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Anthony Buckeridge

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  1. Awesome post in the Brexit 2 thread!

  2. Quote: "No political arguments. Well. We've voted out." Larry, I think its vitally important. Not to argue, deplore or rubbish others views here on the Gibson Fora. Rather it's better to simply put one's own views if one feels compelled to do so and simply leave it at that. Or share facts that are both unassailable and are helpful to the majority here who hail from another Continent in a Spirit of Sharing Greater Understanding. For anyone who Celebrates the majority decision to leave the European Union this is not the place to Actively Crow, and for anyone who Deplores the majority decision to leave the European Union, this is not the place to Actively Complain. After all, anyone who finds Genuine Democracy not to their taste, and actually prefers the alternative of some form of Totalitarian Dictatorship, can always go to Russia or North Korea! The word "Sovereignty" has changed over time. This is revealed clearly through its evolution in the Oxford English Dictionary. And is why the Dictionary Meaning and the Strict Legal Meaning in Jurisprudence do somewhat Differ. However, most people here will readily clearly understand "Sovereignty" as the Supremacy of Right to Self Governance. For most of the History of Britain, "Sovereignty" rested with either the King or Queen as a Monarch, to Rule and Govern the Country. 450 years ago, Two Bloody Civil Wars, were fought, commonly thought of as One Historic Event, the English Civil War. The ultimate result of these was: The Beheading of Charles I the King. The Exile of his heir Charles II. And eventually, following the short periods of the Commonwealth of England and then a Protectorate under Oliver Cromwell. Constitutionally, "Sovereignty" was passed from the Monarchy, to the Forming English Parliament, where it has rested and remained for Hundreds of Years. This is the Fundamental Salient Point to Absorb. "Sovereignty" rests with Parliament. When Britain first joined what is now know as the European Union, everyone was told they were joining a "Common Market", and that it was simply about Trading Goods. Under the 30 year rule where Government Documents are kept secret for decades, it is now abundantly clear, that the British people were Deliberately Lied To, by their own Government. Politicians Tell Lies! Furthermore, as the Plan for a United States of Europe has unfolded, Britain has been changed over time by forces external to it, Historical Lies have become ever more apparent, and unacceptable to the majority, as the Referendum Clearly Demonstrated. For in the last twenty or so years in particular, at an ever accelerating rate, through New Treaties Altogether, Existing Treaty Changes and Backdoor Agreements, the British Government have Ceded British Parliamentary "Sovereignty" (or the Right to Rule one's own Country) away from the British Parliament, and increasingly given "Sovereignty" to the European Union. Although the Ruling British Politicians have twice promised the British People an Opportunity to have a Referendum on these changes, twice they have Changed their minds at the last moment and Subsequently Blocked and Denied the British People the Opportunity to Agree or Disagree with the Direction and Choices that the Officials were making, that have hugely affected both the Population and Culture of this Country. Gagging the Peoples Democratic Voice. Considering the Amount Politicians have to say. Without ever saying anything substantive whatever. Whilst enjoying the Gravy Train of Lucrative Expenses. Whilst travelling on a Publicly Funded, Subsidised Ego Trip. That really does take the biscuit, talking endlessly whilst Gagging the Opposition, often by falsely accusing those that legitimately object to uncontrolled migration as Xenophobic and Racist. So the disaffected population have strongly grasped this opportunity, finally having a Platform to Express their View. It's important to realise that the vexing issue is not simply that people come from other Countries. Rather that a population increase equal to the Creation of a Large City, occurs annually. Traffic is gridlocked on the roads, Housing, Schools, Doctors, Hospitals. Are all severely strained by the sheer numbers. Some blame the Government, others blame Uncontrolled Migration. I think the truth is that both are responsible for the current situation. Another issue is that the European Union has Proven Impervious to Change From Within over the last 43 years of Membership. They are Blinkered Horses, Racing on a Set Course, and will not accommodate those who argue for moderate policies. Therefore, the U.K. Majority felt they had No Other Option, than Completely Withdraw from the European Union. Simply to Regain Control over the Factors that negatively affect, huge parts of the British Nation. This is why there are regional variations, as not all regions are similarly affected. Some will feel these Changes are for the Better. Other will feel these changes are for the Worse. I am not presenting an argument for either way. Rather, simply seeking to help people on other Continents put what it's all about, into some kind of Overall Historical Context with a Time Line that can be Followed and Understood. There are many different factors that feed into swaying people towards choosing to prefer to leave or remain in the European Union but the really important one, in many people's view is this: Is it right and proper for here today, gone tomorrow Politicians, to Give Away "Sovereignty" or the Supremacy of Right to Self Governance, to people, in other Countries that do not have our own best interests at heart, and so that effectively, we no longer have control over our own Nation, Rules and Laws? Actually in Effect, these Politicians have been Trading British Democratic Rights, "Sovereignty" the Right to Self Governance, as cheaply as chips, simply for better trade deals, boosting economic activity simply so that the wealthiest of the Country can become Richer Still and big Business make still Greater Profits? Shamefully Selling the RIGHT TO RULE or "Sovereignty" to Vested Interests. Furthermore, a condition of the Single Market is that Free Movement of people between what were once Self Governing Nations, with their own Languages and Cultures occurs, without any restraint or control at all whatever. The German Chancellor told the British Parliament that it can do nothing about the Huge Number of Eastern Europeans that Migrate here. This was an Affront to many British People. Many European Employment Agencies Advertise Jobs in Britain making them available to Eastern Europeans, but do not Advertise them or make them available for British People to Even Apply for Jobs in their own Country. The European Union wants Mass Migration, it wants the Populations of Europe to think of themselves as European. Not as English, Welsh, Scottish, Irish or British which is of course, what they are, with Rich, Historic, Cultures. British Treasury Figures show that for every 10% Increase in Migration, Average Earnings for Lowest Paid British Workers is depressed by 2% so Wages for a great many who voted, have been continually compressed and flat for around 10 years or more. Whilst at the top of the tree, I know of many people, colleagues, who Double their Salary, Double their Bonus (often twice their Salary) and Pension Annually and have done so, Every Year, over the Same Period. If I said to you, North America can have a special trading relationship with ALL the countries in the Continent of South America, Canada and Alaska. All you have to do is agree to allow everyone who lives in All those Counties, complete access to all North America, with freedom to travel live and work in North America or wherever they want within the Area. You can't ask and check whether they have a Criminal Record when they come in, so All Criminals have equal freedom along with everyone else who wants to come to your country and there's nothing you can do about that, unless you can legally prove at point of entry, they are an Immediate Threat to the Nation. You also Have to Allow your Countries House of Congress and Senate to be Superseded in its Major Laws, Rules and Governance in a Great Many Matters, allowing a Supra Continental Supreme Court to trump the American Supreme Court, and Unelected, Appointed, Supra Continental Leaders from a Supra Continental Parliament, to trump the American Congress and Senate, its Laws, Rules and all that goes with it, including the American Presidency. Perhaps you yourselves, as American Patriots, might seek to find a way to trump such a Political Movement. This is what the British, European Referendum Clarified. Who Owns and Runs Great Britain! In reality, the truth is. That was decided. 450 years. Ago. They tried to give away our Country. And we have Stopped Them. Taken it Back to Own. And Control It. If you really think about it. It's The Boston Tea Party all over again. The European Union play the Part of the Establishment. And the British Patriots play the part of the New America Population. They want a Proper Say over what Happens, to be Captains Steering their Own Ship. Just as America did in 1773. So if you approve of the Actions of the Sons of Liberty in 1773, you will Fully Appreciate the Independent Spirit of British Patriots. God Bless America. God Bless Great Britain. God Bless Everyone who Stands Tall for Freedom and Democracy. God Bless these Solid Foundations, Our Gift to the World, Our History and Heritage!
  3. Quote: "we are not on a creative writing forum!" Again. With Respect. The place is full of Singer/Songwriters. And you have stated we are "Not on a Creative Writing Forum!" Well you wrote it not me..... I'm sure everyone will take note of your Opinion of Them All. The 335 reference concerned the Avatar in your Signature, which equally has nothing to do with Advance Jumbo Problems. As you come from England and like 335's I thought it might be of interest, as I have a Long Professional History with These Guitars and the Historical Dealerships.
  4. I never worry about such matters, I doubt anyone else does too, so don't worry. Knowing the Rules, as revealed above, then Breaking them for Excellent Specific Reasons, is what Uniquely Creative Writing, is really all about. I like 335's... My first Gibson was a Cherry 335TD from Selmer in Charing Cross Rd.
  5. Cody78: I think you may find the following useful. Respectfully (it should be a Double Colon here not a Semi Colon as you have utilised). http://forum.gibson.com/index.php?/topic/126248-help-with-music-theory-for-songwriting/page__view__findpost__p__1727320 Try to Stay On Topic and Write Something Original that is actually Relevant in some way, to the Original Topic of the Thread!
  6. Quote: "I see all the talk of humidity and my experience doesn't match." With respect to everyone here. I would agree with this bold, assertive, statement by our Fellow Fora Friend, rct. Like so many hereabouts, I always thoroughly enjoy his posts and am glad to say, I think he is right to somewhat disagree. This is a not uncommon sight to Experienced Luthiers and usually the first suspect is that the Instrument has been subjected to Excessive Heat. The Cracks along Places of Greatest Stress and the Clear Give are due to a Specific Environmental Cause, which in my opinion, should have been Recognised as a Clear Danger. For that reason alone I would not have expected the Manufacturers to Repair the Instrument under a Lifetime Warrantee. And the Light under which they are likely to see and evaluate the problem is Owner Neglect. Unfortunately, it is the case that sometimes Owners who should know better are Thoughtless, Lazy or Careless about the Care of their Instrument. Brilliant Guitarist, Julian Bream down the road from me, left his Priceless Classical Guitar in the back of a Small Car, Overnight in the Arctic Region once. However, it was not Cold that affected this Guitar above, but Mainly Heat, too due to a similar carelessness. Its Why the Fingerboard Area, Top Cracks have Appeared, and the Bridge is Lifting. These are the Problems and Issues we can very easily see. What else can't we see? I would strongly suspect that there may be Additional Issues with Internal Struts and Braces, basically, anything at all that is Glued. Though once the Guitar has Cooled and the Glue Re-hardens, it will hold together but possibly and probably not in a manner truly equating to its Original Shape. A Recording Engineer friend of mine contacted me a while back because he left a 100 year Old Violin in the Back of his Car on a Hot and Humid Day. The Entire Instrument, Completely Fell Apart. Its Temperature that is the Fundamental Active Agent with this Type of Repair. This can All be Repaired. But needs to be done well, by an Expert Luthier. And will take a While to Repair Invisibly, even if that is a Possibility. The Problem is, it will be Expensive, though it was Probably Avoidable and Unnecessary. Send it to Gibson, go to Frets.Net or the Unofficial Martin Fora to get in Contact with Advice from Someone Local. Owners of Fine Instruments have a Duty of Care. So Take Proper Responsibility for Them. And Use Common Sense.
  7. Quote: "Lowering the action certainly gave me the "slink" I was looking for but there was the inevitable reduction in volume" My Hunch would be that the Luthier adjusted the Saddle with the inevitable consequence of reducing the String Break Angle behind the Saddle. As a Consequence, the Guitar functions with additional "slink" in ease of Playability and Fingering, but with a further inevitable consequence of Reducing the Dynamic that Drives the Instruments Top through the Bridge. There is a Definite Point at which, a Number of Highly Desirable Aspects of a Guitars Features, begin to Conflict and Work Against Each Other, if one Elects to Optimise a Particular Feature, to the Extent that Another Desirable Feature, is Compromised by that Process. Let's use an Analogy to help understand the Dilemma, imagining you are Designing a Car. Your Customers wants Low Fuel Consumption, but a Good Sized, Engine with Real Power. They want Low Exhaust Emissions but a Fast Car that Overtakes Well. They want the Vehicles Dimensions to be Small for Easy Parking, yet the Interior of the Vehicle to be Spacious, with Plenty of Room for Everything. How do your Resolve all these Highly Desirable but Conflicting Issues? Well you are Clear about the what is of Paramount Importance. And Prioritise According to the Wishes of the Consumer. How and Where you Compromise the Conflicts. Is the Key to Superbly Designed Cars. Where Guitars are Concerned Luthiers are Designers. The Player themselves as an Individual, figure very Strongly into the Ideal Resolution. Some people Play with a High Degree of Demonstrable Technique. Others Play with No Learned Technique Whatever. As you can Imagine, this Player Variability, is Necessarily a Strongly Determinative Factor, Accommodating How the Instrument, will Mainly be Played, by a Specific Performer. Overwhelmingly, the Majority of Problems Individuals have with Well Manufactured, New Guitars, Stem from a lack of Player Appreciation of their Own Impact and Limitations in Performing Technique. It can Drastically Alter the Luthiers Focus, of Exactly How and Where the Best Compromise, is Best Achieved, to provide an Optimally Responsive Instrument, Properly Set up for the Specific Type of Playing Envisaged by their Customer. At Best, Typical Guitar Factories, usually Supply their Instruments, Set Up, According to the Class of Instrument. Usually, they err to a side which everyone can generally live with, regardless of Player Ability. Specifically allowing an Easy Additional Adjustment by a Luthier to Accommodate Further Refinement, for Specific Individual Requirements. But. You Can Gain Something. And Lose Something Else as a Result by that Gain. And it is only by Experience and Maturity Over Time that One Appreciates this. At a Practical Level, I would Strongly Encourage Players to Always Carry a Short Steel Ruler with 64th's as well as Metric Measurement. Or a String Action Gauge which might be easier for many people. Stew Mac and others make and sell these type of Small, Handy, Basic Measurement Tools. Every time you Play a Guitar in a Music Shop that you like, discretely whip out your Gauge and Very Carefully Measure the Action and any other Relevant Adjustments. Keep a Notebook and Note the Make, Style and Type of Guitar that you really have taken a like to and Note those Measurements for Every Type of Guitar you Hope to Purchase. Eventually, a Clear Pattern will Emerge as to What are the Ideal Set Up Preferences for You, for Any Popular Instrument as to How You Want them to be Adjusted. This will Aid You, in making Better Instrument to Instrument Comparisons when you are Purchasing. As you can take Measured Differences into Account. Seymour Duncan Acquired his Encyclopedic Knowledge about Electric Guitar Pickups this Way. No one taught it all to him, he learnt it by Meticulously Taking Measurements and Keeping a Book to Note Them In. Producer Al Schmitt had a Note Book as a Boy in his Uncles Studio, and Noted Where to Lay Out the Musicians Seats and Put the Mic's. It will Helpfully Inform the Luthier you ask to Set Up your Instruments, giving them Clear Ball Park Measurements, that they can use as a Fundamental Basic Platform to Work From, and Continue to Tweak and Optimise, Further Onward from that Point. However, there will be a Point at which Further Optimisation of One Aspect, Diminishes the Desirable Qualities of Another Feature. It's a Reference. But Mainly Experience Really Tells. Where the Thresholds Lie, and When Exactly, to Stop Optimising. But if a Player Demands a Specific Playing Characteristic, and Strongly Emphasises that Quality. Then it is Likely that Another Desirable Playing Characteristic will be De-Emphasised and The Overall Set Up Compromised. If you go up a Gauge, the Set Up will Possibly Require Further Optimisation and Other Factors will Enter the Equation. It might be as well if you are used to Playing Electrics and Like "Slink" to get Your Luthier to Make a New Bone Saddle. This will Increase the String Break Angle and Maximise the Direct Coupling of the Strings to Drive the Guitars Top Dynamically. It will reduce "slink" but you will be retaining "slink " with the Lighter String Gauge. Mainly, you will be Restoring the Ideal Volume of Tone of the Instruments Projection. Talk to your Luthier, explain the issues clearly. Explore the possibility that the Point of Compromise. Between these Different Desirable Issues, Ideally Require. A Further Tweak to Give You the Right Balance of Features Needed. Be strongly aware of Environmental Swings through the Changing Seasons. Swelling and Shrinking if you live in an Un-Moderate Climate, Inherently Unstable.
  8. jdgm. I note you use a Bigsby. Probably you know all about this already. But perhaps others that lurk around the Fora hereabouts may not. So for all with such an interest here are a couple of Bigsby related youtubes for you. The first covers the Vibramate Gadget, which is an excellent device to use, with Solid Body Les Pauls. An additional benefit if you have a Vibramate fitted to a Les Paul, is that it slightly raises, the Height of the Bigsby. This alters and improves, the behind the Bridge Saddle, Break Angle, as it addresses the Vibrato Units Roller, so the Bigsby will operate more smoothly, and you'll have Fewer Tuning Instability Issues. Obviously if one Bends Strings a lot with a Bigsby fitted, the Potential for Encountering Tuning Stability Issues is increased quite massively. So knowing about this device and its useful benefits, can help Resolve a Lot of Tuning Issues, that might otherwise occur. That is the Relevance to the Thread Topic. Vibramate V7-LP Installs in Minutes with No Drilling! - For Carved Top Les Paul® Guitars with Stop Tailpiece and Tune-A-Matic Bridge. http://www.vibramate.com/vibramate-v7-lp-install.php How to install a Bigsby B7 on a Gibson Les Paul Traditional - Mount a Vibramate V7 Tutorial HD If one doesn't have a Vibramate fitted and one never the less wants to Improve the Functionality and Tuning Stability of the Bigsby Unit. A Bigsby Tuning Stabilizer is another great device to have knowledge of. Bigsby Tuning Stabilizer - This Early Unit limits the String Gauge to 10-46, however the Video is Highly Instructional. Bigsby Tuning Stabilizer Version 3 - This Unit allows Any Size of String Gauge. The Brand is BiggsFix and they also make Super Squishy Vibrato Spring that is a Genuine Improvement on the Supplied Default Spring. I have no connection to any of these Cottage Industries, thus no reason to promote them here. However Acclaimed Luthiers I know well and trust are very enthusiastic about all these Devices, and Report Genuine Improvements with Fitting Cosmetics, Tuning Stability, and Facility of Use, as do Many Players. Tuning Stabilizer for B50 / B70 String Bending with a Bigsby Fitted. Can raise Tuning Stability Problems, so overcoming these issues. With these Quickly and Easily Fitted, Helpful Accessories, is the Relevance to the Thread Topic.
  9. Quote: "Try again." No Problem at all. I'll Fill the Gap in your Knowledge. Bill Carson, Fenders Professional Player in the Field. Field Tested the First Prototype of Vibrato, courtesy of George Fullerton. The First Prototype was completely different to the Vibrato we are familiar with today on Stratocasters. Carson's report was Damning, he rang Leo up to complain that the Guitar with that Unit sounded bad "like a Cheap Banjo". George Fullerton by this point had come to exactly the same conclusion, and after talking with Carson told Leo "it Sounds like a Tin Can". He concluded that the Units Light Weight and lack of what we now know as an Inertia Bar, caused a Distinct Loss of both Resonance and Notes to Sustain. This is WHY it sounded like a Cheap Banjo, Banjo's have Very Little Sustain. The Unit was Scrapped Completely and Freddie Tavares was brought in along with a Number of Additional Field Testers to Re-Design the Unit from the Ground Up. Further Testing and Modifications, mainly from Carson, finally resulted in the Vibrato Unit we are Familiar with Today, of course, Factory Tooling had to be Designed and Fabricated Too, obviously involving Additional Time and Money. Carson and Fullerton claimed that the Vibrato Prototype Fiasco, Delayed the Introduction of the Fender Stratocaster by a Year, from Mid 1953 to Mid 1954, Tavares recollection was that it Delayed it at least 6 Months, in line with his thought that the entire Vibrato Development took a Year. Of course, you have to reflect that he was only dealing with the Vibrato, after the Failure of the 1st Prototype. So to my mind this "hands on difference" would account for the discrepancies in accounts which are in any case an entirely normal event in all true witness accounts. Anyway, you can read all about this in the Widely Acclaimed Book "The Stratocaster Chronicles" Celebrating 50 years of the Fender Stratocaster by Tom Wheeler, in Chapter One, "In the Beginning" - "The Tremolo Dilemma" start reading at the bottom of Page 49 onto Page 50. Here's a Link to help you find it. As with all due respect, You Do Not Appear To Be Well Read. (Unlike Tom Wheelers Books). http://www.amazon.co.uk/Stratocaster-Chronicles-Celebrating-Years-Fender/dp/0634056786/ref=sr_1_1?s=books&ie=UTF8&qid=1452072416&sr=1-1&keywords=The+Stratocaster+Chronicles%3A+Celebrating+50+Years+of+the+Fender+Strat Quote: "Everything about Leo and how he did it is written down, and I've read it all in the past 44 years of playing the guitar." Again, with all due respect. In the seemingly unlikely event, that any should be. You now appear to be, what any Horticulturist would call, a "Blown Rose". Making Great Claims for an Omniscient Knowledge that You Clearly and Demonstratively, Do Not Possess. Thank You for Affording the Opportunity to Prove That Fact to Everyone Hereabouts, far beyond Any Measure of Argument or Further Dispute. Courtesy of a few Moments Reading via Amazons "Look Inside" Function, for everyone here to read. You appear to enjoy a laugh, and now yourself have become one! Congratulations on that accomplishment. Humour is a Funny Thing. Quote: "He also uncharacteristically wasted a Great Deal of Money on Factory Plant Machinery when Too Quickly attempting to move from Prototyping the Stratocaster Tailpiece to Series Production. Early Prototypes Lacked Sufficient Sustain, prompting a Re-Design and Engineering, involving Better Raw Material and More New Machinery." - Snipped for Shortness - Quote: "Nope, his straight string pull was a consequence of using the lumber as efficiently as possible." The comment "Nope". Is Already Disproved and Discredited by Tom Wheeler. Furthermore, you have omitted to include the relevant preceding comment. Forgive me for Quoting the Earlier Post but the Section you Quoted has Relevance and Meaning Because of what Preceded It: "Every Guitar has a Portion of their String, Behind the Bridge Saddles and Behind the Nut. The Sharpness or Shallowness of the Break Angles, Either Side of the Vibrating String, Greatly Affect the Playing Feel of the Instrument to the Players Touch." That was my salient point, I'm glad you found no argument with it. The Truth of my Following Comment is Historically Accurate, Recorded in Fenders Archived Printed Materials. You appear to have completely missed the Deluge of Marketing Material. Pamphlets and Advertisements purposely generated by Fender Music I was inundated with. These made SO MUCH of this Aspect of the Instruments Design. In my position at the time, I was swamped with their Printed Material, most especially later on, from Ivor Arbiter who was the U.K. Distributor for Fender. I was "involved with Arbiter" to a certain degree. http://www.independent.co.uk/news/obituaries/ivor-arbiter-314771.html http://www.feelnumb.com/2010/12/07/ivor-arbiter-the-man-that-unwittingly-designed-the-beatles-famous-drop-t-logo/ Straight String Pull affects Tuning and Vibration Transfer. Though one could make a convincing argument that Fender Instruments did not have True Straight String Pull. The Overall Length of the String, including the Parts Outside the Vibrating Section from Nut to Bridge Saddle, also Affects Tonality and Feel. In Vienna, Johann Stauffer of Austria who Influenced CF Martin So Strongly, used Straight String Pull on his Early 19th Century Instruments, so this Idea was not a Fender Invention. Though you Do Not Specifically State It, you are certainly correct in perhaps unconsciously implying something with an inference easy to take, that the lack of Neck Angle was a Consequence of Efficient Use of Lumber. Clearly, others had already Developed and Sold Instruments with this Type of Headstock before, and in America, Bigsby had done so. This wasn't a Flash of Genius. How do you Sell a Very Ancient Idea, that had never ever been Properly and Professionally Marketed to the Modern Consumer? To my mind it was the Marketing and Advertising Material that Strongly Highlighted the Straight String Pull as an Entirely New Feature, that was the Most Notable Aspect of the Entire Issue. Fender and CBS Marketed this Feature, Powerfully. High in their Documented List of Features. What you have to ask yourself is the following. Whoever Heard Of or Talked About, "Straight String Pull" until Fender Pointed It Up through their Marketing Campaigns? The Basic Design Idea, Existed for over 100 years before that, but even when that Headstock Design was Discussed, "Straight String Pull" was not the issue that was ever Focussed Upon. Before Fender Marketed that Idea as a "Feature" of their Instruments, in effect Stealing Someone's Else's Genius, and presenting it as their own, no one ever seemed to Discuss, Write or Raise the Issue of "Straight String Pull". That's My Point. It was Part of a Marketing Strategy. As I Faithfully and Truthfully Stated in my Earlier Post. It's UNASAILABLE FACT! Thank You for Another Interesting Discussion. Though with respect, I believe Discussions Regarding Fender. Are best left entirely to Another Fora altogether. This is a Gibson Fora after all. Interesting as it is to Correct Your Lack of Knowledge as You Urged Me to Try - Try Yourself to Stay Relevant, and ON TOPIC, to the Title of the Thread!
  10. Quote: "Break angle:" Gibson manufacture certain Guitars that are to Original Specification. And also manufacture, modern variants and versions, of the Same Model. One such instance is the SJ-200 with an Original Bridge with Two Rows of Inlay. The Modern Standard Version of the SJ-200 however, only features, One Row of Inlay. The Original Specification bridge allows for a Shallow Break Angle, and Drives the Top Less. The Modern Standard has a Sharper Break Angle and thereby Drives the Top Rather More Vigorously. So According to the Gibson Guitar Company, Sharpness or Shallowness of Break Angle Definitely Makes a Difference to the Resonate Response of the Instrument, due to Basic Physics. The Length of a String influences a Strings Tension. A Long Scale Guitar has to have More Tension for the Same Pitch than a Shorter Scale Guitar. This is WHY a Les Paul Excels for Particular Styles as the Instrument of Player Choice. What is Happening when a Les Paul or 335 Stop Tailpiece is Raised High, is that although the Strings Vibrate from Nut to Bridge Saddle, when Bending the String it Acts to the Fingers as if they are Pushing against a Far Longer String altogether, but at a Lower Tension because of the Relative Ease of a Straighter String Pull. So the Tactile Impression to the Players Touch, due to the Ease of String Pull through the Saddles is that for any Given Pitch and Tension, the String is now Several Inches Longer, making it Simulate Qualities Inherent in a Looser Tensioned String. It is the Effect of this Impression and Apparent Increase in String Length, that Facilitates Superior String Bending Qualities. Every Guitar has a Portion of the String from Nut to Bridge Saddle Which Vibrates at Pitch Tension. Theoretically, the Tension of a Correctly Pitched String does not Change, though in Practice (as Opposed to Theory) when you Stretch a String Enough, it Starts to go Out of Pitch. As this Alteration in Tuning Pitch happens very often indeed whenever you Bend a String, this will Inevitably Alter, the True Tension of the String in Practice. However its more complex than that, because Every Guitar has a Portion of their String, Behind the Bridge Saddles and Behind the Nut. The Sharpness or Shallowness of the Break Angles, Either Side of the Vibrating String, Greatly Affect the Playing Feel of the Instrument to the Players Touch. Leo Fender made much of this UNASSAILABLE FACT, when he Launched his Electric Guitar Models, Marketing Them as Having a Straight String Pull to the Machine Heads. He also uncharacteristically wasted a Great Deal of Money on Factory Plant Machinery when Too Quickly attempting to move from Prototyping the Stratocaster Tailpiece to Series Production. Early Prototypes Lacked Sufficient Sustain, prompting a Re-Design and Engineering, involving Better Raw Material and More New Machinery. So the Effect of the Non-Vibrating Portion of the String on an Instruments Resonant Qualities as Well as a Players Touch and Feel is Indefatigably Proven by the Entire History of the Development of the Guitar, both for Acoustic, Semi-Acoustic and Solid Body Electric Instruments. The SJ-200 Appeared Around 1937 so it's not exactly a New Phenomenon. This is Scientifically Measurable, but Easily Proven by anyone through Simple Adjustments. Gibson's have a Sharper Headstock and Nut Break Angle than other Brands so String Bending may well Appear to some to be Harder at that Particular End. Adjustment in Feel, is therefore by the Stop Bar Tailpiece Height, well suiting a Playing Style which Bends Strings, High Up the Fretboard. How to Test this Yourself. Raise the Stop Bar Tailpiece as High as Possible. Tune the Low E String to C and Dial it in with a Continually Reading Tuner. Lower the Stop Bar Tailpiece to its Lowest Possible Setting and Now Read the Pitch its Showing. If the Pitch has Risen Measurably, During this Process, then the String Tension will have Increased Accordingly, Altering In Step with the Change in Pitch. If you Reverse this Process and Find that a (Now Higher Pitched) E String, Lowers in Pitch as you Raise the Stop Bar Tailpiece, you can be Assured that the String Tension will now have Decreased Accordingly, Altering In Step with the Measurable Change in Pitch. This doesn't mean that a Vibrating String, Changes in Tension when the Pitch is Completely Stable. It doesn't. the Salient point is that when you Adjust the Stop Bar Tailpiece Height, it has an Easily Proven, Measurable Effect on the String. Most Significantly, it Alters the Feel of the String to the Players Touch, upon the Fretboard and is Especially Noticeable in Facilitating String Bending, but This Adjustment also Affects the Sonic Resonance of the Instrument Too. In Theory, there's No Difference between Theory and Practice, but In Practice, There Is! Quote: "Very interesting thread!" One Trusts So. Quote: " Does a roller bridge make a difference in string tension feel????" It does indeed. Furthermore The Bigsby Does Feel Better Too. And Many Problems Typical to the Bigsby can be Alleviated and Eliminated by Altering the String Break Angle between the Bridge Saddles and the Bigsby Vibrato Itself. In Point of Fact, an Inventive Bigsby Enthusiast has Developed and Marketed a Special Roller Device that can be Retro-Fitted to Bigbys, which help with a Smoother Player Use and Far Better Pitch Stability, when Returned to its Neutral Default Position. It Achieves this Remarkable Feat by Altering the Break Angle over and beyond the Bridge Saddles so that the Strings Address the Bigsby at a More Suitable Pitch. Changing Out The Spring for a Different Tension Helps Smoothen Things Too. If you search Frank Fords Frets.Net there was a Thread on this Device, explaining in Detail How it Works. That was over the last year or two.
  11. These Famous Authors Made It Okay To Commit Grammar No-No's http://www.huffingtonpost.com/2014/02/20/grammar-rules_n_4768485.html Top 10 Authors Who Ignored The Basic Rules of Punctuation http://qwiklit.com/2014/03/05/top-10-authors-who-ignored-the-basic-rules-of-punctuation/ 7 bogus grammar 'errors' you don't need to worry about http://theweek.com/articles/467053/7-bogus-grammar-errors-dont-need-worry-about Thanks for Playing... Must Try Harder! May I be so bold as to recommend the Writing of American Author P.G. Wodehouse? His Jeeves and Wooster Stories are so amusing, you can't but help to have a good time reading them. The Late Queen Mother devoted an hour daily, every afternoon to reading Wodehouse Stories, Giggling away on the Settee. At first, the Unconventional Layout, Use of Space, Grammar and Punctuation will throw you sideways, it all seems so very incorrect, as if written on another Planet. But as you read on, and the Characters Come Alive, Developing, Endearing Themselves you find that the Unconventional Writing Style, perfectly fits the Eccentric Individuals, their Brain Dazzling Conversation and the Hilariously Ridiculous, Mind Boggling Situations, Portrayed. It's the most fun way I can think of to Learn not to be Institutionally Trapped by In The Box Conventions and Bound by the Limitations of a Tightly Structured, Formalised Mindset. After all, you would soon find that if every Song was Verse, Chorus, Verse, Chorus, you would soon long for the Refreshment of a Brand New Format. The Institutionalised Mind, in the very manner in which it Portrays its Thought, merely tells everyone all about where the Author has Come From, by Virtue of the Widespread, Common Effect of Conventional Pressure. But the Liberal, Creative Mind in the very manner in which it Portrays its Thoughts, Tells Everyone where the Author is Going, and they know the Journey will take them Somewhere Completely New! As you get to know Great Authors, you will find that their Seeming Liberties with Format and Style are like the Brush Strokes of an Artist, as is their Use of Structure Form and Colour, so the Signature on the Bottom of their Painting is Seemingly Redundant. One Glance and you Already Know, WHO's Work it is that you are Looking At. No one needs to tell you that, and you don't need to check, you identified them correctly from the first moment you saw it. Great Composers, Great Lyricists and Great Artists and Musicians, are just the same. You Hear or See their Work and One Phrase or Motif Alone is Enough to Immediately Identify Them. The alternative is to be just the same as most everybody else, copy (as most do) others you aspire to be like. Better I think by far, to be Yourself. So few people ever really Learn to be Authentically Themselves. And they go through the Whole of their Lives, Wearing a Form of Presentational Mask. One they Believe will Help Them to Belong, be Accepted, and Earn Them Rewards from Group Collectives. In Reality. It's Living in Fear. But Artists Break The Mould. That Others would Force Them Into.
  12. Quote: "Lemmie." It was with Great Sadness That I heard the news of his demise over Christmas. I first came across Lemmie when he worked as a Roadie for Well Known Rock Band, Nice. They had Completely Blown all 4 of the 15" Speakers in a Huge, Heavily Scarred, Professional P.A. Cabinet. On Tour, Lemmie bought them it into a Shop owned by a friend of mine, ready to be Shipped Back to the Manufacturer to have the Chassis Re-Coned. Later working with another friend, one of the U.K.'s Top Impresarios and Promoters, I worked with Lemmie on Many Occasions, whilst he was the Bassist in the Group Hawkwind. They would work the University Circuit as All the Great and Legendary Groups did in those days, so I would see them Very Regularly, as they would come again and again Appearing in the Main Venues. On Stage, setting up before the Concerts, Backstage afterward and Present On Stage as I always was, but as a "Suit" representing the Business Side of a Concert. Lemmie was always a Consume Professional whenever I encountered him. To be Honest I found him to be far more Quiet and Well Behaved than Others of that Group. Sometimes there was a Beautiful Girl Dancing in the Misty Smoke and a Extra Guitarist Playing with a Violin Bow. Lemmie would take the Lead Mic for certain Songs and Play Bass Superbly and he was never at any time, any trouble whatever, certainly that was the case whenever I was about. A Working Professional Musician, was how I Knew, Understood and Respected Him, rather than the Rock Rebel Character everyone seems so familiar with today, following his Fully Deserved Success with Motorhead. He Paid His Dues... A Sad Loss.
  13. Quote: "TOO MANY WORDS." Perhaps. It's a issue that I can help with. The "Word" the writer above struggled to find is "verbose". The irony is that it would be possible to express the meaning of the whole sentence. Simply by writing a single word. Therefore, with self-fulfilling prophecy. The writer himself has used, THREE TIMES AS MANY WORDS, as actually required. Of course, the irony doesn't stop there, because instead of simply making whatever point the writer wishes to make, instead, the writer uses the quoting block to embrace the entire previous post. I thank him for that, as I prefer what I wrote to be properly quoted, rather than be journalistically edited, however, (that personal appreciation aside) as a result, the number of words he is discussing, posted by the writer, has been actually DOUBLED, as a result. 1,302 words, thus eventually become 2,607 words, in the hands of the above writer. Perhaps the mental cognitive process involved a summing of the situation, that amounted to: Two Wrongs = One Right. This reminds me of individuals that have been adulterously wronged by their spouse, who as revenge, subsequently perform the self same wrong themselves, to get their own back. What. A sad state. To be reduced to. Make them ride skimmington. It's a far better, more effective solution, I feel. Click Below, anyone unfamiliar with the concept once prevalent in both England and America. It's worth noting that in an era of widespread misogyny, both sexes received just deserts for various forms of misbehavior, in manner that meant they were unlikely to ever reoffend. http://www.oxforddictionaries.com/definition/english/skimmington http://www.darkdorset.co.uk/skimmington_riding https://en.wikipedia.org/wiki/Skimmington Some people, might take the comment "TOO MANY WORDS" as a form of critique. Naturally I do not, both for the reasons already explained (which would of course expose the writer of such critique, to complete and utter, widespread ridicule), and its beyond me to believe, anyone, could be THAT LACKING in FORESIGHT and UNDERSTANDING. Furthermore, I have a healthy contempt both for those of a negative mindset and that's especially the case for professional critics. Modern counseling and psychology has powerfully exposed the mental inner processes and life experiences that actuate, motivate and drive such individuals, and though it's hard for most people not to feel sad for such folk, happily, I can overcome that emotion. Herbert Von Karajan once said that "I have Travelled the Entire World, and have yet to find anywhere a Statue Erected in Honour of a Critic." I found this comment by the Great Super Conductor of the 20th Century, to be tremendously telling and hilariously amusing and in any case, tend to make fun of critics, as the best, most persuasive foil, to bend them toward, using their energies, in a far more healthily productive manner. The Hallowed Walls of Oxford University's Union Debating Society could inform you that I would much rather see brilliant light, glistening from the bald heads of Professors, literally rolling about in their seats unable to look in the eye the person sat next to them, moved to tears of laughter as doubled up they sit, red faces, streaming wet. I have always taken the view that it's better to tell the truth about the skeletons in the cupboard regarding someone whose Debating against you and have a laugh with everyone, about the opponent, than ever to argue with them, about anything. My last speech at the Debating Hall (where 49 British Prime Ministers learnt their craft along with Former American Presidents, including a few personal friends) had just that effect upon the distinguished audience. The poor fellow who was to be my opponent, and had flown from Canada for the Event, (intended to be a Golden Highlight of his Career) began by stating that he had been in Oxford, twenty five years earlier and wondered if anyone was present today that remembered him from those days? The Hall was deafened by silence as no one did at all.. Except me.. His Debating opponent.. This carelessly handed me the entire floor on a plate, and I began by explaining that I definitely did remember the distinguished guest as twenty five years earlier, he had pushed a tomato onto the end of my nose, to great howls of laughter from all present. It rapidly went down from there for the poor fellow, as all of the carefully concealed skeletons of his formative life were brought out one by one from the very same cupboard. By the time I had finished answering just his opening question. No one present would ever of believed any statement he could utter. It was not necessary to Debate anything with him at all. He sank deeper and deeper into his chair, a defeated man, wishing for the floor to open up and swallow him whole. Debates are fine, but in a sense predictable. Fill your Speech with Entertainment. Surprise and Delight your Audience, completely Surpassing their Highest Expectation and you will Win Them Over with Love, for the Sheer Enjoyment you have Bestowed and Heartily Enriched their Life With. Unleash such a Memorable Performance, it will Stay With Them, and they will Cherish the Thought Of It, Forever! Because you have Deeply Moved the Audience, Emotionally! One will thus appreciate, that a critic is no more than a plaything or amusing pastime. However. There are two further serious points I wish to make. The first is a consequence of becoming a Musical Director for a Charitable Organisation. They specialise (amongst other things) in training people to become Counsellors to aid those in emotional distress. Statistic show that during a lifetime, one in four of western civilised populations will become so distressed emotionally that they need to seek help and assistance. The Founder of this Notable Charity, (one of the World's Greatest Public Speakers) told me, "Always take special note of anyone that is a critic of others. For it is an Infallible Law of the Human Personality, that a Critic will Always Criticise in Others, the Aspect they Most Dislike About Themselves." So if you are a good listener, and in my experience the Greatest Speakers and Writers are Formed in a Large Part by being Great Observers and Listeners, when a critic begins to speak or write about you, (they may be right or completely off the mark it does not matter) in reality, without realising what they are doing, is Exposing The Inner Truth About Themselves. Can you see how Perspicuously Powerful this Weapon of Insight and Understanding is? http://forum.gibson.com/index.php?/topic/126248-help-with-music-theory-for-songwriting/page__view__findpost__p__1720049 And in the post above we see, another marvelous demonstration of "The Infallible Law of the Human Personality, that a Critic will Always Criticise in Others, the Aspect they Most Dislike About Themselves" at work. By making a simple point with Three Times as Many Words as are Truly Required and Completely Doubling the Length of the Original Post, a Critic (presuming for moment it was intended to be such) Exposes Themselves as Innately Possessing the Very Hallmark Quality they have Chosen to Publicly Defalcate. In doing so of course, they themselves are Open to Public Ridicule. And this is the Danger in any kind of Fora, Debating Chamber or Law Court where they may face Close Cross Examination. Actually, in truth, the self same Amusement and Hilarity can be Positively Invoked to Good Purpose even in a Deeply Serious Court of Law. If I may say so, it has been my experience that a Barrister or Lawyer possessing such Powers, is Warmly Appreciated by The Judge, The Jury, and The Press alike. It makes a Litigious Process, Quickening and Refreshing. And a Debating Process, Light Heartedly Amusing and Tremendously Entertaining. My second point. Relates to the Writing of Lyrics. What I've Learnt is that Re-Visiting a Finished Lyric. It is Possible with the Benefit of Hindsight to find Tiny Areas of Easy Improvement. Common Expressions intended to Humanise and perhaps make a Storytelling Song Conversationalist. Inconspicuous, well intended but superfluous words meant to Give Emotional Expression and Humanitas to help an Audience Relate to the Song. Very often can be Completely Edited Out with No Negative Consequence, either in Meaning, Power of Expression, or Delivery of the Line in Performance, by the Artist involved. Some expressions, strongly change in Popularity and Meaning. The Digital Revolution has greatly accelerated the speed of this phenomena. Thus a Concise, Direct Delivery ensures a More Powerful Elucidation. Within the Context of a Speedily Flowing Song, it assists the Audience to "Get" the Message. Famous Lyricist, Tim Rice, who Plays Cricket for his Local Team on the Village Green adjacent to The Estate I mentioned earlier, is a Master of this Approach. As a Cricket Buff, his Contract with The Disney Organisation paid for his Flight Home Nearby, to Play Cricket with his Local Team, Every Week during the Cricket Season. He has Written Lyrics for Many Successful Musicals, Performed Worldwide in Theatre as well as Major Films. Distilling a Story to its Absolute Essence is a Very Unique and Powerful Skill. The Editing and Simplification of a Lyric, especially within the Context of a Lengthy Musical or indeed a Children's Disney Animated Movie, can be a Dynamic Way to Assist the Audience's Attention during Entertainment that may Last Several Hours. Although as a teenager I was looking at Archived Sheet Music with Lyrics by Ivor Novello, Noel Coward's Sparkling Comedy's, full of Light, Complex and Elegantly Brilliant Musical Confections. Sammy Cahn who wrote a unique "Phonetic Rhyming Dictionary", along with the Worlds' First Intelligent Song, featuring Five Syllable Words for Frank Sinatra. But this is the Very Opposite of That Approach. My appreciation of this, is so acute. All of my Songs have been re-visited, and given a fresh look. I feel they have benefitted by the elimination of a tiny word, here and there. And occasionally, a better, more fittingly relevant, more inspiringly descriptive substitute. So. Thank You Indeed. For Thought Provoking Comment. And a Very Happy New Year to All Readers of this Fora. Including all those who are unsure of what Key or Time Signature they are Playing!
  14. Quote: "Something changed" - Snipped for Shortness - Quote: "Played for 2-3 days and noticed the issue" It's extremely common. For Musicians involving a wide array of Differing Instruments. To notice at Home, both Positive and Negative Aspects, that weren't apparent to them "In Store". The reasons behind this are Manifold, and involve Focus of Brain Attention, which shuts out certain types of sensory information to Aid Specific Concentration. Perhaps you have noticed someone looking at you or into the mid distance, yet you can tell they are not really looking at you. One can tell they are Concentrating Hard on Something. Perhaps Musing Over a Very Important Issue. When the Emotions are Strongly Involved, (and I believe Guitar Purchases are Strongly Emotional Decisions in the main) I think Players Overlook Particular Important Issues simply because of how the Brain Functions and How its Handing an Overload of Conflicting Information. I've written about the affects of Short Term Memory Previously. The Brain is Selective about what is Chooses to be Conscious Of. It's often harder for Players to be as Objective as they perhaps Believe Themselves to be. This is another reason why taking another person you trust can help. Other reasons can involve Not Taking Enough Time, Thoroughly Testing and Examining the Instrument, Self Consciousness in a Public Place, In Store Feature Lighting and Sound Room as well as Background Noise, in what can sometimes be an extremely distracting Environment, involving Serious Pressure with a Decision, Involving what would usually be a Relatively Large Amount of Money. Sometimes people notice an issue prior to purchase, but immediately discount and discard it as they shuffle Pro's and Con's about in their mind regarding a Specific Instrument. Completely Forgetting what they had already noticed but Joyfully Dismissed as they Emotionally Prioritised their Purchasing Agenda in their Minds, they later re-discover the same issue, experiencing it now as a Solid Negative. Generally, All Musical Instruments have Pros and Cons and a Potential Purchaser usually "Balances" these matters, in what appears to be a Largely Subconscious Manner, as they narrow their Choice. They want they Impossible, a Guitar that is Ideal for Every Occasion. This... Is the reason, you can never have, Too Many Guitars. To be fair, I also think it takes a Lot of Time to Mature, and some of us will of course, never fully make it. Guitars can change sat in their cases. But Acoustics more so than Solid Body Electrics. An Inability to Bend Strings, Doesn't Figure there in my experience. I think it's far more likely you and your son. Are becoming genuinely familiar. With the Instrument. As it is.
  15. Quote: "What could contribute to the obvious additional effort to bend strings..." With respect. This is the wrong question to be asking at this point in time. It's a question that should have been asked as the Guitar was being accessed prior to purchasing the Instrument. Forgive me for making that point, but consumers in general should be greater listeners and learners. Asking questions at just the right time, before they buy, is a great way to learn. People in Instrument Stores, often act with a certain attitude, as if to Project the image they are Experts, (and that is true on both sides of the counter) when remaining a "Learner", taking real time, trying out, listening hard, absorbing lots and knowing a Real Expert to take along who can explain the reasons for differences, would make the world of difference to Selecting Instrument Choice. I think that's a relevant point. Well worth making, though I understand. Some might not like that, no offense is intended. Now. The question you should be asking is : "what can I do to alleviate this issue now?" So I have a number of helpful suggestions to offer to help you provided you are willing to change the whole basis of the actual question. The first is, do nothing at all. One of the beauties of Owning Guitars, (whoever you are) is that with a Choice Available, Different Guitars tend to Push your Playing Style in a Different Way which can be a Tremendous Vehicle for Actively Differential Creativity. Whereas, 99.99 % of Performers are in reality, Carbon Copies of someone else, Alas! So for Different Types of Music and Different Styles of Playing, Different Guitars will Excel within the Scope of that Particular Field. Furthermore along that vein, it may be that given Time and Genuine Application, Hidden Strengths will be subsequently discovered gradually and then it may finally emerge to become a Favourite Instrument. New Instruments do take a bit of getting used to, and time to get them how they suit you best, and for you to adjust yourself to the Instrument. The Guitar may turn out to be a Creative Push towards Hallmark Playing Characteristics that are Unique in Style. I hope so. That said, my second point would be to Raise The Stop Bar very significantly above its lowest possible setting whilst still making sure its solidly safe. This height difference will have the effect of easing the break angle behind the bridge and will certainly make String Bending much easier, because the apparent tension over the bridge saddles will now seem far lower, enabling the Strings to "Give" far more easily, when they are being Bent. The End "Fixing" of the Vibrating String will be far less "Tight", if I might put it like that. Along the same line, as a Third Point, you could Re-String the Guitar with the Strings entering the Stop Bar Tailpiece from the bridge side and then passing them over the TOP of the Stop Bar Tailpiece, before they go on to the bridge. This will enable you to gain even More Height to the Strings behind the bridge, Lowering the String Break Angle and Tension and Easing the String Bending even Further Still whist enabling the Tailpiece to be Very Secure. It's a Good Idea to buy a Big Thick Heavy Pencil Rubber and Place it under the Stop Bar when you Change Strings to prevent it falling off and causing Cosmetic Damage. Li'l Jimmy Page (a British Guitarist ) and Joe Bonamassa are amongst the Musicians that have used this Over The Top method of reducing String Break Angle to facilitate String Bending. My fourth Point is to Change Out and Try, Different Brands of Strings. Although Core Piano Wire supplied by a limited number of main suppliers is widely used to Fabricate Guitar Strings manufactured by String Winders. (The terminology is an important differential here). Indeed, D'addario make Strings or Supply Cores for many Brands, Jim D'addario is on record as stating the Core Material Treatments Differ with certain Brands and String Properties, (along with tension and the ability to Bend a String) can thus be different. Many people think that because D'addario supply Strings for Many Brands, or that the String Winders (who put the Windings on the Core Material to manufacture Strings) get the Piano Wire Cores (Jim also has his own Core Facility) from a Strictly Limited Number of Sources, that the Strings are in reality, all the same. This is not universally true, though there will be cases when it will be true. So find Guitarists that Play the way you like, (or your son) and see what they are using. It may be that you learn something to advantage and find that you discover a String, more to your liking, though inevitably, it will take a time to go through a number of Brands. Ernie Ball is normally well regarded, though it might be worth looking at all the Various Types and learning about the differences between them, because you may find an advantage in doing so. Try till you find what works well, then stick with it. I always keep around 60 Sets of Spare Strings Available at any one time to cover all my Instruments (apart from the Strings on the Instruments themselves) and I always use Gibson Strings on my Gibson Guitars, the Pure Nickel which I think have a Better Tone and I believe, cause lower Fret Wear than Plated Strings with Harder Material Underneath the Soon Exposed Plating at the Fretted Points. But that's just my preference, others will have their own favorites. My Fifth Point is to Consider Changing String Gauge. Certain well known Guitarists use 10's on most of their Electric Guitars but use 9's or even 8's on Certain Guitars for Certain Songs where they will be using Excessive String Bending, perhaps through Two Whole Tones even. Some excellent Luthiers believe that Changing String Gauge is the only way to Facilitate Excessive String Bending by Changing String. This is on the basis that the Core of any Given Gauge will only Bend so far. I definitely do not concur with that view, I think (as Jim D'addario states) because Different Brands have their String specially manufactured a Particular Way for their Target Market, especially if the Core Material is treated a particular way to make them have particular properties, as I explained above, there is mileage in Trying (Differently Treated Core ) Strings. Having stated my position about that, the Luthier/s I disagree with are right in that a Small Gauge will Bend Easier, albeit with a corresponding decrease in Volume of Tone Projection and probably easier and more regular String Breakage. The last point heavily depends on the Quality of the Player and just how far they Push the String Bending, in Particular. The salient point is, Lighter String Gauges will Bend Easier. My sixth point is different to the above points in that whilst the above can be enacted straight away on your own, the next point demands the skill of a Highly Experienced Luthier. Some Guitars today are made with a Compound Radius Neck. At the nut end where String Bending is Less Likely and Chords are More Likely the Fretboard Radius is More Curvedly Rounded which makes Chording more Natural to the Fingers. But as you move Up The Neck, the Fretboard Radius Flattens Out where Chords (for many Players) will be Less Likely, but String Bending much More Likely. Put another way, the Fretboard Shape has been Optimised Differently Throughout its Length, to Facilitate Different Playing Styles, Commonly Used and Likely at those Relative Points Along the Neck. It involves Neck Width as well as Shape. Hang on a minute you might be thinking, that's too drastic I might as well buy another Guitar. But above I'm simply explaining a Principle, the idea behind a Compound Radius Fretboard and Neck so that you better understand my points which follow below. What is much more common, is what Luthiers call "Fall Away" where the Frets are Dressed Differently where a Traditional Acoustic Guitar Neck meets the Body of the Instrument. This Fall Away (of Progressively Lower Frets) ensures the Notes Ring Clear and there's no buzzing from the Strings, even when the Highest Notes are Played. So you understand, it's a normal Treatment and Technique in Guitar Building. Depending on the Skill of a Luthier and the Type of Frets used on the Guitar, it MAY be Possible (and Probably Is Possible) to Progressively Flatten Out and Further Lower the Higher Frets along the length of the Neck, which would Further Facilitate the String Bending Ability of that Particular Guitar. What I am advocating is a (degree of simulation) that lends toward some of the properties of a Compound Radius Neck, involving some very Subtle Fretwork and even possibly the Fretboard Radius Too. It's not easy to do, and demands an Expert Luthier, one specialising in Electric Guitars. If you ask on Frank Fords Frets.Net Luthier Fora, someone on that site, would, I know only too well, be completely able to do this for you. A Luthier of the type that is familiar with very Demanding Players, and Adjusting the Instruments to their Tight Demands. It can be done, though it would take Skill, Time and of course.. Money. The Last Word. Explains WHY my First Point. Is So Necessary, and the Most Important of All.
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