 at 12:44 pm

    In this episode of The Classical Guitar Corner Podcast, Simon tells the story of Classical Guitar Corner in celebration of this, our 10-year anniversary! There have been lots of twists and turns along the way but we couldn’t be more grateful for this amazing community that Simon brought together, from an attic no less, 10 The post CGC 104 : CGC’s 10-Year Anniversary! first appeared on Classical Guitar Corner.

Guitar Girl Magazine Get the latest news, interviews, guitar gear and fashion from the Best Female Guitarists

  • Music Preview: Louise Aubrie Set to Release “Last,” from Forthcoming ‘Antonio’ LP
    by Randy Radic on May 5, 2021 at 5:41 pm

    Indie-rock/pop artist Louise Aubrie will release her fifth studio album, Antonio, on October 15 via Carrot Bone Records. The first single, “Last,” from Antonio, drops May 28. Written and sung by Louise, “Last” was produced by Andy Woodard, who plays bass and drums on the track, and features Frank Horovitch (guitar), Boz Boorer (guitar, keys, The post Music Preview: Louise Aubrie Set to Release “Last,” from Forthcoming ‘Antonio’ LP appeared first on Guitar Girl Magazine.

  • Nancy Wenstrom Evokes Warm Memories on “Alabama Song”
    by Randy Radic on May 5, 2021 at 3:08 pm

    East Bay Area-based Americana/Blues artist Nancy Wenstrom recently unveiled the lyric video for “Alabama Song,” a track from her forthcoming album, Inside Story, via WCM Records. Talking about the album, Nancy shares, “‘Alabama Song’ is one of 10 newly recorded original songs on my upcoming album, ‘Inside Story.’ Lyrically there seems to be the thread The post Nancy Wenstrom Evokes Warm Memories on “Alabama Song” appeared first on Guitar Girl Magazine.

Fretboard Journal Dedicated to the history of guitars and other fretted instruments.

  • Needs Must: Going Baroque with Anthony Tenaglia
    by Brian K. Saunders on May 5, 2021 at 10:58 pm

    My cousin Tony isn’t like the other kids. Never has been. He’s always said he was born too late. A child of the 1970s, he’d have been much more at home in the 1570s, or 1670s, even 17- or 1870s. He digs ice fishing and sailboats. He sent me a video of him playing a The post Needs Must: Going Baroque with Anthony Tenaglia appeared first on Fretboard Journal.

  • 323: The Pedal Movie with Michael Lux and Dan Orkin
    by FJ Staff on April 30, 2021 at 8:47 pm

     Reverb.com’s Michael Lux and Dan Orkin are the co-producers of The Pedal Movie, Reverb’s first feature-length documentary on the history of pedals, the current pedal movement and the artists who are pushing the boundaries of music with their stompboxes today. It’s an inspiring, epic film – around two and a half hours long! – The post 323: The Pedal Movie with Michael Lux and Dan Orkin appeared first on Fretboard Journal.

Vintage Guitar Info Blog – All Good Guitars We Buy vintage gibson, fender , martin and gretsch guitars

  • Gibson Transition year of 1964
    by newallgood on September 12, 2020 at 4:30 pm

    Around the middle of  1964  major changes occurred. The info below is very useful for dating a Gibson guitar in cases where serial numbers were repeated or unclear. 1. Neck width at the Nut was reduced from 1 11/16 inches to 1 9/16 inches (you will see cases of 1 10/16 inches during this transition … Continue reading Gibson Transition year of 1964 The post Gibson Transition year of 1964 appeared first on All Good Guitars.

  • Fender Bass break down 1951 to 1969
    by newallgood on February 25, 2020 at 5:40 pm

    1951  The Precision bass was the first production run solid body bass released by Fender in late 1951.  The bass was equipped with a one piece maple fretted neck and one single coil pickup. The production color was Blonde. There are two bridge saddles, and the strings are loaded through  back of the body. The … Continue reading Fender Bass break down 1951 to 1969 The post Fender Bass break down 1951 to 1969 appeared first on All Good Guitars.