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Understanding the Guitar Scales and How its created

Posted by sarabdeep Saturday, September 17, 2011 5 comments

When you have understood upon the fretboard and its relation to the keyboard, further you will feel comfortable in knowing more on this that how the scales are defined and how easily you can play any scale.

Scales are named after the node from where it starts. Eg: a C scale would mean, that you are starting from the C node of the guitar/keyboard and thus playing C D E F G A B.

You can see below the fretboard from the previous lesson and from the entire seven musical nodes C D E F G A B, we will elaborate and also consider the nodes in between these seven nodes, which we skip and dont play in order to play any actual scale. In the below image, focus on the string B, and start from fret number 1. That is, the C node.

This is just to elaborate as I said, all the nodes which are played as well as skipped when playing a C scale are: C C# D D# E F F# G G# A A# B (Focus on String B in the above image).

So all in all, there are total 12 nodes if we count the skipped nodes also. With this elaborated scale, we can say that, if we number it from 1 to 12, then the C scale is played if we hit the : 1st, 3rd, 5th, 6th, 8th, 10th and 12th node.

Now make it a formula, that if you hold C node on the fretboard, and then you hit the nodes in the said numbered fashion, considering C node as number 1st, then you will get a C scale.
1=C, 3=D, 5=E, 6=F, 8=G, 10=A and 12=B. Thus C D E F G A B.

Now this was C scale. If you now want to play any other scale out of the 12 nodes, say D scale, or D# scale or any other, just remember this formula of 1,3,5,6,8,10,12. Just consider the node of the scale you want to play as number 1 and then hit the nodes in the said numbered fashion. And you will be playing that scale. Let me give you an example for D Scale.

In this case, D=1. Therefore, the scale will be: 1=D, 3=E, 5=F#, 6=G, 8=A, 10=B, 12=C#

You may find it confusing, but refer the fretboard and number the scales. It will take time to understand this but eventually you will get to know, how you can play any scale of your choice.

This is an overview of the theory what I learnt with my experience behind the scales, but I will show you in my future lessons, that how you can actually play it as well.

You can get back to me on my details mentioned in Contact Us page or you can leave comment in case of any queries. I will get back to you.


There are plenty of video games out right now that can make just about anyone feel like a rock star, but how about one that actually teaches you how to play an instrument? According to its website, Guitar Apprentice “ain’t no video game,” it’s a free application that can be downloaded to a PC or Mac. Instead of a controller, players use their real guitar to play the songs that come up on the screen. There is a free song every week, and a monthly subscription gets you access to the whole catalog.

The application guides players with colors that correspond to their fingers and shows the neck of the guitar on-screen with the chords. The screen setup looks a little bit like “Guitar Hero” except, instead of rocker avatars, there are close-ups on each corner of the screen that show how the chords are being played. Classic songs are featured in the catalog with vocals, but they don’t distract from the chords. Each level allows users to play certain chords, and as they progress to higher levels, they play more of them until the whole song is being played. It takes a few tries and plenty of patience with your finger’s limitations, but once you get the hang of it, the game is a fun teaching tool.

Guitar Apprentice: Free / $14.95 (monthly catalog access)

Understanding the relation between a guitar FretBoard and a Piano

Posted by sarabdeep Sunday, September 11, 2011 0 comments

When you have practiced enough on your first scale in Guitar Learning Menu, which actually is a very essential step to enhance your relationship with your guitar. You may feel it boring as it does not give any sound. But its just the beginning. And this practice will make you become comfortable with your guitar and develop a synchronization between your two hands. When one hand is running the pick, the other hand is playing with the strings on the fretboard.

So, lets move on to your next lesson on scales. Before you begin with practicing the scale, I would urge you to have a thorough look at the below image depicting the nodes on the entire fret board. No need to cram it for now, but yes, try to grasp as much as possible and slowly you will be able to recall that what node gives what sound out of the seven musical notes : C D E F G A B.

All the nodes which are named with reference to the previous node is given the name as the previous node followed by hash (#). Similarly, if the same node is to be referred by the name of the next node, then the node is named by the next node followed by flat(b). Thats the reason you see in the above pic, the node after 'F' named as F# or Gb.

Now, let me give you the theory behind the naming of the nodes on fretboard. Guitar is very much related to the piano. The names of the nodes are also derived from the nodes on the piano. Have a look at the pic below of piano keys and the node names of one portion of keys on it:

Originally "C" node starts from the adjoining white key of the two black keys on the keyboard. This pattern repeats throughout the keyboard. The black keys are named with reference to the white keys. As mentioned above, you can see the first black node can be either named with reference to "C" node or "D" node. If we name it with respect to "C" node, then the first black node will be called as "C#" node (Called as C Sharp) and if we name it with respect to the "D" node, then it will be named as "Db" node (Called as D flat). Similarly, all the rest of the black keys on the keyboard can be named in this manner. We will prefer only one form of name to maintain uniformity in most of the cases and that will be "#" (Sharp) naming.

Lets relate this keyboard naming with our guitar fret board. So moving to the fretboard now, you can see in the above pic, that the strings are named as per the standard tuning and thus correspondingly the rest of the nodes on the fretboard are named. If you see, why the first node on the first string (Higher E string) is named "F" is the reason, that on the keyboard, the key after "E" node is "F"node. I hope its making sense to you. Lets do it for some more keys, then you will get the clear picture in naming the nodes on fretboard.

The next node on first string (Higher E string) after "F" node on the fretboard is named as "F#". So just have a look on the keyboard and tell me what can you see after "F" key? The black key? Yes. The black and as mentioned earlier above, I will name it with the sharp name and refer it to the key just previous to this black key. So its, "F#" key. Therefore, thats why you can see that the node on first string, second fret is named as "F#" node.

Lets see for one more node, and that will for sure make you understand the logic behind naming of the nodes. So, after "F#" on the keyboard, what can you see? The very next key. Its "G". Right? Yes, so correspondingly, the very next node on the fretboard on the first string, after "F#" node will be what? It will be "G" node.

This is how the naming is done for the entire fretboard. Try to compare the naming of the rest of the nodes on the above fretboard image with the keyboard keys. I hope this will give you an idea that how the nodes are named.

You can get back to me any time if you find any difficulty in understanding these naming conventions, either by commenting on this post or mail me at the id mentioned in "Contact Us" page.

I will bring up the next lessons on this at the earliest and let me know on any suggestions or feedback upon this lesson.

Fernandez Guitars releases the Revolver Elite JS

Posted by sarabdeep Tuesday, August 17, 2010 1 comments

A new form of camouflage is here, inspired by Grammy-nominee and frontman of Spineshank and Silent Civilian, Jonny Santos. A vibrant red is added to the military pattern, making this guitar a one of a kind monster powered by the mighty EMG-81 in bridge, EMG S in the middle and Fernandes Sustainer in the neck position. Get ready to shred with this metal machine, featuring Silent Civilian logo in 12th fret and truss rod cover, Jonny wont trade his Revolver guitars for any other.


- Revolver Elite JS Body: Alder

- Neck: Maple, Neck-Thru

- Fingerboard: Maple, 25 1/2 Scale, 24 Jumbo frets, 16 radius, S-logo 12th Fret inlay + Dot inlays

- Nut: Locking

- Tuning Gears: Die Cast

- Bridge: Floyd Rose Licensed Tremolo

- Controls: 1 Volume, 1 Tone, Sustainer Intensity, Sustainer On/Off & Mode switches

- Pickups: Neck: Sustainer, Middle: EMG S, Bridge: EMG 81

- Colors: Red Camo

For more information, please visit

Introducing the Don Felder 'Hotel California' EDS-1275

Posted by sarabdeep Monday, August 16, 2010 1 comments

Frequently named in polls for the 'world's greatest guitar solos', and listed at #49 in Rolling Stone magazine's '500 Greatest Songs of All Time', Don Felder and Joe Walsh's dual guitar solo on the Eagles’ 'Hotel California' tapped a searing tone and an atmospheric vibe that still resonate today. To give live renditions their maximum impact, Don Felder has—right from the start—played the hit song on a Gibson EDS-1275 Double Neck, performing the haunting 12-string introduction on the guitar’s top neck (routed through a Leslie rotating speaker unit) and switching to the lower 6-string neck for the epic soloing dual with Joe Walsh.

To honor this legendary pairing of artist and instrument, Gibson Custom introduces the Don Felder “Hotel California” SG Double Neck guitar, in a strictly Limited Edition with only 50 aged and signed units and 100 aged units produced. The instrument is crafted in the image of Gibson’s iconic EDS-1275 Double 12 model, only around 110 of which were produced between 1962-’68, demanding a reissue in 1977, when Felder acquired his example. The Don Felder Double Neck carries all the classic appointments of the era, including four great Gibson PAF-style humbucking pickups (two per neck) on a resonant solid-mahogany body. In addition, however, the guitar also includes custom wiring and modifications that Felder added to his own EDS-1275 to help it suit his live performance needs. All are aged to accurately reflect the look of Felder’s own Gibson Double Neck, while 50 are also signed and numbered by the artist himself. All come with a numbered Certificate of Authenticity.

One of the most recognizable tone monsters of rock, the Gibson Double Neck of the ‘60s and ‘70s was created in the image of the popular SG solidbody, but adapted to the needs of this extreme design. Following the 1977 specs, the Don Felder “Hotel California” EDS-1275 from Gibson’s Custom Shop begins with a select one-piece mahogany body, and two necks carved from three pieces of maple each for added strength that this guitar demands. To ensure the neck/body joints remain stable, the neck is set further into the body than that of an SG Standard, with a joint at around the 15th fret. The headstocks of both necks are back angled, a detail that increases string pressure in the nut to improve resonance and sustain, and each carries a set of Kluson tuners.

Other hardware includes a pair of Tune-o-matic bridges, and the chunky top-mounted claw tailpieces that were custom-made for the EDS-1275 model in the ‘60s and which are still known for their solidity and sustain. Taking all that sizzling Felder-style tone to the max is a quartet of Gibson’s Burstucker humbucking pickups, with the chromed covers removed on the 6-string pair. Some of the most accurate PAF-style pickups available today, these are constructed with the original grade of 42-gauge enamel wire and Alnico II magnets, but each coil is gently wax potted to prevent microphonic squeal during high-volume playing. From thick, warm and throaty in the neck position, to singing and aggressive in the bridge, these pickups offer the full spectrum—from wail to jangle—that these two necks can throw at you.

All this sonic goodness is run through an a control setup that mirrors Felder’s own performance modifications, including the addition of a second output in place of the original bridge-pickup tone control, to enable the 12-string neck to be routed independently to a Leslie rotating speaker cabinet to produce Felder’s trademark “Hotel California” tone. With a guitar like this, the look is as iconic as the sound. Gibson’s Custom Shop nails it in this department with a “Aged White” finish in nitrocellulose that is carefully faded, and the entire guitar is aged to echo the look of Felder’s EDS-1275. Each of the two rosewood fingerboards carries accurate split parallelogram inlays, and minimal headstock adornment. Put it all together, and it’s a dead ringer for one of the most distinctive guitars in rock history.

Each Gibson Custom Don Felder “Hotel California” EDS-1275 comes protected in a custom rectangular case, includes numbered Certificate of Authenticity, owner’s manual and adjustment literature, and is covered by Gibson’s Limited Lifetime Warranty and 24/7/365 Customer Support.
For more information, please visit

GuitarSlinger presents the Dario Lorina Custom Overdrive Pedal

Posted by sarabdeep Tuesday, January 12, 2010 2 comments

GuitarSlinger Products has collaborated with Dario Lorina (of Lizzy Borden), to produce the Signature Model Dario Lorina Custom Overdrive Pedal.

Dario Lorina Custom Features:

- Signal processing like best tube amps
- True Bypass
- Strictly limited edition
- Classy "vintage" wiring
- Alpha pots with metal shafts
- Status LED for battery check
- Runs on the DC power supply
- Hand selected condenser and resistance
- Hand selected op amps and transistors
- Heavy duty, well-shielded casing
- Full control with guitar volume
- Totally handcrafted in Tokyo/Japan
- Retail Price €289 (incl. VAT)
- 2 Year Guarantee

For more information, please visit

Catlinbread presents the Ottava Magus II, octave fuzz effect pedal. Everything you loved about the original, and some really cool new refinements that we think discerning players will appreciate. The first thing folks will probably notice is the new Saturation control – in a nutshell, this feature alters the playing feel making it more saturated (duh!) and spongy. It also adds some more gain into the mix giving you those "Holy crap – mah amp is fixin' to 'splode!" sounds.

The Intensity control has been refined, providing better control over the usable range of sounds. Catlinbread also altered the original circuit a bit allowing it to sound more appealing plugged into a completely clean amp, a little more meat, less rasp and an even more articulate octave up sound. But don't let these changes worry you! We left all the original's good stuff alone! No glitching out when your signal starts to decay, and you can still use any pickup you wish and play anywhere on the neck you want. Try THAT with a dentist's "conversation piece" octave fuzz!

For more information, please visit

Diamond Pedals has announced the availability of the highly anticipated Bass Comp pedal, a powerful new tool for bassists. Based on the highly succesful Diamond Compressor, the Bass Comp is the first Diamond product designed specifically for use with bass instruments.

Combining a very low-noise optical compression circuit with a powerful and musical tilt EQ circuit, the Bass Comp is ideal for enhancing the sound of any bass. Developed with the needs of 4-, 5-, and 6-string bassists in mind, the Bass Comp offers extended frequency response and exceptional headroom via 18V operation (power supply included) to provide smooth compression that enhance the tone of any bass. The Diamond Bass Comp has a MSRP of $249US.


- Optical compression circuit
- Tilt EQ section offers selectable frequency center of 250/900Hz
- True bypass signal path
- Bi-color LED provides visual indication of compression
- 18-volt operation for exceptional headroom

Diamond Guitar Pedals are handmade in Canada and available through a worldwide dealer network. All pedals are backed by a 5-year manufacturer warranty. Visit Diamond Pedals at the 2010 NAMM Show, booth #3097, Hall D.

For more information, please visit

Wicked Tools has announce they are now shipping the new Spellbinder pedal. The Spellbinder pedal provides a wide range of classic sounds running from the rich soft symmetrical distortion found in a “Tube Screamer*” to the dynamically limited hard distortion of a “Rat*” or “Fuzz” using the Drive control but the Spellbinder does not stop there. The Warp Drive™ control opens up a fresh range of distortion by taking the distortion asymmetrical, adding dynamic range and major Overdrive capability. The interaction of the controls provide a rich range of harmonics and tonal qualities we believe to be unmatched by any other pedal. True Bypass and a Level out control ensure the Spellbinder plays well when mixed with other pedals.

The Wicked Tools Spellbinder is a pure analog effect inspired by some of the most popular overdrive distortion pedals ever made. While preserving the original sound, the Spellbinder also incorporates some of the best boutique modifications right out of the box. In the overdrive distortion class, this is one of the most versatile and sweetest pedals made to date. Designed and hand crafted in the USA, using solid Oak, steel, and high quality components, each Spellbinder is made to exacting standards without sacrificing the individual uniqueness of each Spellbinder’s appearance. The Spellbinder with its Etched Steel shell, solid Oak side panels and robust serviceable electronics not only sounds and looks good but is professional grade equipment designed to survive on the road, gig after gig.

The Spellbinder controls include Drive for symmetrical distortion, Warp Drive for asymmetrical distortion, Tone for frequency response, and a Level control for separate Overdrive level control. The Spellbinder includes True Bypass, and operates from a 9 Volt battery or an AC adaptor (included FREE for a limited time). A demo sound clip and the owners manual are available for download. The Spellbinder may be ordered direct from the Wicked Tools website at a MSRP of $225.00.

For more information, please visit

Mellowtone has announced the official release of the Party Favor series of affordable handmade boutique guitar effects pedals. Each pedal is a reworking of a classic Mellowtone design, refined for simplicity and affordability. All pedals are true bypass with status LED and run off of a 9-volt battery or AC adapter.

Mini Wolf CPU

A quick and simplified version of the original Wolf Computer pedal, the new Mini Wolf CPU has the same snarling heart. With it's Texture control you can achieve a cutting ragged fuzz sound, then dial it down to get varying degrees of glitchy Atari-like down arpeggiation. Just like Pitfall!

New Hi Five

Reworked for quieter operation, this simple clean booster gives you the gusto you need to pop out a hot lead melody. Use it to warm up your tone a little, or crank the Gain and really overdrive your tube amp!

Singing Tree Lite

The ever evolving pedal, the Singing Tree Lite is actually the sixth variation of the original Singing Tree overdrive, the first pedal Mellowtone produced. With a further refined Threshold control, which offers warm chewy overdrive turned left, and turned right it increases headroom by reducing the amount of diode clipping as well as attenuating the input slightly, allowing you to get a more open sound which works great with an amp just on the edge of breakup.

Trumpet Fuzz

Named for it's brassy sound when played staccato at low gain, the Trumpet Fuzz is a harsh nasty octave up fuzz in classic form. The Attack control alters the gain and sustain. Max out the attack and get a great sustaining octavia type sound with an octave up that comes through even on the bridge pickup (best results achieved with the neck pickup of course). Turn the Attack control down for a broken guitar sound or play it staccato high up on the neck for some trumpet like tones.

Party Favor pedals are shipping to dealers now at an estimated street price of $85 each.

HipKitty Products has announced the release of their latest effect pedal, the Glaze. The Glaze is a unique boost/overdrive pedal created for warmth and clarity to each note and chord played. The Glaze’s ability to expand and add to the upper harmonic content “Glaze” the upper register notes while allowing the lower register notes to retain clarity and focus.

The Gain control can allow for the most minimal boost level up to an overdriven tube sound at higher Gain settings. The Gain control has been described best as the “magic” control on the Glaze.

The Volume control circuit has enough volume boost to allow driving the amp’s preamp section into overdrive. Increasing this control past “unity” level can bring the amp’s sweet spots alive.

The Glaze made its initial debut at the 2009 Nashville Amp Expo in Nashville, Tennessee as a prototype test unit. Overwhelming feedback brought the Glaze to life.

MSRP: $180.00 U.S.D.

For more information, please visit

gig-fx inc has announced that the SubWah, a bass version of the popular MegaWah, is now available for sale. The new SubWah captures the signature wide-sweep range and funky low end of the Megawah, but has tailored the frequency ranges for bass guitar. The SubWah was developed with cooperation from top professional bass players in Boston, Nashville and LA, including Bootsy Collins.

The all-analog pedal features four settings: a classic wah sound, a very deep bass 'Sub' wah, a funky envelope wah with adjustable trigger sensitivity, and an auto-wah with adjustable rate. Special care was taken to ensure preservation of bass frequencies, including five / six string low B response and at the same time to maximize 'quack' and 'ping'. Many months were spent with professional players perfecting the sweep to optimize the effect and still retain bass response.

The SubWah uses optical switching and is noiselessly by-passed when the pedal is all the way back and switches on noiselessly when the pedal is pressed forward. The SubWah features a user-adjustable off-delay so that the effect turns off exactly when the musician wants it to.

The pedal features the new 'better than true by-pass' circuitry proven to be superior to a true by-pass in terms of preserving the instrument's tone and harmonics through instrument cables. gig-fx has published test results on their web site which support that claim.

For more information, please visit

Introducing the Anthem from L.R. Baggs

Posted by sarabdeep Monday, January 11, 2010 0 comments

After 30 years of effort we have done the very thing that every amplified acoustic guitarist has dreamed about and the very thing that no other pickup manufacturer has been capable of- unlocking the potential of a microphone to capture the very essence of your guitar with high feedback resistance for demanding stages.

At the heart of the Anthem is the Tru-Mic, a patent pending revolutionary new type of microphone. Unlike previous mic systems, the Tru-Mic captures the majority of the sound of the guitar while eliminating any annoying honky or boxy qualities that have been previously associated with internal mic’ing.

For the Anthem we used no modeling, no illusions, it’s not “like” a mic, it’s not “like” your guitar. This is a mic and what you will experience is your guitar- loud with the fidelity and dynamics that come from a real microphone. The sound quality and feedback resistance of the Anthem Tru-Mic now allows the mic to be the primary sound source in a mic/pickup system with only the very lowest frequencies being augmented by our Element undersaddle pickup.

The Anthem’s feather-weight control unit contains all of the essentials: volume, mix and phase. It nestles securely inside of the soundhole for easy fingertip access.

Check out for more information on the Anthem and other LR Baggs products.

When six strings seem too conventional and seven strings still just aren't enough, Seymour Duncan announces the release of the latest version of our hugely successful Blackouts series, the 8-string Blackouts for 8-string guitars. For the new generation of 8-stringed guitars, 8-string Blackouts provide more headroom while still generating thick and full lows without sounding muddy or dull. Designed from the ground up specifically for the need of 8-string players, these metal beasts contain ceramic magnets for both the neck and bridge versions, specifically voiced for heavy rock with greater dynamic range, less scooped mids, and less compression than other active pickups.

For anyone who has tried to record using an 8 stringed guitar, the biggest complaint has been that most pickups deliver a thudy sound, chopping off the dynamic range. The results can be clearly seen, like a "flatline" effect in the recording wave. 8-string Blackouts allows each register to have its own character, like you expect from any six string sound, but now with deeper bass lines and no flat-lining. It simply allows the player be more expressive.

The industry agrees that 8-string Blackouts are clearly an improvement, evident by the fact that many guitar makers like Schecter?? Guitars, who are delving into the 8-string guitar world, are offering the 8-string Blackouts. Their latest, offering the Schecter BlackJack ATC-8 limited edition guitar comes with 8-string Blackouts installed.

Like the full line of Blackouts, the 8-strings provide a tone that sounds less compressed with a more extended frequency response. Blackouts active humbuckers are up to 14dB quieter than the competition, but they also have more lows, more highs, and more output. Blackouts 8-string are designed to direct retrofit any 8-string electric guitars and are available in individual neck and bridge models, or as a two-pickup set. All versions come with all necessary mounting hardware, including pots, jack, and a battery clip.

Neck Model

- Resonant Frequency 700 Hz
- Average output voltage 0.65 Volts RMS (1)
- Max. output voltage 2.60 Volts RMS (2)
- Noise -97dBV
- Output Impedance 1K Ohm
- Current consumption 350 micro-amperes
- Battery life 1420 hours (3)
- Preamp topology Discrete hybrid differential, FET input
- Preamp Gain 16 dB
- Preamp Thd @ 1Vo .003%

Bridge Model

- Resonant Frequency 650 Hz
- Average output voltage 0.65 Volts RMS (1)
- Max. output voltage 2.60 Volts RMS (2)
- Noise -96dBV
- Output Impedance 1K Ohm
- Current consumption 350 micro-amperes
- Battery life 1420 hours (3)
- Preamp topology Discrete hybrid differential, FET input
- Preamp Gain 18 dB
- Preamp Thd @ 1Vo .003%

For more information, please visit

Building upon the long-term success of the Thunderbird bass, Epiphone introduces the new professional series Thunderbird PRO's. Available in both 4 and 5 string versions, THE original "rock and roll" bass with the distinctive shape combines traditional design elements with new technology - all for a price that the working bassist can afford.

The Thunderbird PRO's feature a rock-solid, 7-piece (Walnut/Maple) neck with through-body construction for amazing sustain and tone. Add to that, Epiphone's new T-Pro bass humbucking pickups with custom active electronics and EQ and suddenly, the Thunderbird transforms into a very versatile bass capable of a wide variety of tonal options.
Other features include premium die-cast 14:1 bass machine heads, a "bad ass" fully-adjustable bridge and SlimTaper neck profile with Epi-designed straight-string pull headstock. Add to that black hardware and black pickguard with silver Thunderbird logo and you've got the NEW Epiphone Thunderbird PRO's. Available in 3 striking colors - Vintage Sunburst, Translucent Black and Natural Oil.


Body Wings: Mahogany
Neck: 7-piece (Walnut/Maple/Walnut/Maple/Walnut/Maple/Walnut)
Neck Joint: Through-Neck
Truss Rod: Double-Action, 2-Way
Fingerboard: Rosewood
Fingerboard Radius: 12"
Frets: 20-Medium/Jumbo, nickel/silver alloy
Scale Length: 34"
Nut Width: 1.50" (4-string), 1.93" (5-string)
Neck Pickup: Epiphone T-PRO Bass Humbucker
Bridge Pickup: Epiphone T-PRO Bass Humbucker
Bridge: Flush-Mount, fully adjustable
Controls: Master Volume, Blend, High-EQ, Low-EQ
Tuners: Premium Die-Cast Bass
Outputs: 1/4" Mono, Metal Jack Plate
Hardware: Black
Options: Hard Case
Warranty: Limited Lifetime (US only, Void where prohibited.)

For more information, please visit

In the past two years Framus' product developers have made an effort to redefine Diablo and Panthera series guitars. In close cooperation with our endorsers and Framus players, key points on the instruments were refined, both ergonomically and technically. Both series now include six base models all of which feature significant upgrades and improvements from their predecessors.

Considerable investments in machinery as well as actual the production process have resulted unmatched manufacturing quality. Among other things, a new lacquering-machine now allows a quality of lacquering unique in the modern world and does so while being much more ecologically friendly than traditional methods.

The instruments will be unveiled in January 2010 at the winter NAMM show in Anaheim. The European public will get their first glimpse of all 12 new models at the Frankfurter Musikmesse. Delivery of the new Framus Diablo and Panthera models will start in February 2010 through selected dealers worldwide.

For more information, please visit

Makassar is a dark, warm sounding wood belonging to the species of ebony woods and can be found on the Corvette $$ Special Edition Makassar. The body of this particular special edition is made from Swamp Ash with a 3/8" Makassar top. Features include a matched headstock, Bolt-on Ovangkol neck and Tigerstripe Ebony fingerboard. The instrument is sealed with a Natural Oil finish. Black hardware adds a nice touch to the overall look of the instrument.

2 Bartolini MM-style pickups fueled by an MEC 2-way EQ give this bass its thunder. Two mini switches allow the pickup inductors to be connected parallel, serial, or in single-coil mode, which adds some flexibility to the sound of the Corvette $$ Special Edition Makassar. This Special Edition is available as 4-string, 4-string fretless, 5-string, and 5-string fretless.


- Available as 4-string, 4-string fretless, 5-string and 5-string fretless
- Bolt-on with matched headstock
- Just a Nut III
- Scale: 34"
- 24 frets / fretless
- Tigerstripe Ebony Fingerboard
- Ovangkol neck
- Swamp Ash back w 3/8" Macassar top
- Natural Oil finish
- Bartolini MM/MM Pickups
- MEC 2-way electronics
- 2 mini toggle-switches for inductor connection (parallel, serial or single coil)
- Black Hardware

For more information, please visit

Martin Guitars has announced the launch of the “Performing Artist Series,” an innovative line of acoustic/electric guitars set to debut in 2010. The three models that form the foundation of the new series include the “DCPA1” Dreadnought, “OMCPA1” Orchestra Model, and the new Grand Performance “GPCPA1.” These acoustic/electric models provide flexibility and professionalism for guitarists, from small coffee houses to large arenas to simply recording with your laptop or in a professional studio.

These new models combine Martin’s legendary tone and styling, while adding player comfort and on-stage performance capability. The DCPA1, OMCPA1 and the modern Grand Performance GPCPA1 all share the same aesthetic blend of contemporary and traditional features. Additionally, all Performing Artist Series guitars are equipped with Fishman’s newly designed onboard sound reinforcement system, the F1 Aura.

Each model in the Performing Artist Series offers its own distinctive acoustic and plugged-in sound for the discerning player. The DCPA1 offers the powerful and resonant Martin Dreadnought tone. The OMCPA1 is well balanced, offering warm bass response with crisp clear trebles. The new GPCPA1 shares characteristics from the big rich sound of the Dreadnought and the clarity of the Orchestra model and combines them into a new sonic signature all of its own. All three guitars share the same well-known Martin construction including solid East Indian rosewood back and sides, a solid Sitka spruce soundboard with hybrid scalloped bracing, a genuine ebony headplate, fingerboard and bridge, and a patented mortise and tenon neck joint.

The Performing Artist Series features many firsts for the company, including a more parallel neck profile with a slimmer taper at the 12th fret, giving the guitar comfortable width in the first few frets plus a faster feel for lead-work as you move up the neck. The new smaller bridge design reduces mass and increases the soundboard’s tonal response.

Striking new aesthetic features include a pearl Martin block-style logo inlaid into the ebony headplate. New fingerboard inlays use traditional squares in colorful blue paua, flanked by arrow designs adding to the guitar’s sleek modern style. A newly-designed two ring rosette borders the soundhole with a stunning combination of blue paua and wood fiber inlays. Finely polished gloss lacquer highlights the body’s beauty, while a durable satin finish on the guitar’s neck adds to the quicker feel and player’s comfort.

The new Fishman F1 Aura features the stunning realism of award-winning Aura Acoustic Imaging technology in a distinctive and easy to use onboard preamp system. State-of-the-art features include: digital chromatic tuner, volume and blend controls, independent 3-band EQ for both pickup and image signals, compressor, phase control and an automatic anti-feedback filter with up to 3 notches. The heart of the F1 Aura is its ability to replicate the sound of nine different world-class studio microphones. Fishman engineers have carefully captured images of the sound that these high-quality microphones "hear" and allow you to blend it in with the legendary Gold+Plus under saddle pickup. The preamp design utilizes low-noise components, 32-bit internal processing and 24-bit audio conversion for an incredibly clean and quiet output.

A Limited Lifetime Warranty covers all “Performing Artist Series” models purchased from authorized Martin dealers in the U.S. and Canada. To protect your investment, each guitar includes a brown hardshell case.

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Beginning January 2010, WALDEN will enable guitarists to make purchasing decisions that benefit our environment and take part in reducing the overconsumption of world resources. Its all-solid wood MADERA line will be built with 100% FSC-Pure certified tonewoods such as Sitka spruce, Western Red cedar, and South American "True" mahogany. With an FSC Chain-of-Custody ("COC") certification, all woods on the MADERA are tracked from forest to finished instrument thereby guaranteeing its sustainable origins. With a target street price USD$999, the all-solid WALDEN MADERA is the most affordable sustainable wood guitar in the market.

WALDEN chose the name MADERA for its association with the Spanish word for "wood." Guitars in this line can be easily recognized by a distinctive headstock embellishment shaped like the Chinese character "???" meaning wood. At the 2010 Winter NAMM Convention, WALDEN will present five acoustic guitars in the MADERA line with Dreadnought and Grand Auditorium models in natural and sunburst finishes as well as a classical guitar.

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PRS Guitars' New Grab-and-Go Amplifier - The PRS 30 Combo

Posted by sarabdeep Saturday, January 9, 2010 0 comments

Described as an English sound with an American twist, PRS's newest amplifier package, the PRS 30 Combo, is the first 30-Watt cathode biased combo in a series of lower wattage amps. The series kicked off with the 16-Watt PRS Sweet 16 model earlier this year.

The new 30-Watt Combo features a quartet of EL84 tubes with a control layout similar to PRS's Dallas model and a 1 x 12 cabinet with ET65 WGS speakers. PRS 30 Combos are handmade in Stevensville, Maryland. Other features include reverb, bright switch, and a special master volume that is dialed out of the circuit as the amp's volume is at max setting.

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