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Guitar Insider: Getting Wired with John Suhr Part II PDF Print E-mail
Thursday, 18 September 2008 23:37
GJD: John, let’s go back to pots for a minute. What about the taper of a pot; are they all pretty much the same?

JS: No actually they are all quite different. You can order different tapered pots. They run 10%, 20%, etc.  

GJD: What does that percentage mean?
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Competing With Free; Why Ad-Supported Music Sucks Part III PDF Print E-mail
Tuesday, 16 September 2008 02:31
By John McGlasson - GJD Contributor
The Circle of Events

In my last article, I mentioned the circle of events that must take place for ad-supported, free-to-the-listener internet radio to survive, being; Customer listens to music, views the ads on the side of the page, clicks thru and buys the product, but I want to expand on that in this article.  

My question is, how does the advertiser, and an online station like my favorite example of free internet radio, Pandora, gauge success when the advertising done with Pandora is often part of much broader national, or even global marketing plans for beer, liquor, cell phones and service, cars, and other products that don’t have “click-thru purchase” response to ads, which are very easy to track?
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Amp Insider: Getting Amped with Brandon Montgomery PDF Print E-mail
Thursday, 11 September 2008 03:13
GJD: What are some of the challenges in terms of buying parts for an amp builder?

BM: Well, let me give you an example. I just bought a batch of caps and used them in one of my client's new amps. After I finished building it, the amp just didn't sound right. I was scratching my head and could not figure out what was wrong. Then it dawned on me. Maybe it's those new caps. Sure enough, I swapped them out and the amp sounded great. As I mentioned earlier, that kind of stuff can make you crazy. I try to make mental notes of what caps sound good with each specific application. In other words, a cap that doesn't sound good in one amp might be perfect for another.
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Guitar Tech Insider: Hands on with Greg Howard PDF Print E-mail
Thursday, 04 September 2008 23:17
Greg Howard has been a multi talented technician for dozens of bands since the early 1990s. His role has included setup and maintaining all instruments, amplifiers, and sound systems. Greg has also been a tour manager and stage manager for several acts. His resume includes working for such artists as Aerosmith, Green Day, The Black Crowes, Linkin Park, Hall & Oates, Kings X, and many more.

GJD: Back then did you have any idea that you would become a guitar tech for pro players?

GREG H: In college when there were campus concerts, I would be involved in the outdoor festival committee which usually meant working backstage during the show. I ended up helping a lot of random bands, changing strings, and setting up the backline (guitars, amps, drums, etc).

GJD: How did you learn to do set-ups?

GREG H: I always liked playing guitar and I wanted my guitars to play well so that forced me to learn how to do my own set-ups. I’ve always loved Strats and I learned about shimming up the neck and proper neck angle so I was able to get low action and have my guitars still sound great.

GJD: Did you ever read any books about setting up guitars?
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Industry Insider: Why Ad-Supported Music Sucks Part II PDF Print E-mail
Wednesday, 27 August 2008 02:15
By John McGlasson - GJD Contributor
If you’ve seen the recent news on free internet radio service Pandora, you’ll see exactly what I was talking about a few months ago when I wrote that I saw no future for ad-supported music that’s free to the user. My case was more about my opinion that it’s just tacky to attach your art to any product that’ll put out the cash, but I’ve never believed that music sells products, unless they’re music related, like guitarists buying a guitar or piece of gear because someone they admire uses the product as an endorsee, that’s been proven to work. (Ask Ibanez!!!)

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Guitar Insider: What's All This Buzz About Frets? PDF Print E-mail
Thursday, 21 August 2008 03:42
Part IV: By Paul Schwartz-Peekamoose Custom Guitars NYC
One client recently brought in an instrument he'd purchased on eBay. It was in dire need of  fret leveling. It wasn't so much that any frets were grotesquely worn so much as the over all alignment along the length and across the radius of the neck was bad enough the instrument felt and sounded far below his comfort zone.

He wanted to know if the instrument was garbage. I said probably not, it's just not at the standard you are used to. I suggested he gamble on having the frets leveled before he passed final judgment on the instrument. When he got it back the instrument had the responsiveness he's grown accustom to over the last few years.
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The Pedal Insider: Got Air? PDF Print E-mail
Tuesday, 19 August 2008 02:20
By Theo Hartman - GJD  Contributor
In the last installment of this column I talked a little bit about guitar signal-chain issues on a general scale: exploiting the interaction between guitar, signal chain and amp to generate tone vs. a more compartmentalized approach using individual buffered effects (in series or otherwise).
 
To extend the discussion of ‘sonic context’ a bit further before diving into details about pedals, it is worth noting that the sound produced by the guitar-pedal-amp setup--no matter what the approach--exists within the even larger (and more subjective) context of how we hear (or how the microphone we’re recording with does).
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Industry Insider: Measuring Success For The Rest Of Us PDF Print E-mail
Monday, 11 August 2008 22:12
johnm.jpgBy John McGlasson - GJD Contributor
Modern life's crazy for everyone, but for people around my age (41) there's something of an identity crisis happening. I can remember vividly the Vietnam war coverage, the deaths of Hendrix, Morrison, and Joplin, the end of the Beatles, I remember life before remote control, microwave ovens, cell phones, computers, cable TV and video games. There were only 4 channels, and not even all TV shows were filmed in color when I was old enough to notice that fact. I remember when launching the Space Shuttle was a BIG deal. I've now lived in five definitive decades of US history. And the music of my childhood, well, it's pretty much universally recognized as the greatest period of rock/guitar-oriented music from 1967 through 1980. We really did walk to school every day regardless of weather, and school officials weren't near as reluctant to allow us to walk through major blizzards or deadly heat. Snow days were almost unheard of, and heat days weren't heard of. I went to only three schools in my life, a grade school, jr. high, and high school parked right in a row, and was taught largely by semi-sane old ladies with pointy glasses nearing retirement. I had teachers, books and desks that my parents had before me. We could show up on a snowmobile as long as we showed up. I never rode a school bus unless it was a field trip or sporting event. Looking at modern society, I feel lucky to have grown up in simpler, more sincere times, in a small Midwestern US town of  10,000 people, with brick streets and swinging walking bridges across the river.
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Guitar Insider: Getting Wired with John Suhr PDF Print E-mail
Thursday, 07 August 2008 02:27

aboutjs7.jpgGJD: John, what are the most common values for volume and tone potentiameters in your guitars?

JS: Volume pots are usually 250K or 500K.  Tone pots are usually 250K or 500K, and sometimes we use other miscellaneous volumes for custom work.

GJD: In terms of volume pots, why do you use different values?

JS: You want to make certain that you are loading the pickup with what it really wants to see.  A typical value for a Strat single coil is 250K.  So, if you used a 500K pot, it would have more brilliance and zing but not in a good way. On the other side of the token, there have been people that use a 250K pot on a humbucker, and it is not pleasing to the ear.  I mean, that the response tends to become flat.  Hence, a 500K pot is usually the best choice for a humbucker.

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Amp Insider: Getting Amped with Brandon Montgomery PDF Print E-mail
Thursday, 17 July 2008 22:39
brandon.jpgGJD: What are the biggest challenges from an amp design standpoint?

BM: Wow, that is a huge question. I think the first and most obvious is to produce an amp that sounds good and that is pleasing to the ears. Beyond that, you have many technical challenges, like lead dress for example.

GJD: What is lead dress?


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