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	<title>Guitar Other &#8211; the Naperville Music Informational Blog </title>
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		<title>10 Guitars You Need to Know #3: Rickenbacker</title>
		<link>https://blog.napervillemusic.com/guitar-other/10-guitars-you-need-to-know-3-rickenbacker/</link>
				<pubDate>Tue, 16 Apr 2019 16:53:01 +0000</pubDate>
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				<description><![CDATA[<p>June 17, 2015 / Tagged: Beginner Lessons, Music History / Author: Lucas Frost 3. Hollow &#38; Electric: The Rickenbacker 330 The resilience of the Rickenbacker 330 hollow-body electric guitar During the 1950s, the popularity of the Fender Telecaster and the &#8230; <a href="https://blog.napervillemusic.com/guitar-other/10-guitars-you-need-to-know-3-rickenbacker/">Continue reading <span class="meta-nav">&#8594;</span></a></p>
<p>The post <a rel="nofollow" href="https://blog.napervillemusic.com/guitar-other/10-guitars-you-need-to-know-3-rickenbacker/">10 Guitars You Need to Know #3: Rickenbacker</a> appeared first on <a rel="nofollow" href="https://blog.napervillemusic.com">the Naperville Music Informational Blog </a>.</p>
]]></description>
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<p> June 17, 2015 / Tagged: <a href="https://www.uberchord.com/blog/category/guitar-lessons/beginner-lessons/">Beginner Lessons</a>, <a href="https://www.uberchord.com/blog/category/music-inspiration/music-history/">Music History</a> /</p>



<p> Author: <a href="https://www.uberchord.com/blog/author/lucas/">Lucas Frost</a></p>



<figure class="wp-block-image"><img src="https://blog.napervillemusic.com/wp-content/uploads/2019/04/rickenbacker330fg4-1024x682-1024x682.jpg" alt="" class="wp-image-571" srcset="https://blog.napervillemusic.com/wp-content/uploads/2019/04/rickenbacker330fg4-1024x682.jpg 1024w, https://blog.napervillemusic.com/wp-content/uploads/2019/04/rickenbacker330fg4-1024x682-300x200.jpg 300w, https://blog.napervillemusic.com/wp-content/uploads/2019/04/rickenbacker330fg4-1024x682-768x512.jpg 768w" sizes="(max-width: 1024px) 100vw, 1024px" /></figure>



<h4>3. Hollow &amp; Electric: The Rickenbacker 330</h4>



<h4>The resilience of the Rickenbacker 330 hollow-body electric guitar</h4>



<p>During the 1950s, the popularity of the <a rel="noreferrer noopener" href="https://www.uberchord.com/blog/10-guitars-to-know-fender-telecaster/" target="_blank">Fender Telecaster</a> and the <a rel="noreferrer noopener" href="https://www.uberchord.com/blog/10-guitars-you-need-to-know-gibson-les-paul/" target="_blank">Gibson Les <g class="gr_ gr_9 gr-alert gr_gramm gr_inline_cards gr_run_anim Style multiReplace" id="9" data-gr-id="9">Paul</g></a><g class="gr_ gr_9 gr-alert gr_gramm gr_inline_cards gr_disable_anim_appear Style multiReplace" id="9" data-gr-id="9">  made</g> one thing clear: the solid body was here to stay. But it did <g class="gr_ gr_10 gr-alert gr_gramm gr_inline_cards gr_run_anim Style multiReplace" id="10" data-gr-id="10">not  make</g> hollow bodies redundant. One guitar <g class="gr_ gr_7 gr-alert gr_gramm gr_inline_cards gr_run_anim Punctuation replaceWithoutSep" id="7" data-gr-id="7">in particular</g> illustrates <g class="gr_ gr_11 gr-alert gr_gramm gr_inline_cards gr_run_anim Style multiReplace" id="11" data-gr-id="11">the  resilience</g> of the hollow-body electric guitar, known today as <g class="gr_ gr_12 gr-alert gr_gramm gr_inline_cards gr_run_anim Style multiReplace" id="12" data-gr-id="12">the  semi-acoustic</g>: the&nbsp;Rickenbacker 330. <g class="gr_ gr_8 gr-alert gr_spell gr_inline_cards gr_run_anim ContextualSpelling multiReplace" id="8" data-gr-id="8">Its</g> chiming, almost <g class="gr_ gr_13 gr-alert gr_gramm gr_inline_cards gr_run_anim Style multiReplace" id="13" data-gr-id="13">hypnotic  clarity</g> and famous “jangle” became an essential component of the British  Invasion sound, appearing on The Beatles’ <em>Hard Day’s Night</em> and The Who’s <em>My Generation</em>. Even the world’s first psychedelic track, <a rel="noreferrer noopener" href="http://www.theguardian.com/music/2014/sep/16/how-we-made-eight-miles-high-the-byrds" target="_blank">The Byrds’ </a><em><a rel="noreferrer noopener" href="http://www.theguardian.com/music/2014/sep/16/how-we-made-eight-miles-high-the-byrds" target="_blank">Eight Miles High</a>,</em> based its groove on a Rickenbacker&nbsp;riff.</p>



<h4>Rickenbacker was the 1st Company to Specialize in Electric Instruments</h4>



<p>Rickenbacker
 is central to the story of the guitar. It was the first company to 
specialize in electric instruments, and pioneered the mysteries of 
electro-magnetic music throughout the 1920s and 1930s. Noteworthy is the
 Hawaiian steel guitar known as the Frying Pan (due to its shape). The 
entire guitar was made out of a single block of aluminium and as a 
result suffered from tuning problems, as the whole instrument expanded 
under the heat of the stage lights. Rickenbacker also made a standard 
electric guitar, the Bakelie Model B which was introduced in 1935 – made
 out of the same material as bowling balls, it was heavy and reduced the
 feedback problems associated with hollow-body electrics. In 1958, 
Rickenbacker launched its most successful model, the 330. It’s a 
semi-acoustic.</p>



<h4>The Main Difference is in the Tone</h4>



<p><g class="gr_ gr_8 gr-alert gr_gramm gr_inline_cards gr_run_anim Style multiReplace" id="8" data-gr-id="8">So  what</g> is the advantage of semi-acoustics? <g class="gr_ gr_6 gr-alert gr_gramm gr_inline_cards gr_run_anim Punctuation only-ins replaceWithoutSep" id="6" data-gr-id="6">Obviously</g> they are lighter <g class="gr_ gr_9 gr-alert gr_gramm gr_inline_cards gr_run_anim Style multiReplace" id="9" data-gr-id="9">and  give</g> you less back-pain after hours on stage. And the fact that <g class="gr_ gr_10 gr-alert gr_gramm gr_inline_cards gr_run_anim Style multiReplace" id="10" data-gr-id="10">they  are</g> hollow limits the luthier’s creativity, lending these guitars a <g class="gr_ gr_11 gr-alert gr_gramm gr_inline_cards gr_run_anim Style multiReplace" id="11" data-gr-id="11">more  traditional</g>, classical aesthetic. But of <g class="gr_ gr_7 gr-alert gr_gramm gr_inline_cards gr_run_anim Punctuation only-ins replaceWithoutSep" id="7" data-gr-id="7">course</g> the main difference <g class="gr_ gr_12 gr-alert gr_gramm gr_inline_cards gr_run_anim Style multiReplace" id="12" data-gr-id="12">is  in</g> the tone.</p>



<h4>3 Advantages of Semi-Acoustics</h4>



<ol><li>Lighter in weight (less back-pain)</li><li>A more traditional, classic aesthetic</li><li>Tone (main advantage)</li></ol>



<h4>Good Vibrations</h4>



<p><g class="gr_ gr_14 gr-alert gr_gramm gr_inline_cards gr_run_anim Style multiReplace" id="14" data-gr-id="14">When  you</g> strum the strings, they transmit their vibration via the bridge <g class="gr_ gr_15 gr-alert gr_gramm gr_inline_cards gr_run_anim Style multiReplace" id="15" data-gr-id="15">to  the</g> body; the body will vibrate along too and influence the <g class="gr_ gr_16 gr-alert gr_gramm gr_inline_cards gr_run_anim Style multiReplace" id="16" data-gr-id="16">vibration  pattern</g> of the strings. Certain harmonic overtones will be emphasized,  others are diminished. A thin shell, such as in semi-acoustics, <g class="gr_ gr_17 gr-alert gr_gramm gr_inline_cards gr_run_anim Style multiReplace" id="17" data-gr-id="17">responds  more</g> directly to the strings vibration and has a greater impact on <g class="gr_ gr_18 gr-alert gr_gramm gr_inline_cards gr_run_anim Style multiReplace" id="18" data-gr-id="18">the  overall</g> frequency distribution. In addition, the air inside the <g class="gr_ gr_19 gr-alert gr_gramm gr_inline_cards gr_run_anim Style multiReplace" id="19" data-gr-id="19">hollow  body</g> will vibrate too, which creates <g class="gr_ gr_11 gr-alert gr_gramm gr_inline_cards gr_run_anim Grammar only-ins replaceWithoutSep" id="11" data-gr-id="11">interplay</g> between the <g class="gr_ gr_20 gr-alert gr_gramm gr_inline_cards gr_run_anim Style multiReplace" id="20" data-gr-id="20">vibrating  strings</g>, body <g class="gr_ gr_13 gr-alert gr_gramm gr_inline_cards gr_run_anim Punctuation only-ins replaceWithoutSep" id="13" data-gr-id="13">and</g> air. So the final tone and sustain depends on <g class="gr_ gr_21 gr-alert gr_gramm gr_inline_cards gr_run_anim Style multiReplace" id="21" data-gr-id="21">other  variables</g> such as type and thickness of the wood, <g class="gr_ gr_12 gr-alert gr_gramm gr_inline_cards gr_run_anim Grammar only-ins replaceWithoutSep" id="12" data-gr-id="12">volume</g> of air <g class="gr_ gr_22 gr-alert gr_gramm gr_inline_cards gr_run_anim Style multiReplace" id="22" data-gr-id="22">and  f-holes</g>.</p>



<h4><strong>Semi-acoustics come alive in all their responsive richness, warm, ringing overtones and delicious sustain</strong></h4>



<p>This
 greater “vibrational sensitivity” has another effect: feedback. 
Semi-acoustics are infamous for their tendency to feedback easily, and 
solid-bodies were pretty much invented to reduce this&nbsp;effect – 
guitarists would stuff foam into the body or tape over the f-holes to 
control their guitar’s screech. But in the hands of great guitarists, 
their feedback can be used to marvellous effects. With the right 
distance to the amp and perhaps a hint of overdrive, semi-acoustics will
 come alive in all their responsive richness, warm, ringing overtones 
and delicious sustain. The creative use of the semi-acoustics feedback 
“problem” led to great experimentation of textured soundscapes.</p>



<h4><strong>The Rickenbacker gave&nbsp;its shimmering sound to some of the most innovative and experimental bands ever</strong></h4>



<p>The Rickenbacker 330 is a great example, an instrument that has give its shimmering sound to&nbsp;some&nbsp;of</p>



<p><g class="gr_ gr_11 gr-alert gr_gramm gr_inline_cards gr_run_anim Style multiReplace" id="11" data-gr-id="11">the  most</g> innovative and experimental bands ever. It is in reality <g class="gr_ gr_12 gr-alert gr_gramm gr_inline_cards gr_run_anim Style multiReplace" id="12" data-gr-id="12">only  half-acoustic</g>, with a cavity in only the upper side of the body and a  futuristic f-hole to provide a little resonance. It shines in a <g class="gr_ gr_13 gr-alert gr_gramm gr_inline_cards gr_run_anim Style multiReplace" id="13" data-gr-id="13">band  context</g>, especially when paired up with a solid-body. This is how The  Beatles, Oasis or The Smiths got that full, rich tapestry of sound <g class="gr_ gr_14 gr-alert gr_gramm gr_inline_cards gr_run_anim Style multiReplace" id="14" data-gr-id="14">that  retains</g> its sparkle without going muddy. Even AC/DC get their sound <g class="gr_ gr_15 gr-alert gr_gramm gr_inline_cards gr_run_anim Style multiReplace" id="15" data-gr-id="15">by  combining</g> hollow with solid body, albeit not with a Rickenbacker.</p>



<h4><strong>This is how The Beatles, Oasis or The Smiths got that full, rich tapestry of sound</strong></h4>



<h4>Standout Features of the Rickenbacker 330</h4>



<p>And of course, the 330 has plenty of other features that make it stand out. Rickenbacker seems to have<br>
 doubled many&nbsp;standard features.&nbsp;Most Rickenbackers have two truss-rods,
 side by side, which allow you&nbsp;to&nbsp;regulate the straightness of your neck
 more accurately (but it also increases neck weight). Some of the 
earlier 330s featured two output jacks, one for each pickup. This gave 
you the option of playing through multiple amps to create new sound 
palates, and gives you versatility with effect loops and a stereo stage 
sound. And the 330 has two tone and volume knobs (one per pickup) with 
the addition of a “blend” knob, which allows for a smooth tweaking of 
your tone – a bit like a single band EQ. The thick, flat-wound 
single-coil pickups accentuate clear, mid- to upper range tones with 
good definition. And if you want even more harmonic richness, there was 
the option of the 12-string 360 model [as seen in image].</p>
<p>The post <a rel="nofollow" href="https://blog.napervillemusic.com/guitar-other/10-guitars-you-need-to-know-3-rickenbacker/">10 Guitars You Need to Know #3: Rickenbacker</a> appeared first on <a rel="nofollow" href="https://blog.napervillemusic.com">the Naperville Music Informational Blog </a>.</p>
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		<title>John Fogerty Is Reunited with His CCR Rickenbacker After 44 Years.  By Damian Fanelli February 16, 2017 Artist. Guitar World</title>
		<link>https://blog.napervillemusic.com/uncategorized/john-fogerty-is-reunited-with-his-ccr-rickenbacker-after-44-years-by-damian-fanelli-february-16-2017-artist-guitar-world/</link>
				<pubDate>Mon, 15 Apr 2019 23:09:21 +0000</pubDate>
		<dc:creator><![CDATA[admin]]></dc:creator>
				<category><![CDATA[Guitar Other]]></category>
		<category><![CDATA[Uncategorized]]></category>

		<guid isPermaLink="false">https://blog.napervillemusic.com/?p=567</guid>
				<description><![CDATA[<p>Sometime around 1973 or &#8217;74, John Fogerty was at Creedence Clearwater Revival&#8217;s rehearsal space in San Francisco. The band had recently broken up, and the successful guitarist/songwriter didn&#8217;t really know what lay ahead—at least beyond his new album at the &#8230; <a href="https://blog.napervillemusic.com/uncategorized/john-fogerty-is-reunited-with-his-ccr-rickenbacker-after-44-years-by-damian-fanelli-february-16-2017-artist-guitar-world/">Continue reading <span class="meta-nav">&#8594;</span></a></p>
<p>The post <a rel="nofollow" href="https://blog.napervillemusic.com/uncategorized/john-fogerty-is-reunited-with-his-ccr-rickenbacker-after-44-years-by-damian-fanelli-february-16-2017-artist-guitar-world/">John Fogerty Is Reunited with His CCR Rickenbacker After 44 Years.  By Damian Fanelli February 16, 2017 Artist. Guitar World</a> appeared first on <a rel="nofollow" href="https://blog.napervillemusic.com">the Naperville Music Informational Blog </a>.</p>
]]></description>
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<figure class="wp-block-image"><img src="https://blog.napervillemusic.com/wp-content/uploads/2019/04/5Hxt29WkZArghiHmVzCtsf-650-80.jpg" alt="" class="wp-image-568" srcset="https://blog.napervillemusic.com/wp-content/uploads/2019/04/5Hxt29WkZArghiHmVzCtsf-650-80.jpg 622w, https://blog.napervillemusic.com/wp-content/uploads/2019/04/5Hxt29WkZArghiHmVzCtsf-650-80-300x212.jpg 300w" sizes="(max-width: 622px) 100vw, 622px" /></figure>



<p>Sometime around 1973 or &#8217;74, <a href="http://www.johnfogerty.com/">John Fogerty</a> was at Creedence Clearwater Revival&#8217;s rehearsal space in San Francisco.</p>



<p>The
 band had recently broken up, and the successful guitarist/songwriter 
didn&#8217;t really know what lay ahead—at least beyond his new album at the 
time, <em>The Blue Ridge Rangers</em>. Two 12-year-old kids—apparently 
named Rick and Louie—were hanging out at the rehearsal space, and 
Fogerty decided to give his 1969 Rickenbacker 325 to Louie.</p>



<p>&#8220;I was just detached and numb at that point,&#8221; Fogerty told <em><a href="http://www.rollingstone.com/music/features/john-fogerty-reunited-with-creedence-guitar-after-44-years-w467337">Rolling Stone</a></em>. &#8220;I think I gave it away to sort of end that chapter of my life.&#8221;</p>



<p>The
 Rick had been his main CCR guitar for several years; he used it for 
pretty much every standard-tuning song on every Creedence album from 
1969&#8217;s <em>Bayou Country</em> through 1972&#8217;s <em>Mardi Gras</em>. It&#8217;s the guitar he played at Woodstock and on <em>The Ed Sullivan Show,</em> the guitar that can be heard on &#8220;Green River,&#8221; &#8220;Travelin&#8217; Band,&#8221; &#8220;Up Around the Bend&#8221; and many more.</p>



<p>The
 Fireglo (what most other manufacturers and news websites call 
&#8220;sunburst&#8221;) guitar, which he bought at the Rickenbacker showroom in Los 
Angeles in &#8217;69, had a unique look. Right after Fogerty bought it, he 
took it to his back yard, grabbed some yellow paint and wrote &#8220;ACME&#8221; in 
all caps on the headstock&#8217;s name plate. Some say he was inspired by the 
fictional corporation in the Warner Bros. cartoons he loved as a kid.</p>



<p>About 20 years later, Fogerty stumbled upon the guitar at <a href="http://www.normansrareguitars.com/">Norman&#8217;s Rare Guitars in Tarzana, California</a>.
 However, the store was asking for a lot of money at the time. &#8220;I just 
looked at [Norman] and the guitar, shook my head and said, &#8216;I&#8217;m not 
doing that&#8217;,&#8221; Fogerty said.</p>



<p>Just last year, however, <g class="gr_ gr_5 gr-alert gr_gramm gr_inline_cards gr_run_anim Style multiReplace" id="5" data-gr-id="5">Fogerty  casually</g> mentioned to his wife, Julie, that he&#8217;d like to get that old  ACME guitar back. Without telling him, she poured everything into a  search to track it down—a search that led to <a href="http://www.garysguitars.com/">Gary&#8217;s Classic Guitars in Loveland, Ohio</a>.</p>



<p>Cut to this past Christmas morning. After opening most of the gifts 
under the tree, Fogerty noticed one more large box that was wrapped in 
paper but also covered by one of his trademark plaid shirts. Fogerty 
removed the shirt and wrapping paper and saw—you guessed it—an old 
Rickenbacker case.</p>



<p>&#8220;I was immediately struck dumb,&#8221; Fogerty said. 
&#8220;I turned to my wife and said, &#8216;Am I about to get overwhelmed here?'&#8221; It
 was his long-lost ACME Rick.</p>



<p>&#8220;I never imagined I&#8217;d see it again,&#8221; Fogerty told <em><a href="http://www.rollingstone.com/music/features/john-fogerty-reunited-with-creedence-guitar-after-44-years-w467337">Rolling Stone</a></em>.  It didn&#8217;t take him long to plug in the ax for the first time in <g class="gr_ gr_8 gr-alert gr_gramm gr_inline_cards gr_run_anim Style multiReplace" id="8" data-gr-id="8">more  than</g> 40 years. &#8220;I started playing the solo in &#8216;Green River,&#8217; and <g class="gr_ gr_9 gr-alert gr_gramm gr_inline_cards gr_run_anim Style multiReplace" id="9" data-gr-id="9">the  hairs</g> stood up on the back of my neck. It was exactly that sound, 100  percent.&#8221;Fogerty will use the guitar March 3, when he resumes his <a href="http://www.johnfogerty.com/tour-dates">John Fogerty: Fortunate Son in Concert</a> residency at the <a href="http://www.wynnlasvegas.com/RoomsSuites/WynnExclusives/72HourSpecial?utm_source=google&amp;utm_medium=cpc&amp;utm_campaign=rooms&amp;utm_term=wynn%2520las%2520vegas">Wynn Las Vegas</a>. Stay tuned for a video!</p>



<p>Naperville Music, your home for Rickenbacker Guitars</p>



<p> </p>
<p>The post <a rel="nofollow" href="https://blog.napervillemusic.com/uncategorized/john-fogerty-is-reunited-with-his-ccr-rickenbacker-after-44-years-by-damian-fanelli-february-16-2017-artist-guitar-world/">John Fogerty Is Reunited with His CCR Rickenbacker After 44 Years.  By Damian Fanelli February 16, 2017 Artist. Guitar World</a> appeared first on <a rel="nofollow" href="https://blog.napervillemusic.com">the Naperville Music Informational Blog </a>.</p>
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		<title>5 Tips to Move from Guitar to Bass</title>
		<link>https://blog.napervillemusic.com/guitar-other/5-tips-to-move-from-guitar-to-bass/</link>
				<pubDate>Tue, 09 Oct 2018 18:44:01 +0000</pubDate>
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				<category><![CDATA[Guitar Other]]></category>

		<guid isPermaLink="false">http://blog.napervillemusic.com/?p=495</guid>
				<description><![CDATA[<p>5 Tips to Move from Guitar to Bass The guitar and bass might be similar instruments, but you need to know these things to make an easy transition. By Mike Duffy There are many similarities between the electric guitar and &#8230; <a href="https://blog.napervillemusic.com/guitar-other/5-tips-to-move-from-guitar-to-bass/">Continue reading <span class="meta-nav">&#8594;</span></a></p>
<p>The post <a rel="nofollow" href="https://blog.napervillemusic.com/guitar-other/5-tips-to-move-from-guitar-to-bass/">5 Tips to Move from Guitar to Bass</a> appeared first on <a rel="nofollow" href="https://blog.napervillemusic.com">the Naperville Music Informational Blog </a>.</p>
]]></description>
								<content:encoded><![CDATA[<h1 class="article-headline f4 f-headline-ns mb1 mb3-ns lh-title">5 Tips to Move from Guitar to Bass</h1>
<p class="f4 futura-book lh-title">The guitar and bass might be similar instruments, but you need to know these things to make an easy transition.</p>
<p class="dark-gray mv3">By Mike Duffy</p>
<div class="bt b--red bw2 w4 mv3"></div>
<div class="article-markdown pr3-ns">
<div id="ember2338" class="ember-view">
<p>There are many similarities between the <a href="https://shop.fender.com/en-US/electric-guitars/">electric guitar</a> and <a href="https://shop.fender.com/en-US/electric-basses/">bass</a>.</p>
<p>For one, they are both instruments that utilize magnetic pickups to register the vibrations of metal strings and create sound. Secondly, the lowest four strings on a guitar are the same as the four strings on a bass.</p>
<p>The <a href="https://shop.fender.com/en-US/electric-basses/">bass</a> is tuned to a standard EADG, while a <a href="https://shop.fender.com/en-US/electric-guitars/">guitar</a>&#8216;s six strings are tuned EADGBE (a bass <em>is</em> tuned an octave lower). And, the notes are the same on both, as well!</p>
<p>Even though they&#8217;re similar, however, there are several differences between the two that you should consider, whether you&#8217;re moving from the <a href="https://shop.fender.com/en-US/electric-guitars/">guitar</a> to the <a href="https://shop.fender.com/en-US/electric-basses/">bass</a> or have never picked up either. Getting a handle on these differences will expedite the process of becoming a good and even great bassist.</p>
<p>Luckily, <a href="https://www.fender.com/play">Fender Play</a> recently launched an essential curriculum for any beginning bass player or a bassist looking to hone their chops. Here are five tips to help you along your bass journey:</p>
<h2 id="getusedtothesizeofthebass">Get Used to the Size of the Bass</h2>
<p>It&#8217;s obvious that <a href="https://shop.fender.com/en-US/electric-basses/">basses</a> tend to be larger than guitars. Even though there are fewer strings on a bass, they are much thicker because they need to be tunes so much lower than a guitar&#8217;s strings. These large strings exert greater tension on the body and neck. This generally results in a slightly larger body, a thicker neck, longer scale length and larger hardware when compared to a guitar (a <a href="https://shop.fender.com/en-US/electric-basses/mustang-bass/mustang-bass-pj/0144053505.html#q=mustang+bass&amp;start=1">Mustang Bass PJ</a> is a good choice should you want a shorter scale and smaller body).</p>
<p>Another decision to make is <a href="https://www.fender.com/articles/tech-talk/bass-debate-pick-vs-fingers">whether to play fingerstyle or with a pick</a>. Fingerstyle is the most common method of playing bass. It&#8217;s versatile, intuitive and offers more subtle dynamics and tonal variety than a pick does, plus it allows you to play slap bass. Prominent fingerstyle bassists include James Jamerson, Duck Dunn, Geddy Lee and Flea.</p>
<p>Playing with a pick changes the string attack, which changes the overall sound when compared to fingerstyle. It can produce a brighter, more abrasive tone that couples well with certain rhythms. Many notable bassists, like Megadeth&#8217;s David Ellefson, Guns n&#8217; Roses&#8217; Duff McKagan and Paul McCartney, use a pick.</p>
<h2 id="practicerestrainttosupportthesong">Practice Restraint to Support the Song</h2>
<p>While the guitar tends to be a busier instrument, with multiple duties (lead, rhythm, etc.) throughout a song, the bass tends to be more economical.</p>
<p>But the role of a bass player just might be the most important in a band. The bass sets the foundation of the entire band and sets the pace of the song by <a href="https://www.fender.com/play/lessons/bass-exercise-locking-in-with-the-bass-drum">locking in with the drums and percussion</a>, even if you&#8217;re playing a bassline of single notes. No matter how simple or complex the bassline is, it is a critical element that the rest of the band refers to along the way, so it must be reliable.</p>
<p>Essentially, bassists are responsible for establishing and maintaining the groove, and giving the music depth.</p>
<h2 id="makefriendswiththedrummer">Make Friends with the Drummer</h2>
<p>The rhythm section provides rhythmic and harmonic foundation for the lead guitar and singers to build upon. So, <a href="https://www.fender.com/play/lessons/the-bass-drum-relationship">the drummer and bassist need to be on the same page at all times</a>. Think about it, you don&#8217;t get on the dance floor for a ripping guitar solo. It&#8217;s the rhythm and groove that gets people moving. It&#8217;s the &#8220;engine&#8221; of the band.</p>
<p>A good rule of thumb if you&#8217;re just starting out is to stay tight with the kick drum (a.k.a. bass drum) and snare drum. You can use octave root notes &#8211; the low octave with the kick drum and the high octave with the snare &#8211; to construct a solid backbeat.</p>
<h2 id="walkitout">Walk It Out</h2>
<p>A &#8220;<a href="https://www.fender.com/play/lessons/exercise-play-walk-ups-walk-downs">walking</a>&#8221; bassline refers to a way of playing connecting notes between the roots of a song&#8217;s chords. This helps the bass parts flow more smoothly by moving from one chord&#8217;s root note <a href="https://www.fender.com/play/lessons/show-me-walk-up-and-walk-down">up or down</a> to the next. Traditionally, walking bass was used in blues or jazz music, but they are becoming more common in other genres, as well.</p>
<p>These transitional notes, also known as &#8220;leading tones&#8221; since they lead to the next note, can be diatonic or chromatic. Diatonic leading tones take notes from a specific scale or key to conect the dots between different chords. The easiest way to make those steps is to use every fifth chord. Meanwhile, chromatic leading tones don&#8217;t necessarily come from the scale or key, but rather fall in between those diatonic notes.</p>
<h2 id="figureoutwhentofill">Figure Out When to Fill</h2>
<p>A <a href="https://www.fender.com/play/lessons/fill-bass-glossary">fill</a> is a short musical passage, or riff, that is played between phrases to break up the groove and make things a little more interesting. Basically, you&#8217;re embellishing the bassline with a little expression to move the song forward in between a verse and a chorus, for example.</p>
<p>Now, the above note must be put into practice with restraint; it is tempting when it comes to <a href="https://www.fender.com/play/courses/bass-16th-notes-and-fills/lessons/bass-show-me-16th-note-fills">bass fills</a>. While they do let the bassist stand out, you never want to sacrifice the groove and distract from the song.</p>
<p>To ensure the groove remains tight, be aware of the number of beats to fill before the groove comes back around so the transition is seamless. Many of the best fills end on the first beat (and on the <a href="https://www.fender.com/play/lessons/bass-glossary-root-notes">root note</a>) of the next measure.</p>
<p>Naperville Music &#8211; Your home for everything Fender</p>
<p>Contact: <a href="mailto:matt@napervillemusic.com">matt@napervillemusic.com</a></p>
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<p>The post <a rel="nofollow" href="https://blog.napervillemusic.com/guitar-other/5-tips-to-move-from-guitar-to-bass/">5 Tips to Move from Guitar to Bass</a> appeared first on <a rel="nofollow" href="https://blog.napervillemusic.com">the Naperville Music Informational Blog </a>.</p>
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		<title>The Guitar That Launched The Beatles</title>
		<link>https://blog.napervillemusic.com/guitar-other/the-guitar-that-launched-the-beatles/</link>
				<pubDate>Tue, 19 Jun 2018 23:34:04 +0000</pubDate>
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				<description><![CDATA[<p>The Guitar That Launched The Beatles Andrew Vaughan 10.09.2017 “Love Me Do,” The Beatles’ first-ever single, announced a revolution in rock and roll. The fresh-faced Liverpudlians — Lennon, McCartney, Harrison and Starr — sounded like nothing else on British radio &#8230; <a href="https://blog.napervillemusic.com/guitar-other/the-guitar-that-launched-the-beatles/">Continue reading <span class="meta-nav">&#8594;</span></a></p>
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								<content:encoded><![CDATA[<h2><strong>The Guitar That Launched The Beatles</strong></h2>
<div class="article-publisher">Andrew Vaughan</div>
<div class="article-date">10.09.2017</div>
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<div class="article-text">
<p>“Love Me Do,” The Beatles’ first-ever single, announced a revolution in rock and roll. The fresh-faced Liverpudlians — Lennon, McCartney, Harrison and Starr — sounded like nothing else on British radio in October 1962. As Harrison remembered in <em>The Beatles Anthology</em>: “First hearing &#8216;Love Me Do&#8217; on the radio sent me shivery all over. It was the best buzz of all time. We knew it was going to be on Radio Luxembourg at something like 7:30 on a Thursday night. I was in my house in Speke and we all listened in.”</p>
<p><img src="http://images.gibson.com/Lifestyle/English/aaFeaturesImages2010/beatles_love-me-do3.jpg" alt="" width="300" height="301" align="right" hspace="12" vspace="12" />With its Everly-inspired harmonies, strident bass and thumping drums and that distinctive, bluesy harmonica riff, “Love Me Do” stood out amidst a sea of early ’60s British pop mediocrity. And high in the mix is Lennon’s chiming acoustic guitar, played on his new and highly prized Gibson J-160E.</p>
<p>1962 was a crucial year in Beatles history. Liverpool businessman Brian Epstein signed on as manager in January, Lennon’s art-school pal and the band’s original bass player, Stu Sutcliffe, died in April and, after being turned down by pretty much every label in town, they finally signed a record deal in June with Parlophone. They made their first test recordings with George Martin in June. In August, Lennon got married and The Beatles finally became The Fab Four when, Ringo Starr joined the holy trinity of John, Paul and George.</p>
<p>With Pete Best still on drums, the group had gone to Abbey Road for some test recordings in June and had been told a few home truths by the studio engineers and Mr. Martin. Engineer Norman Smith told Mark Lewisohn in <em>The Complete Beatles Recording Sessions</em> that the band were given “a long lecture about their equipment and what would have to be done about it if they were to become recording artists.”</p>
<p>Taking the recording studio advice to heart, George Harrison and John Lennon, remembering Tony Sheridan’s impressive Gibson ES-175, decided they needed some Gibson power and finesse of their own and both fancied a J-160E acoustic. The only problem with that was the price. England, in 1962, was still recovering from two World Wars. The economy was still precarious and the average yearly wage was only £800. The Gibson J-160Es cost a cool £161 apiece, a steep price for even a successful live band of the time. Fortunately, The Beatles had a relatively wealthy manager in Brian Epstein and he co-signed for their payment plan at Rushworh&#8217;s music store in Liverpool. But even Epstein took a year to pay off the guitars!</p>
<p>The famous old music store was one of a select few Liverpool stores for U.S. guitars, which were still tough to acquire in England in 1962. It was the store where Paul McCartney’s father bought the 14-year-old Macca his first guitar. The Beatles purchased a lot of their early band instruments from Hessy’s music store in Liverpool, but their tab had passed £200 when Epstein came into the picture and he had to pay off the debt with a personal check.</p>
<p>So Rushworth&#8217;s it was for the Gibsons. A photo-op ceremony was set up from Bill Harry’s <em>Merseybeat</em> paper, and John and George were both presented with their prized sunburst Gibson J-160Es by James Rushworth. Peter Kaye took pictures for <em>Merseybeat</em> and the shot was printed in the paper with the caption, “John Lennon and George Harrison of The Beatles, seen at Rushworth’s when they received their Gibson guitars&#8211;the only ones of their type in the country&#8211;which were specially flown to England by jet from America.”</p>
<p>The J-160Es arrived just in time for the historic London recording sessions the next day, September 11, when at EMI Abbey Road Studio Two London, Lennon played his brand spanking new Gibson J-160E on the sessions for The Beatles&#8217; first single.</p>
<p>Their record was released just three weeks later, on October 5th, 1962, on the Parlophone label. “Love Me Do” made it to #17 on the U.K singles chart. The Beatles had arrived.</p>
<p>Lennon used his <a href="http://www2.gibson.com/Products/Acoustic-Instruments/Round-Shoulder/Gibson-Acoustic/John-Lennon-J-160E-Peace.aspx" target="_blank" rel="noopener">Gibson J-160E</a> extensively over the next year for recordings, radio and TV appearances and live shows. But in December 1963, just after Epstein had made his final payment for the guitar, the 160E was stolen and never found again. It was, in fact, George Harrisons’ J-160E that Lennon played in scenes in <em>A Hard Day’s Night.</em></p>
<p>Later in 1964, Lennon picked up a replacement Gibson J-160E, almost the same but with double white rings around the sound hole. This is the guitar he took with him on their historic visit to America in 1964, the beginning of the British Invasion.</p>
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		<title>First Steps: 10 Greats Share How They Began Playing Guitar</title>
		<link>https://blog.napervillemusic.com/guitar-other/first-steps-10-greats-share-how-they-began-playing-guitar/</link>
				<pubDate>Tue, 19 Jun 2018 23:21:42 +0000</pubDate>
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				<description><![CDATA[<p>First Steps: 10 Greats Share How They Began Playing Guitar Russell Hall 12.27.2017 Any guitarist knows that learning is an adventure filled with discovery, excitement, and – if the player is serious – a heady mix of dedication and joy. &#8230; <a href="https://blog.napervillemusic.com/guitar-other/first-steps-10-greats-share-how-they-began-playing-guitar/">Continue reading <span class="meta-nav">&#8594;</span></a></p>
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								<content:encoded><![CDATA[<p>First Steps: 10 Greats Share How They Began Playing Guitar</p>
<div class="article-publisher">Russell Hall</div>
<div class="article-date">12.27.2017</div>
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<p>Any guitarist knows that learning is an adventure filled with discovery, excitement, and – if the player is serious – a heady mix of dedication and joy. The ways in which beginning players set out on that path are infinite, but it’s always instructive to examine the experiences of those who’ve gone before. Below, we’ve gathered together in-depth quotes from 10 guitar greats, each of whom addresses the issue of learning to play. Feel free to share your own thoughts in the comments section.</p>
<p><strong> </strong></p>
<p><strong>Vivian Campbell, 2011</strong></p>
<p>I had a crush on a girl when I was 13. Her mother played guitar, and she showed me the lick for “Day Tripper.” That was the first riff I learned. Mostly I learned by sitting down with albums and working out the songs. That started with Rory Gallagher’s <em>Live! In Europe</em>. The next album I pulled apart in that way was Thin Lizzy’s <em>Jailbreak</em>.  I’m entirely self-taught. The guitarists who influenced me most were blues-based players, so it was more about phrasing than about the technical aspects of the instrument. I do believe it’s more important to have your own voice than it is to have great technique. You could cite Bob Dylan as an example, in a different way. No one would ever say Bob Dylan is a great singer, technically, but when you hear him you sure as hell know who it is.</p>
<p><strong> </strong></p>
<p><strong>Steve Lukather, 2011</strong></p>
<p>I was six when I saw The Beatles on “The Ed Sullivan Show.” It was really a spiritual experience. I knew then that that’s what I was going to do. My parents thought it was cute, so they bought me an acoustic guitar and a copy of <em>Meet The Beatles</em>. I desperately wanted to be George Harrison. I’m sure I set the needle on “I Saw Her Standing There” a thousand times. One day I’m sitting there, and suddenly everything made sense. The guitar looked different and felt different. I started playing all the first position chords, with no one having taught me. And I could hear things and play them without anyone showing me. Later, when I was about 14, I dove headlong into music study &#8212; orchestration, arranging, guitar lessons, piano lessons, improvisation lessons at Dick Grove School of Music and so on.</p>
<p><strong>Gary Clark Jr., 2015 </strong></p>
<p>We were on Christmas break &#8212; out of school. The day I went back to school, I went to the library and checked out two books. One was titled “How to Play Guitar,” and the other, “Basic Guitar.” I studied the chord charts, learned the simple G, E, A, B chords &#8212; got familiar with placing my fingers in the right position, going for it until it didn’t hurt any more. And then I started figuring out leads by watching other players. A lot of it came from watching “Austin City Limits,” which came on TV every Saturday night. That’s how it started. I also listened the Jackson 5 and other soul records, plus jazz records that my Dad listened to, and stuff on the radio.</p>
<p><strong> </strong></p>
<p><strong>Lindsey Buckingham, 2011</strong></p>
<p>My brother started bringing home rock and roll records. Hearing Elvis Presley for the first time affected me profoundly. I got a chord book, and really wasn’t thinking of the guitar as anything other than something with which to learn songs. It was about learning songs, and singing songs – getting close to the songs on that level. I spent a lot of time in my brother’s room, listening to his 45s. I’m sure my parents were wondering about me spending so much time alone. It was something I was very pro-active about, something I took upon myself without any encouragement. There was no one in our household who was musically inclined. I was just lucky enough to have an older brother who was focused on rock and roll, and who was bringing home great stuff on 45s. Without that, I probably never would have gotten into music.</p>
<p><strong> </strong></p>
<p><strong>Joe Walsh, 2012</strong></p>
<p>My influence was rock and roll from about 1955 to about 1962 – all that doo-wop and stuff. That’s what I grew up on. I memorized it, and learned it all and learned all the chords. Eventually I got in a band and we played cover songs. It’s essential to play in front of people. Gradually I started changing things in other people’s songs. When it came time to play a lead guitar part, I wouldn’t necessarily play the part on the record. I would play something I liked better. Over time, as you’re sitting around practicing – spending time with your instrument – you begin to come up with your own ideas. The two things that are important are: first, to sit and figure out other people’s parts, including listening to the old blues players, and get a bank of knowledge in your head to draw from; and second, you have to get out and play in front of people. That’s a big part of being a musician. Lots of kids rehearse in their parents’ garage and become legends in that environment. But they never play for anybody.</p>
<p><strong> </strong></p>
<p><strong>Richie Sambora, 2012</strong></p>
<p>I approached it a bit backwards. I would put on something like the <em>Live Johnny Winter And</em> album – which has lots of fast lead solos – and try to move my fingers as fast as I thought Johnny Winter was playing. I didn’t know which notes I was playing, I was just trying to get the same type of phrasing going. I did that for a long time, with lots of different albums, and it created a particular kind of muscle memory in my hands. By the time I tried to actually put notes to what I was doing, I was already pretty good. It helped that I was such an avid music listener. I bought a new album every week or two, and really studied them. It also helped that I had played the accordion and the sax and trumpet in the school band. Those instruments came easily to me, so when I started playing guitar, I already knew my ear for music was very acute.</p>
<p><strong> </strong></p>
<p><strong>Randy Bachman, 2001</strong></p>
<p>I first noticed guitar when I saw Elvis on television. My cousins played guitar, but it was all country-western music – Johnny Cash, Ray Price … things like that. When I saw Elvis, it was so exciting. Hearing Scotty Moore … I wanted to play that kind of guitar. My cousins were going away on a fishing trip, so I asked them to lend me their guitar while they were gone, and to show me three chords. When they came back, I had taken those three chords, and I was able to play any song I heard on the radio. Because of my playing violin – because you slide up the neck when you’re playing those second and third positions – I just took an E-chord on the guitar and slid it up the neck, and made an F and an F# and a G. When my cousins came back I could already play better than they could, after just four or five days.</p>
<p><strong> </strong></p>
<p><strong>Tom Morello, 2011</strong></p>
<p>I didn’t start playing until I was 17. At that time a friend gave me the best advice as far as music goes. He said, “Practice at least one hour a day, every day, no matter what.” I took that to heart and my playing improved. I went from two hours to four hours a day until eventually I was practicing eight hours a day. That means if you’re on vacation with the family in Ireland, for example, you stop at a bus station and play for 45 minutes to get toward your allotted practice time. I did that in an obsessive-compulsive way that I don’t recommend &#8212; it precludes a social life. But I fell head over heels for the instrument. Practicing eight hours a day will get you technical ability, but there’s a big difference between being a musician and being an artist. I soon became very accomplished technically. I could play some amazing solos, but the real breakthrough came when I started using the toggle switch to emulate a DJ’s scratching. This was in the very early days of Rage Against the Machine. At that point I went away from practicing scales for four hours a day to concentrating on the parts of my playing that were unique or accidental, and trying to craft those into music and songs. That’s when I found my voice on the instrument.</p>
<p><strong> </strong></p>
<p><strong>Joe Bonamassa, 2011</strong></p>
<p>I first held a guitar when I was three years old, and started playing when I was four. I started out playing classical guitar but that involved too much discipline. I couldn’t be bothered with that aspect of it. The blues, on the other hand, is a blank canvas. There aren’t any rules. You can interpret it in any way you want. That really appealed to me, and it still does. I started out trying to emulate my heroes. My influences, early on, were people like Eric Clapton, Jeff Beck, Rory Gallagher, and Paul Kossoff. It was great to stumble upon all these great British blues players who had been influenced by American artists.</p>
<p><strong> </strong></p>
<p><strong>Robby Krieger, 2014</strong></p>
<p>I plunked around on the guitar when I was maybe 14 or 15, but I didn’t get serious about it till I was 16. Some of my friends had guitars and I liked the feel of it. I had a piano at my house, which I also liked, but I never got serious about that. And I played trumpet. But every time I would see my friends I would gravitate toward their guitars. When I first started playing I was really into flamenco. My Dad had some flamenco records, which I loved. My buddy Bill Wolf and I took lessons together, and that was the first kind of music I learned to play on guitar. From there I went into folk music, other stuff you could play on that kind of guitar.</p>
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		<title>The Guitar Theory Cheat Sheet</title>
		<link>https://blog.napervillemusic.com/guitar-other/296/</link>
				<pubDate>Tue, 20 Feb 2018 00:19:11 +0000</pubDate>
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				<description><![CDATA[<p>Use this handy reference when you’ve forgotten some of the theory essentials.  Click to Enlarge By Nick Stoubis It&#8217;s impossible to memorize everything related to theory. So use this handy guide when you can’t remember your string names or your &#8230; <a href="https://blog.napervillemusic.com/guitar-other/296/">Continue reading <span class="meta-nav">&#8594;</span></a></p>
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								<content:encoded><![CDATA[<p class="article__tagline">Use this handy reference when you’ve forgotten some of the theory essentials.</p>
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<div class="article__photo-details"> <a href="https://blog.napervillemusic.com/wp-content/uploads/2018/02/Blog-guitar-sale-cheatsheet.jpg"><img class="alignnone size-medium wp-image-312" src="https://blog.napervillemusic.com/wp-content/uploads/2018/02/Blog-guitar-sale-cheatsheet-300x117.jpg" alt="" width="300" height="117" srcset="https://blog.napervillemusic.com/wp-content/uploads/2018/02/Blog-guitar-sale-cheatsheet-300x117.jpg 300w, https://blog.napervillemusic.com/wp-content/uploads/2018/02/Blog-guitar-sale-cheatsheet-768x301.jpg 768w, https://blog.napervillemusic.com/wp-content/uploads/2018/02/Blog-guitar-sale-cheatsheet-1024x401.jpg 1024w, https://blog.napervillemusic.com/wp-content/uploads/2018/02/Blog-guitar-sale-cheatsheet.jpg 1216w" sizes="(max-width: 300px) 100vw, 300px" />Click to Enlarge</a></div>
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<p class="article__by-line">By Nick Stoubis</p>
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<p>It&#8217;s impossible to memorize everything related to theory. So use this handy guide when you can’t remember your string names or your half steps.</p>
<h5 id="stringnamesthinnesttothickest">String Names – Thinnest to Thickest</h5>
<ul>
<li>E B G D A E (Easter Bunnies Get Dizzy At Easter)</li>
</ul>
<h5 id="stringnumbersthinnesttothickest">String Numbers – Thinnest to Thickest</h5>
<ul>
<li>1: High E</li>
<li>2: B</li>
<li>3: G</li>
<li>4: D</li>
<li>5: A</li>
<li>6: Low E</li>
</ul>
<h5 id="musicalalphabet">Musical Alphabet</h5>
<ul>
<li>A, B, C, D, E, F, G</li>
<li>Each open string has all the same the notes of the alphabet, starting with the letter of the string name. For example, the notes on the open A string are: A, B, C, D, E, F, G. The notes on the open E string are E, F, G, A, B, C, D.</li>
</ul>
<h5 id="uhalfstepsandwholestepsu"><u>Half Steps and Whole Steps</u></h5>
<ul>
<li>Half Step: Notes that are one fret apart</li>
<li>Whole Step: Notes that are two frets apart</li>
</ul>
<h5 id="noteslocatedawholestepapart">Notes Located a Whole Step Apart</h5>
<ul>
<li>Every note in the musical alphabet &#8211; except B-C and E-F</li>
</ul>
<h5 id="noteslocatedahalfstepapart">Notes Located a Half Step Apart</h5>
<ul>
<li>B and C</li>
<li>E and F</li>
</ul>
<h5 id="majorscaleformula">Major Scale Formula</h5>
<ul>
<li>WWHWWWH (using whole steps and half steps)</li>
</ul>
<h5 id="notesinacmajorscale">Notes in a C Major Scale</h5>
<ul>
<li>C D E F G A B C</li>
</ul>
<h5 id="sharpsandflats">Sharps and Flats</h5>
<ul>
<li>♯ &#8211; Raises note by half step</li>
<li>♭ &#8211; Lowers note by half step</li>
<li>No sharps or flats in C major and A minor scales</li>
</ul>
<p>Keep these by your side, and you’ll speed up your guitar learning as well as impress your friends.</p>
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<p>The post <a rel="nofollow" href="https://blog.napervillemusic.com/guitar-other/296/">The Guitar Theory Cheat Sheet</a> appeared first on <a rel="nofollow" href="https://blog.napervillemusic.com">the Naperville Music Informational Blog </a>.</p>
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		<title>Why Instrument Cables and Speaker Cables Aren’t Interchangeable</title>
		<link>https://blog.napervillemusic.com/guitar-other/why-instrument-cables-and-speaker-cables-arent-interchangeable/</link>
				<pubDate>Tue, 20 Feb 2018 00:09:26 +0000</pubDate>
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				<description><![CDATA[<p>Why Instrument Cables and Speaker Cables Aren’t Interchangeable Did you know you can&#8217;t just use one in place of the other? Click to Enlarge Two Fender cables. They&#8217;re not all the same. By Jeff Owens  You probably know that guitar &#8230; <a href="https://blog.napervillemusic.com/guitar-other/why-instrument-cables-and-speaker-cables-arent-interchangeable/">Continue reading <span class="meta-nav">&#8594;</span></a></p>
<p>The post <a rel="nofollow" href="https://blog.napervillemusic.com/guitar-other/why-instrument-cables-and-speaker-cables-arent-interchangeable/">Why Instrument Cables and Speaker Cables Aren’t Interchangeable</a> appeared first on <a rel="nofollow" href="https://blog.napervillemusic.com">the Naperville Music Informational Blog </a>.</p>
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								<content:encoded><![CDATA[<h1 class="article__headline">Why Instrument Cables and Speaker Cables Aren’t Interchangeable</h1>
<p class="article__tagline">Did you know you can&#8217;t just use one in place of the other?</p>
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<p><a href="https://blog.napervillemusic.com/wp-content/uploads/2018/02/Blog-guitar-sale-cables-1.jpg"><img class="alignnone size-medium wp-image-316" src="https://blog.napervillemusic.com/wp-content/uploads/2018/02/Blog-guitar-sale-cables-1-300x117.jpg" alt="" width="300" height="117" srcset="https://blog.napervillemusic.com/wp-content/uploads/2018/02/Blog-guitar-sale-cables-1-300x117.jpg 300w, https://blog.napervillemusic.com/wp-content/uploads/2018/02/Blog-guitar-sale-cables-1-768x301.jpg 768w, https://blog.napervillemusic.com/wp-content/uploads/2018/02/Blog-guitar-sale-cables-1-1024x401.jpg 1024w, https://blog.napervillemusic.com/wp-content/uploads/2018/02/Blog-guitar-sale-cables-1.jpg 1216w" sizes="(max-width: 300px) 100vw, 300px" />Click to Enlarge</a></p>
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<p class="image-caption image-caption--cozy">Two Fender cables. They&#8217;re not all the same.</p>
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<p class="article__by-line">By Jeff Owens<span style="font-size: 12px;"> </span></p>
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<p>You probably know that guitar cords and speaker cables aren’t interchangeable, but you probably don’t know why. While it usually suffices for most to leave it at “Hey, don’t do that,” a little understanding never hurts.</p>
<p>Guitar cables and speaker cables are two different kinds of cable designed for two very different purposes. Using one in place of the other can have unpleasant effects ranging from merely annoying interference to outright equipment failure.</p>
<p>Among novices and those in a hurry, confusion sometimes arises from the fact that both kinds of cable often share the same kind of connector—1/4″ phone plugs. That’s about the only important similarity, though. To understand why you shouldn’t use one in place of the other, let’s look at both cable types and examine their purpose and differences in more detail.</p>
<p>Your instrument cable is low power and high impedance. It’s built to convey a weak unamplified signal from your guitar to your amp, where it’s boosted up to a useable level. Since it doesn’t need to carry a lot of juice — a small DC current with a small voltage — it consists of a single small-diameter “positive” inner wire (usually 24 gauge) running through a braided shield conductor that works as the ground connection, plus various insulators and the outer jacket. Its small, lightweight wire size is good for cable flexibility (it needs to follow you around onstage, remember), and the shielding prevents much of the noisy external electromagnetic interference that low-power signals are susceptible to.</p>
<p>Your speaker cable, on the other hand, is just the opposite — high power and low impedance. It’s built to carry a strong signal from your amp to your speakers—a relatively high AC current and voltage. Unlike the instrument cable, it has not one but two wire conductors, both with a relatively large diameter in order to allow greater signal flow from amp to speakers.</p>
<p>It’s useful here to imagine the current flow from amp to speakers as water pumped through pipes. The amp puts out whatever “water pressure” it’s capable of (and it’s a lot), and your speaker cable is the pipe that carries that water pressure to the speakers. If you reduce the size of that pipe, you restrict the flow of water to the other end. Speaker wires work much the same way—smaller-diameter wires present more electrical resistance to the signal flow, wasting energy in the form of heat. The bigger the wires, the better the signal flow from amp to speakers.</p>
<p>If you use an instrument cable as a speaker cable, you’re probably OK at low signal levels. At high signal levels, though, trouble brews—all that amp power attempts to flow through the instrument cable’s too-small conductor. The unhappy result is that a lot of amp power is converted to heat and never even reaches the speakers. You get reduced speaker output, some probable distortion and, in extreme situations, heat-induced cable or cable connector failure. And you definitely don’t want your amp overheating.</p>
<p>If you use a speaker cable as an instrument cable, the large conductors handle the weak signal just great. But there’s a catch—speaker cables aren’t shielded. Since they normally carry strong, already-amplified signals, any noise they pick up is inconsequential, making shielding unnecessary. If used as an instrument cable though, the unshielded conductors can pick up interference from fluorescent lighting, amp power supplies and various other external AC sources.</p>
<p>From the time it’s created at your pickups to the time it enters the amp’s input, the low-level signal from your instrument must travel through a conductor shielded from interference along the entire length of the cable, but that’s not what’s happening if you use a speaker cable. The low-frequency humming or buzzing you’ll consequently hear is the 60-cycle frequency of U.S. AC power leaking through the unshielded cable, internal guitar wiring, amp wiring or any combination thereof. And your amp is boosting it all to the point of sounding like giant mutant bees.</p>
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<p>The post <a rel="nofollow" href="https://blog.napervillemusic.com/guitar-other/why-instrument-cables-and-speaker-cables-arent-interchangeable/">Why Instrument Cables and Speaker Cables Aren’t Interchangeable</a> appeared first on <a rel="nofollow" href="https://blog.napervillemusic.com">the Naperville Music Informational Blog </a>.</p>
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		<title>Flying With Your Guitar</title>
		<link>https://blog.napervillemusic.com/guitar-other/flying-with-your-guitar/</link>
				<pubDate>Wed, 07 Feb 2018 00:09:14 +0000</pubDate>
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				<description><![CDATA[<p>Flying With Your Guitar TSA lock on a guitar case. Airline security personnel can open and re-lock these for inspection purposes when you’re not present (they can break non-TSA locks if they have to). If you’re like most guitarists, you view &#8230; <a href="https://blog.napervillemusic.com/guitar-other/flying-with-your-guitar/">Continue reading <span class="meta-nav">&#8594;</span></a></p>
<p>The post <a rel="nofollow" href="https://blog.napervillemusic.com/guitar-other/flying-with-your-guitar/">Flying With Your Guitar</a> appeared first on <a rel="nofollow" href="https://blog.napervillemusic.com">the Naperville Music Informational Blog </a>.</p>
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<h1 class="article-title">Flying With Your Guitar</h1>
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<article><img class="alignnone size-full wp-image-51110" src="http://d2vhprqki2fot3.cloudfront.net/experience/wp-content/uploads/2010/12/iStock_000002707939Medium.jpg" alt="Flying with your guitar" width="1698" height="1131" /></p>
<div id="attachment_56797" class="wp-caption alignright"><img class="size-full wp-image-56797" src="http://d2vhprqki2fot3.cloudfront.net/experience/wp-content/uploads/2010/12/TSA-lock1-1.jpg" alt="TSA lock on a guitar case. Airline security personnel can open and re-lock these for inspection purposes when you’re not present (they can break non-TSA locks if they have to)." width="308" height="409" /></p>
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TSA lock on a guitar case. Airline security personnel can open and re-lock these for inspection purposes when you’re not present (they can break non-TSA locks if they have to).</p>
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<p>If you’re like most guitarists, you view the prospect of taking a guitar you care about on a commercial flight with something ranging from unnerving trepidation to outright dread.</p>
<p>And well you should, since we all know how delicate airline baggage handlers can often be. We’re reminded of that time in 2008 when United Airlines baggage handlers in Chicago nearly destroyed passenger Dave Carroll’s $3,500 acoustic guitar, and Carroll struck back after a year of unsuccessful attempts at redress by posting a video for a charmingly scathing ditty of his called “United Breaks Guitars.” A viral hit, the song racked up 4 million views in just over a week, after which United finally offered to compensate Carroll. Several news outlets somewhat dubiously reported that the airline’s share value subsequently dipped by ten percent; what’s certain is that United definitely got tons of bad press in the wake of the turbulent incident despite the fact that it doesn’t actually break a lot of guitars.</p>
<p>Your best bet is to avoid checking your baggage because it will likely get tossed around like a rag doll by baggage handlers who have an Everest of luggage to load and a very tight schedule to keep.</p>
<div id="attachment_56798" class="wp-caption alignright"><img class="size-full wp-image-56798" src="http://d2vhprqki2fot3.cloudfront.net/experience/wp-content/uploads/2010/12/Airbus-hold1.jpg" alt="Baggage hold of an Airbus A320 airliner, typical of the space in which your guitar accompanies you on your trip." width="250" height="188" /></p>
<p class="wp-caption-text">Baggage hold of an Airbus A320 airliner, typical of the space in which your guitar accompanies you on your trip.</p>
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<p>Instead, take it to the gate with you, which is where things sometimes get tricky. Although you currently have the right to carry a musical instrument on board or check it in, it’s not unusual for customer service agents and flight crews to order the instruments into the cargo hold.Fortunately, the Department of Transportation has announced that “Carriers must allow passengers to stow their small musical instruments [guitars, violins, etc.] in an approved stowage area in the cabin.” The new rule is due to take effect on March 6, 2015, and will allow those traveling with guitars to board the aircraft and store it in a forward closet or, if size permits, an overhead compartment.</p>
<p>For larger instruments, sometimes it is possible to secure them to a seat as “seat baggage” or “cargo in passenger cabin.” Carriers are required to place large instruments in the cabin if the passenger wishing to carry the instrument in the aircraft cabin has purchased an additional seat to accommodate the instrument (which must also be in a case and not exceed 165 pounds or applicable weight restrictions for the plane).</p>
<p>Also, before you two fly together, loosen your guitar’s strings by a whole step or so. In aircraft baggage holds, guitars are subjected to significant changes in temperature and pressure, both of which can harm the body and neck if the strings remain tuned as usual. Not too loose, though—you want <em>some</em> string tension; just not the regular full amount.</p>
<hr />
<p>If you still decide to go the route of checked baggage, the U.S. Department of Transportation Aviation Consumer Protection and Enforcement Division offers <a href="http://airconsumer.ost.dot.gov/publications/bagtips.htm#Check-in">several sensible tips on avoiding baggage problems</a>:</p>
<ul>
<li>Don’t put items that are valuable, fragile or irreplaceable in checked baggage (a guitar can be any one or all three). Carry such items with you.</li>
<li>Like any checked bags, guitar cases may need to be opened for security inspections away from your presence. Use a case with TSA locks, which airport security personnel can open and re-lock (security staff will break non-TSA-approved locks if necessary).</li>
<li>Tag your guitar case on the outside with your name, home address, and personal and work phone numbers. Airlines provide free stick-on tags; most offer “privacy tags” that conceal this information from passers-by.</li>
<li>Put the same information inside your guitar case, and add an address and telephone number where you can be reached at your destination city.</li>
<li>Don’t check in at the last minute. This is good advice anyway, but just barely making your flight all but ensures that your baggage will be handled roughly—if it makes the flight with you at all.</li>
<li>If you check your guitar, be sure to get a claim check. Do not lose the claim check.</li>
<li>If possible, choose flights that minimize the potential for baggage disruption. The likelihood of your guitar going astray increases as the numbers of stops and connections increases. Go nonstop if you can.</li>
<li>Buy “excess valuation” from the airline if your guitar is worth more than the airline’s liability limit.</li>
<li>If your guitar case arrives open, unlocked or visibly damaged, check immediately to see if anything inside is missing or damaged.</li>
<li>On arriving at your destination airport and receiving your guitar case, open it to see if anything inside is missing or damaged. Report any problems to your airline <em>before you leave the airport</em>. Insist that the airline fill out a form and give you a copy. Get the agent’s name and an appropriate phone number for following up (not the number for reservations).</li>
</ul>
<p>Also, an Air Transport Association (ATA) hard case can provide great protection for your guitar. On the low end, you can usually get <a title="SKB® ISERIES STRAT®/TELE® ATA FLIGHT CASE" href="http://www.fender.com/accessories/bags-cases/skb-iseries-strat%2Ftele-ata-flight-case/0996109506.html" target="_blank" rel="noopener">one of these for around $250</a>—well worth it if you’ve made a big investment in your instrument. You might also want to pad the neck and headstock with bubble wrap (the headstock is typically the most fragile part of a guitar)—use enough to make it slightly difficult to close your case.</p>
<p>By using common sense and observing these guidelines and precautions, your guitar will most likely arrive with you at your destination intact and unharmed. Horror stories aside, the odds are in your favor—<a title="US Department of Transportation" href="https://cms.dot.gov/sites/dot.gov/files/docs/2014DecemberATCR.pdf%20" target="_blank" rel="noopener">the December 2014 U.S. Department of Transportation Air Travel Consumer Report</a> notes that in October 2014, the 12 U.S. airlines listed therein amassed 143,000 mishandled baggage reports (loss and damage) for 49.9 million passengers. That’s 2.87 reports for every 1,000 passengers, and we can probably safely assume that not all of those incidents involved guitars.</p>
<p><span class="written-by">Written by</span> <span class="meta-author"> <a title="Posts by Jeff Owens" href="http://www2.fender.com/experience/author/jowens/" rel="author">Jeff Owens</a> </span> <span class="meta-date">on December 1, 2010</span></p>
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<p>The post <a rel="nofollow" href="https://blog.napervillemusic.com/guitar-other/flying-with-your-guitar/">Flying With Your Guitar</a> appeared first on <a rel="nofollow" href="https://blog.napervillemusic.com">the Naperville Music Informational Blog </a>.</p>
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		<title>CITES Considers Revising Rosewood Rules</title>
		<link>https://blog.napervillemusic.com/rosewood/cites-considers-revising-rosewood-rules/</link>
				<pubDate>Wed, 18 Oct 2017 18:51:42 +0000</pubDate>
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		<category><![CDATA[What up with Rosewood?]]></category>

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				<description><![CDATA[<p>THE CITES PLANT COMMITTEE held an open meeting in Geneva last month, offering musical instrument manufacturers the rare opportunity to comment on and criticize the highly disruptive rosewood regulations that were hastily implemented in January of this year. Approximately 25 &#8230; <a href="https://blog.napervillemusic.com/rosewood/cites-considers-revising-rosewood-rules/">Continue reading <span class="meta-nav">&#8594;</span></a></p>
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								<content:encoded><![CDATA[<p>THE CITES PLANT COMMITTEE held an open meeting in Geneva last month, offering musical instrument manufacturers the rare opportunity to comment on and criticize the highly disruptive rosewood regulations that were hastily implemented in January of this year. Approximately 25 instrument makers, including representatives from Martin and Taylor Guitars, and Madinter, a leading supplier of tonewoods, were present. Scott Paul, director of natural resource sustainability at Taylor Guitars, said the committee was surprised by the unusually large turnout and &#8220;gave us a very sympathetic hearing.&#8221;</p>
<p>The CITES regulations in question placed all 200-plus species of <em>Dalbergia</em>, commonly known as rosewood, on &#8220;Appendix II&#8221; status, requiring manufacturers to secure import and export licenses for all products containing rosewood. For guitar and wind instrument makers, the new rules effectively brought trade to a halt as countries around the world scrambled to develop the appropriate forms and procedures for complying with the new rules. As a result, in the first quarter of 2017, U.S. electric guitar imports plummeted by 25% and acoustic guitar imports were off 31%.<br />
The CITES Plant Committee cannot alter the text of the rosewood regulations. That can only be done by the CITES Committee of Parties (COP) which will next meet in 2019. What the Plant Committee can do is suggest alternative interpretations of the text. Given that even the Committee conceded that the rules were poorly written and full of ambiguous language, &#8220;alternative interpretations&#8221; hold the promise of easing some of the compliance burdens.<br />
The good news emerging from the meeting was that the 500 scientists, environmental organization representatives, and interested observers in attendance seemed to agree that there were opportunities to scale back some of the burdensome reporting requirements on manufacturers that use rosewood, including guitar and wind instrument companies, without sacrificing the goal of preserving the world&#8217;s rosewood forests. The bad news was that the Plant Committee can only make recommendations; any actual changes to the CITES rules have to wait for the full COP meeting, set for some time in 2019 in Sri Lanka.<br />
Environmental enforcement agencies around the world, like the U.S. Fish and Wildlife Service, are emerging as an unlikely ally in rewriting the rosewood rules. Several agency representatives at the meeting complained that generating export licenses for musical instruments was consuming a disproportionate amount of time, diverting personnel from far more pressing issues.</p>
<p>Reposted from MusicTradesMagazine</p>
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		<title>12- and 14-Fret Guitars: Which Acoustic Is Right for You?</title>
		<link>https://blog.napervillemusic.com/fender/12-and-14-fret-guitars-which-acoustic-is-right-for-you/</link>
				<pubDate>Sun, 17 Sep 2017 14:37:07 +0000</pubDate>
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				<category><![CDATA[Fender Guitar Stuff]]></category>
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				<description><![CDATA[<p>Breaking down the differences between these two types of guitars Mathematically, the variance between a 12-fret acoustic guitar neck and one that has 14 frets might only be two, but it goes further than that when talking about sound and feel. First &#8230; <a href="https://blog.napervillemusic.com/fender/12-and-14-fret-guitars-which-acoustic-is-right-for-you/">Continue reading <span class="meta-nav">&#8594;</span></a></p>
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<h2><strong>Breaking down the differences between these two types of guitars</strong></h2>
<p><img class="" src="https://images.contentful.com/r1mvpfown1y6/4kpkG2umzmQSmy2ssYUYes/30b842673f33e7ba47ecde9519e59fca/16456-fretboart-count-hero.jpg" width="562" height="224" />Mathematically, the variance between a 12-fret <a href="https://www.fender.com/%E2%80%9D" target="”_blank”">acoustic guitar</a> neck and one that has 14 frets might only be two, but it goes further than that when talking about sound and feel.</p>
<p>First off, however, what does 12- vs. 14-fret guitar mean?</p>
<p>This refers to the position where the neck meets the body of the guitar. So on a 12-fret guitar, the neck hits the body at the 12th fret, and on a 14-fret guitar, it’s at the 14th fret.</p>
<p>At Fender, the <a href="https://www.fender.com/%E2%80%9Dhttp://shop.fender.com/en-US/acoustic-guitars/parlor/pm-2-standard-parlor-natural/0960252221.html#q=parlor&amp;start=1”" target="”_blank”">Paramount PM-2 Parlor</a> boasts a 12-fret neck (with 19 total frets on the fingerboard), while the <a href="https://www.fender.com/%E2%80%9Dhttp://shop.fender.com/en-US/acoustic-guitars/concert/cn-60s/0961714006.html#start=1”" target="”_blank”">CN-60S</a> has 18 total frets but meets the neck at the 12th fret.</p>
<p>Nearly every other Fender acoustic has 14 frets clear of the body, and that includes all besides the Parlor in the <a href="https://www.fender.com/%E2%80%9Dhttp://shop.fender.com/en-US/acoustic-series/paramount/%E2%80%9D" target="”_blank”">Paramount Series</a>.</p>
<p>A big difference between 12-fret and 14-fret guitars is the location of the bridge.</p>
<p>A 12-fret guitar has its bridge further from the soundhole, closer to the lower bout, allowing it to sit on a more flexible place on the top and offering more sustain on smaller bodies.</p>
<p>“The 12-fret bridge is sitting farther back into the meat of the guitar,” said Fender Acoustics Vice President of Product Development Brian Swerdfeger. “It’s the widest part of the lower bout. 12-fret guitar guitars tend to be warmer, fuller sounding, because of where the bridge is located.”</p>
<p>On the other hand, a 14-fret guitar, with the bridge closer to the soundhole, can be brighter, with more attack on the highs. Comfort is another difference between these two guitars. Players who have a more compact frame might be able to draw the body of a 12-fretter closer to themselves.</p>
<p>“When you move the neck into the body, you have less of a reach,” Swerdfeger said. “So for people with a smaller frame, a 12-fret neck can be more comfortable because you’re not reaching so far down the neck.</p>
<p>“For the person that finds it more comfortable, it’s easy to play. But for the person who traditionally plays a 14-fret guitar, they can feel cramped. If those people who are playing on the seventh or eighth fret, their elbow can get jammed into their body.”</p>
<p>At the end of the day, it’s a matter of personal preference. Tone, style and comfort all contribute to whether a guitar is right for you. And you’ll only figure that out by playing them both.</p>
<p>Originally Posted at Fender.com</p>
<p><a href="https://www.fender.com/play/"><img src="https://images.contentful.com/r1mvpfown1y6/1euEWG70iGq26yGmqSWGMw/c0f0feb57072c339c8f6b7674b661052/Fender_Play_inline-banner.jpg" alt="Fender Play inline-banner" /></a></p>
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