LIBRO

STRATOCASTER GUITAR BOOK A Complete History of Fender Stratocaster Guitars Tony Bacon

 

 

The Stratocaster Guitar Book
A Complete History of Fender Stratocaster Guitars
 

Series: Guitar Reference
Publisher: Backbeat Books
Format: Softcover
Author: Tony Bacon

Leo Fender's company changed the course of popular music in 1954 when they introduced the Stratocaster. Since then, the Strat has been played by countless guitarists, from Jimi Hendrix to Buddy Guy and Jeff Beck. In this book, interviews with important Strat players from every decade illustrate the instrument's versatility, playability, and continuing importance. This is the complete story of the Stratocaster and the Fender company, from the struggles of the 1950s to the new models, retro reissues, and luscious collectibles of the 21st century. The Stratocaster Guitar Book is a glorious compendium of beautiful pictures, a gripping history, and a detailed guide to all Strat models. A must for all guitar lovers.

Width: 8.5"
Length: 11.0"
160 pages

 

CONTENTS:
THE STRATOCASTER STORY
THE PRE-STRAT ERA
THE FIFTIES
THE SIXTIES
THE SEVENTIES
THE EIGHTIES
THE NINETIES
RECENT YEARS
ENDNOTES
THE REFERENCE LISTING
US-MADE STRATOCASTERS
MEXICO-MADE STRATOCASTERS
JAPAN-MADE STRATOCASTERS
KOREA-MADE STRATOCASTERS
DATING & SERIAL NUMBERS
MODEL CHRONOLOGY
INDEX
ACKNOWLEDGEMENTS

 

Leo began work as an accountant, at first in the accounts section of the state highway department and then at a tyre distribution company, but his hobby was always electronics. In his twenties, he built amplifiers and PA systems for public events: sports gatherings, dances, and so on. He took a few piano lessons before trying the saxophone, but he was never serious, and he never learned to play the guitar.
When he lost his accounts job in the Depression, Leo took a bold step and opened his own radio and record store in Fullerton, around 1938. He called the new retail and repair shop Fender Radio Service, and it seemed a natural move for the ambitious and newlymarried 30-year-old. He advertised his wares and services on his business card: "Electrical appliances, phonograph records, musical instruments & repairs, public address systems, sheet music."
His new store on South Spadra meant that Leo met many local musicians and characters in the music and electronics businesses. During the first few years he hooked up with several people who would prove important to his future success. First among these was a professional violinist and lap-steel guitarist, Clayton Orr Kauffman, known to all simply as Doc.
The story goes that some time around 1940, Doc brought an amplifier into Leo's shop for repair and the two got chatting. Doc had amplified his own guitars and made designs for an electric guitar and a vibrato system. By this time, Leo had started looking into the potential for electric guitars and was playing around with pickup designs. A crude solidbody guitar that Fender and Kauffman built in 1943 purely to test these early pickups - one design for which was patented in '44 - is today in the Roy Acuff Museum at Opryland, ashville.
Doc went to work for an aircraft company during World War II, but the two incorrigible tinkerers still found time to get together and come up with a design for a record-changer good enough to net them $5,000. They used some of this money to bolster their shortlived company, K&F (for Kauffman & Fender), and began production of electric lap-steel guitars and small amplifiers in November 1945.
In the 20s, many people in America had taken up the little lap-steel guitar, often called the Hawaiian guitar, and the instrument was still tremendously popular. The steel had been the first type of guitar to go electric in the 30s. Several innovative companies, with Rickenbacker in the lead, experimented with electro-magnetic pickups, fixing them to guitars and feeding their signal out to small amplifiers. The attraction of the steel was that it was an easy-to-play instrument, and thus one suitable for beginners, but the electric version also proved appealing to professional musicians, especially in Hawaiian music and among country-and-western bands.
The musician would play the steel guitar on his lap or would step up to an instrument mounted on legs. The name came not from its construction - Fender's steels were all wooden - but from the metal bar that the player held in his left hand to stop the raised strings, which were generally tuned to an open chord. During the 30s and later the term the stratocaster guitar book...

... quantity, naturally, is limited," announced Fender, and during 1979 and 1980 the firm proceeded to make thousands of 25th Anniversary Stratocasters ($800 including case, virtually the same price as a standard model). "They went fast in '54. They'll go fast now," ran the insistent ad. An official estimate of production mentioned 10,000 units.
Most people tend to refer to a Stratocaster as a Strat, and in 1980 Fender finally used the abbreviation officially on a new model. It was designed by Gregg Wilson, who had come up with the budget-price Fender Lead models introduced the previous year. The new Strat combined regular Stratocaster looks with updated circuitry, a 'hot' bridge pickup, and fashionable heavy-duty brass hardware. Fender also offered the hardware separately as an after-market accessory line, called Original Brass Works, following the lead of various companies that popularised a craze for retrofit replacement parts. Larry DiMarzio was a leader in this new business, introducing his Super Distortion replacement pickup in 1975, with Mighty Mite, Seymour Duncan, and others soon following.
Fender intended with the Strat to re-introduce the old-style narrow headstock of the original Stratocasters. The broader type of the time had been in use since 1965. However, Fender used old worn-out tooling, and the result was not an entirely accurate re-creation. Smaller, certainly; accurate, no. A reversion to the four-bolt neck fixing and body-end truss-rod adjustment and the removal of the neck-tilt for the new Strat model implied that CBS were already aware of criticisms of 70s Stratocasters. A few brighter colours were offered for the Strat, too, reviving Lake Placid Blue, Candy Apple Red, and Olympic White.
The model was significant as the first attempt at a modernised Strat. It retailed at $995, compared to $745 for the regular Stratocaster.
One further attempt in 1980 to provide something different for Strat fans was the Hendrix Stratocaster. It was something like a 25th Anniversary Strat in overall spec, but it had an inverted headstock and additional body contouring, and was only offered in white.
It's another significant guitar, as it was the first Fender marketed to highlight an association with a musician, a sales technique that would become very important to the company from the late 80s. Only 25 or so were produced, and most if not all were marked as prototypes.
Colour schemes were brightened and expanded a little during the 80s, with the shortlived International Colors in 1981 and then the Custom Colors and Stratobursts of '82. Some of the new hues were distinctly lurid - such as Capri Orange, Aztec Gold, or Bronze Stratoburst - and they were not much liked at the time. In 1983, there was a short run of Marble or 'bowling ball' finishes, designed by Darren Johansen, in swirling Red, Blue, or Gold.
With generally trimmed model lines and a massive output from the factories at Fender, it was hard to resist the feeling as the 80s dawned that the newly-important calculations of the balance sheet were firmly established and took precedence over the company's former creativity. At the start of the decade, CBSmanagement decided that they needed some new blood to help reverse a decline in Fender's image and finances. Income had the stratocaster guitar book ...

Price: €25,99
€25,99

LES PAUL LEGACY 1968-2009 THE MODERN ERA OF THE-Robb Lawrence LIBRO ILLUSTRATO CHITARRA

LES PAUL LEGACY 1968-2009 THE MODERN ERA OF THE. Robb Lawrence.

The Modern Era of the Les Paul Legacy 1968-2009
Series: Book
Publisher: Hal Leonard
Format: Hardcover
Author: Robb Lawrence

Following the release of The Early Years..., which Vintage Guitar magazine called “carefully crafted ... lavishly illustrated,” this full-color book continues the amazing journey of an American icon's recording career and the coveted instruments that bear his name. Beginning with the collectible late '60s models, The Modern Les Paul Legacy moves on to the '70s and '80s special-themed instruments – showing all popular artist models, like Jimmy Page, Joe Perry, and Slash, in living color. And the “holy grail” '59 Sunburst and the jaw-dropping Custom Shop creations of the '90s receive their due as achievements that have never, to this day, been surpassed. The book also covers Les Paul's resurgence – the comeback Grammy Award-winning album with Chet Atkins, the start of a weekly gig in a New York City jazz club, and the reconnection with the Gibson family. Since Les Paul's death in August 2009, this will be the first book that covers his entire life, including his last performances at the Rock and Roll Hall of Fame, the memorials in New York, and the burial in his hometown in Wisconsin.
Width: 8.5"
Length: 11.25"
362 pages
 

Price: €49,99
€49,99

YOUNG NEIL FINGERPICKING GREATEST HITS BOOK GUITAR TABLATURE LIBRO CHITARRA SPARTITI

NEIL YOUNG, FINGERPICKING GREATEST HITS. SHEET MUSIC BOOK WITH GUITAR TABLATURE.

LIBRO DI MUSICA ROCK.

SPARTITI PER VOCE E CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

ARRANGED FOR FINGERSTYLE GUITAR, 

 

Fingerpicking Neil Young - Greatest Hits

Fingerpicking Guitar Series
Series: Guitar Solo
Format: Softcover - TAB
Artist: Neil Young

This fantastic collection offers fingerpicking arrangements in notes & tab for 16 Neil Young classics! Includes: After the Gold Rush • Cinnamon Girl • Harvest Moon • Heart of Gold • Helpless • Hey Hey, My My (Into the Black) • Like a Hurricane • Ohio • Old Man • Rockin' in the Free World • Southern Man • and more, plus a helpful introduction to fingerstyle guitar and loads of photos, design pages, and lyric sheets. 80 pages

 

Fingerpicking Neil Young – Greatest Hits
Fingerpicking Guitar Series
Series: Guitar Solo
Format: Softcover - TAB
Artist: Neil Young

This fantastic collection offers fingerpicking arrangements in notes & tab for 16 Neil Young classics! Includes: After the Gold Rush • Cinnamon Girl • Harvest Moon • Heart of Gold • Helpless • Hey Hey, My My (Into the Black) • Like a Hurricane • Ohio • Old Man • Rockin' in the Free World • Southern Man • and more, plus a helpful introduction to fingerstyle guitar and loads of photos, design pages, and lyric sheets.

Inventory #HL 00700134
ISBN: 9781423429548
UPC: 884088157913
Width: 9.0"
Length: 12.0"
80 pages

 

After The Gold Rush

Cinnamon Girl
Comes A Time
Cowgirl In The Sand
Down By The River
Harvest Moon
Heart Of Gold
Helpless
Hey Hey, My My (Into The Black)
Like A Hurricane
The Needle And The Damage Done
Ohio
Old Man
Only Love Can Break Your Heart
Rockin' In The Free World
Southern Man

Price: €18,99
€18,99

CELTIC ENCYCLOPEDIA, FINGERSTYLE GUITAR. TABLATURE

CELTIC ENCYCLOPEDIA, FINGERSTYLE GUITAR. TAB.

Product Description:
This comprehensive book contains over 100 Celtic tunes arranged for solo fingerstyle guitar. This edition is derived from a collection of nearly 300 arrangements Glenn Weiser has created over the last twenty years. The book is divided into 4 sections: 1) airs, marches and waltzes 2) hornpipes, jigs and reels 3) tunes from the Bunting collection 4) harp tunes of Turlough O'Carolan. All are in either standard or dropped-D tuning, and can be played on either nylon or steel string guitars. All of these melodies are accompanied with brief historical notes. Written in standard notation and tablature. Intermediate in difficulty.

Format: Book
Series: Encyclopedia
192 PAGES

Contents:

Introduction
Airs, Marches and Waltzes:
All Through the Night
The Atholl Highlanders
The Banks of Inverness
The Battle of Waterloo
Believe Me if All these Endearing Young Charms
The Battle of Aughrim
The Boys of Wexford
Castles in the Air
Childgrove
Cock up your Beaver
Come Under My Plaidie
Dainty Davy
Down by the Sally Gardens
The Earl of Dalhousie's Happy Return
Eileen Aroon (first and second settings)
Flow Gently, Sweet Afton
For Ireland I'd Not Tell Her Name
Hugh O'Neill's Lament
King of the Fairies
The Lark in the Clear Air
The Lass of Patie's Mill
Londonderry Air
Macpherson's Lament
Niel Gow's Lament for His Second Wife
The Old Resting Chair
The Parting Glass
The Piper through the Meadow Straying
Old Ireland, a Long Farewell
Princess Augusta
The Rocks of the Brae
Scottish Farewell
The Shepherd's Wife
The Rose Tree

Hornpipes, Jigs, and Reels:
Hornpipes:
Alexander's Hornpipe
The Brown Coffin
Clark's Hornpipe
Delahanty's Hornpipe
The Fairies' Hornpipe
Molly Halfpenny
The Morpeth Rant
The Quindaro Hornpipe
Jigs:
The Burnt Old Man
Cherish the Ladies
The Connaughtman's Rambles
Father Tom's Wager
The Joy of my Life
The Lark in the Morning
Larry O'Gaff
The Muckin' o' Geordie's Byre
The Mooncoin Jig
Nell Flaherty's Drake
O'Keefe's Slide
Pipe on the Hob
The Rakes of Kildare
The Rock and the Wee Pickle Tow
Swallowtail Jig
The Trip to Sligo
Reels:
The Fairies' Reel
Angus Campell
Cooley's Reel
The Good-Natured Man
Lord Gordon's Reel
Miss Monahan's Reel
The Mullingar Races
Peter Street
Petronella
Pigeon on the Gate
The Pigtown Fling
Scollay's Reel
The Silver Spire
The Star of Munster
The Wise Maid
The Wind That Shakes the Barley

Tunes from the Bunting collection:
The Dawning of the Day
The Foggy Dew (major and minor key versions)
The Gentle Maiden
The Girl I Left Behind Me
Give Me Your Hand
The Joyce's Country Greeting
Saint Patrick's Day
A Soft Mild Morning
Summer is Coming
The Wild Geese
The Coolin

Harp tunes of Turlough O'Carolan:
Thomas Burke
Madam Cole
John Drury (First Air)
Anne MacDermott Roe
Miss MacDermott
Denis O'Conor (Second Air)
Maurice O'Connor (Second Air)
John Kelly
Mary O'Neill
John O'Reilly
Kean O'Hara (Third Air)
Planxty Scott
Captain Sudley
Colonel Palmer
All Alive
Carolan's Cottage
Carolan's Fancy
Planxty O'Carolan
The Two William Davises
The Lament for Terence MacDonough
Ode to Whiskey

Alphabetical Index
About Glenn Weiser

Price: €25,99
€25,99

DE GRASSI ALEX GUITAR COLLECTION TABLATURE children's dance-causeway-Inverness-Western

DE GRASSI ALEX, GUITAR COLLECTION. Contiene: -children's dance -causeway -Inverness -McCormick -mirage -overland -slow circle II -southern exposure -turning -Western. TAB.

Price: €49,99
€49,99

EMMANUEL TOMMY ONLY Biskie-DriveTime-Luttrell-Mombasa-padre-Questions-robin-GUITAR TABLATURE LIBRO

EMMANUEL TOMMY, ONLY. Biskie -DriveTime -I've Always Thought Of You -Luttrell -Mombasa -Ol Brother Hubbard -Padre -Questions -Sonce We Met -Stay Close to Me -The Robin -Those Who Wait -Timberlake Road -Train to Dusseldorf. TAB.

Tommy Emmanuel has electrified audiences across the globe. This book contains note-for-note transcriptions of solos from Emmanuel's album Only in standard notation and tablature. Transcribed by Mark Pritcher.

Price: €36,99
€36,99

KOTTKE LEO EIGHT SONGS-BOOK GUITAR TABLATURE CHITARRA SPARTITI LIBRO INTAVOLATURA

KOTTKE LEO, EIGHT SONGS. SHEET MUSIC BOOK WITH GUITAR TABLATURE.

LIBRO DI MUSICA PER CHITARRA ACUSTICA.

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

Guitar Solo
Series: Transcribed
Artist: Leo Kottke
Composer: Leo Kottke

Enjoy 8 of Kottke's greatist hits and personal favorites in notes and tab. 96 pages

Bean Time
Blue Dot
Fisherman, The
Jack Fig
Machine 3
Mona Ray
Ojo
Three Walls And Bars

Price: €22,99
€22,99

A DESKTOP REFERENCE OF HIP VINTAGE GUITAR AMPS, Gerald WEBER.

 

A DESKTOP REFERENCE OF HIP VINTAGE GUITAR AMPS, Gerald Weber.

A Desktop Reference of Hip Vintage Guitar Amps
Series: Book
Publisher: Kendrick Books
Format: Softcover
Author: Gerald Weber

If you have questions about guitar amplifiers-how to fix them, how to restore them, or how to hot-rod them-this book has the answer. This book is written for the guitarist or collector who desires a common sense approach to understanding the essence of vintage tube amps and vintage tube tone. Not written for engineers, it does not contain engineering formulas, polar mathematic equations, or abbreviations that are assumed you should know. Gerald Weber, a regular columnist for Vintage Guitar magazine, shares the knowledge he has accumulated over the years of repairing and building his line of Kendrick amps.
Inventory #HL 00330225
ISBN: 9780964106000
UPC: 073999302257
Width: 6.0"
Length: 9.0"
512 pages

Gerald Weber has written many articles on tube guitar amplifiers for Vintage Guitar magazine, and this book is a compilation of those articles, plus excerpts from his "Ask Gerald" question and answer column. Written for the guitarist or collector who wants a common sense approach to understanding the essence of vintage tube amps and vintage tube tone, this essential guide will answer questions on how to fix, restore, or hot-rod vintage amps. Includes easy-to-follow text, a complete glossary of terms, many photos and detailed schematics, and a listing of dealers and sources.

If you have questions about guitar amplifiers-how to fix them, how to restore them, or how to hot-rod them-this book has the answer. This book is written for the guitarist or collector who desires a common sense approach to understanding the essence of vintage tube amps and vintage tube tone. Not written for engineers, it does not contain engineering formulas, polar mathematic equations, or abbreviations that are assumed you should know. Gerald Weber, a regular columnist for Vintage Guitar magazine, shares the knowledge he has accumulated over the years of repairing and building his line of Kendrick amps.

If you want to know about vacuum tube guitar amplifiers & what affects tone, this book bypasses the confusion & gets down to the essences of guitar amplifiers. Written for the guitarist or collector, this book is a common sense approach to understanding vintage vacuum tube guitar amplifiers. Not written for engineers, it does not contain engineering formulas, polar mathematic equations, or abbreviations that are assumed you know. When a new term is used for the first time, a definition of that term appears at the end of the chapter in a mini-glossary. The Author is president & owner of Kendrick Amplifiers, who manufacture vacuum tube guitar amplifiers & operate the largest vintage amp restoration shop in the country. He writes question-&-answer columns for "Vintage Guitar Magazine." Many of the articles are reprinted in this book. Over 200 schematics & layout diagrams, dozens of modifications, a whole section of tips & tricks, circuit comparisons & pictures. A must for anyone interested in tube guitar amps.

 

 

Gerald Weber wrote his first monthly column for Vintage Guitar magazine over three years ago. It was the first technical, article that we had' ever printed and Gerald's writing soon became a very popular part of the magazine. Since that time, his articles have generated more reader mail than any other regular feature of the magazine. The letter writers almost always express their appreciation for Gerald freely sharing his vast knowledge of guitar amplifiers and how to "tweak" them for better performance. Whether the readers use this information to work on the amps themselves, or just to be able to deal with repair people, Gerald's words make for a better informed-and happier-guitar player. In the pages of this book, Gerald continues to freely share this information-knowledge that he has accumulated over the years repairing and building guitar amps. His line of Kendrick amplifiers and related components come with the highest references and he is always striving for quality and that "Killer Tone." So, if you have questions about guitar amplifiers- how to fix them, how to restore _ them, or how to hot-rod them-look inside,

Gerald Weber has the answer! Alan Greenwood Publisher

Vintage Guitar Magazine

 

 

PREFACE

When I began writing articles for Vintage Guitar Magazine several years ago, my original intention was to share my knowledge with those who care as much about tube guitar amps as I do. At the time, I had no idea that this book would eventually write itself. This book is actually a compilation of those articles and a compilation of the" Ask Gerald" question and answer column with the addition of some schematics and a reprint of the "Trainwreck Pages" and some other reprints. This book is written for the guitarist or collector who desires a common sense approach to understanding the essence of vintage tube amps and vintage tube tone. Not written for engineers, it does not contain engineering formulas, polar mathematic equations, or abbreviations that are assumed you should know. In fact, when a term is used for the first time, a definition of that term will appear at the end of the chapter in a mini-glossary. When you come across a word that is unfamiliar, you should look at the mini-glossary at the end of the chapter and clarify the word before proceeding. This will keep everything clear for you. DISCLAIMER: Tube amplifiers contain potentially lethal high voltages even after they are unplugged, that may cause personal injury or death. Do not attempt to repair or modify any amplifier unless you are absolutely certain that you know what you are doing.

 

Schematic. One of these losses occurs in the audio transformer. In times of old, virtually all transformers were wound directly on a laminated core with only paper insulating the windings from the core; modern transformers are wound on plastic or nylon bobbins, much thicker than paper, resulting in greater loss and consequently less fidelity. Try this: hook up your guitar and play it and listen to how it sounds. ow take a small screwdriver and adjust the pickups so they are a quarter of an inch further away from the strings. Now how does it sound? From this experiment, you can see for yourself that the further a magnetic source your guitar strings) is away from an inductive coil (your pickups), the less efficient the signal transfer. This is exactly the same phenomenon occurring in a plastic bobbin transformer. The extra distance of a plastic bobbin kills tone that would have been captured by the closer, paper-insulated vintage style transformers. Also many vintage transformers were interleaved, a practice not common in modern amps. Any audio transformer generally has two coils wound on the same core. Interleaving means winding a little bit of the first winding, then a little bit of the second winding, then a little of the first, then a little of the second, etc., until both windings have the correct number of turns. Modern transformers are usually wound by winding all the turns of one winding, and then all the turns of the other winding. Obviously the interleaved transformer will sound better because it is more efficient and better at producing low end, with richer harmonics. In the 50s and 60s, coupling capacitors were typically made by placing two small sheets of paper (called the dielectric) between two small pieces of foil. A lead was attached to each piece of foil, and the paper and foil sandwich (double decker) was rolled up like a cigarette. Often, the finished cap was encased in plastic, wax, or epoxy. These caps had a very rich sound with nice low end. Nowadays however, technology and automation have taken us to a new level in capacitor manufacture. Polystyrene, mylar, polyester, and anything but paper are commonly used as the dielectric but do not have the same sound as paper dielectrics. Although audiophiles will tell you that polystyrene caps have the best sound (and maybe they do for stereo systems), I prefer the polyester tubular foil capacitors as the ones sounding the most like vintage for guitar amps. These caps are the Mallory 150 series caps and are made by spraying ...

 

Amps of Our Times - Vintage vs. Modern

 

... conductors of a capacitor. Paper, air, electrolyte, mica, mylar, polyester, and ceramic are some of the dielectrics that are used.

DISTORTION-noun- The difference between what goes into an electronic device and what comes out.

DYNAMICS-noun-The loud/soft quality of music that gives it character.

ENVELOPE-noun-The changing dynamics of a vacuum tube circuit that can be heard as an attack, decay and sustain volume level when a note or a chord is played through the amp.

E.Q.-noun-Abbreviation for "equalizer."

FIXED-BIAS-adjeetive-A way to achieve bias in a vacuum tube in which a fixed amount of negative voltage is placed on the grid of a tube. This is almost always done on output tubes and almost never done on preamp tubes.

GAIN-noun-The amount of voltage amplification in the preamp section of an amplifier. This voltage amplification ultimately drives the power tubes which do not add any more gain. The power tubes add current (power).

GRID-noun-One of the internal parts of a vacuum tube. This is usually where

the input signal connects.

HARMONICS-noun-The frequencies that are related to the fundamental frequency by being multiples of the fundamental frequency.

HEADROOM-noun-The volume level that is attainable before clipping occurs.

IMPEDANCE-noun-Sum of all resistance, capacitive reactance, and inductive reactance.

INTERLEAVED-adjeetive-A way of winding a transformer in which a little bit of the primary is wound, then a little of the secondary is wound, then a little primary, then a little secondary, etc. until the transformer is wound. The more interleaves, the better the efficiency.

PHASE INVERTER-noun-The circuit in a push pull amplifier that feeds the power tubes signal. It feeds one power tube an in phase signal and the other power tube an out of phase signal. The tube for this circuit is always located next to the power tubes.

PICOFARAD-noun-A very small amount of capacitance that is equal to a trillionth of a farad (.000,000,000,00 I farads). Sometimes also called "micro micro

farads."

PLATE-noun- The part of a vacuum tube that has high voltage on it. Except in a cathode follower circuit, the output is always taken from this part of the tube.

PLATE VOL TAGE-noun- The voltage that is applied to the plate of a vacuum tube. Higher voltages give more headroom and high end, lower voltages give more breakup and a browner tone. All tweed amps had relatively lower plate voltages.

PREAMP-noun-The section of an amplifier whose function is to add gain. Preamps are always before the output stage.

RECTIFIER TUBE-noun-A vacuum tube with no grid, whose purpose is to change alternating current to direct current. Current flows from the cathode to whichever of the two plates that happens to be positive at the time.

 

... relatively lower impedance cathode follower circuit. This circuit increases odd order harmonics thus giving a crunchy tone. This is the same crunch that you hear in all early Marshalls. Originally, this circuit was used so that the tone controls would not load down the signal. Later blackface Fenders did not use this circuit and that is why blackface amps will have no volume if all the tone controls are turned to the lowest setting. (The signal is loaded down to the point that nothing is left to amplify.) Shortly after the 5E6 came out, Fender changed the design slightly to a 5E6A. This amp was identical to the 5E6 except that the bias voltage was increased somewhat. (They were probably having problems with power tubes blowing and increasing the bias would have the tubes run cooler.) Also the tone cap values were slightly different on the 5E6A. In 1958, the 5F6 became the next evolution of the 4X10 Bassman. Sometimes referred to as a four hole Bassman (it had two inputs for bright and two inputs for normal-each channel having a high and low gain input), this model had quite a few design changes, although cosmetically it looks like they simply added two inputs and a middle control. There is much more to it than that. For instance, the negative feedback across the second stage was removed, thus increasing gain. Although the 12AY7 was still used on the first gain stage, the second tube was changed to a 12AX7 increasing gain even further. The tone control design was changed to what would become a classic design later used by Marshall, Vox, and many others. A cathodyne style phase inverter was dropped in favor of the familiar long-tail pair style phase inverter that has remained a characteristic of virtually all Fender tube amps to date. The choke was moved between the screens and center tap of the audio transformer-a place it has been ever since in all Fender amps. 100 ohm screen grid resistors were added and the output tubes were changed to the higher fidelity 5881s. The wattage increased to about 40 watts because the plate voltage was increased from 405 volts on the 5E6A to 427 volts on the 5F6 and the preamp gain was increased considerably. 5881 power tubes are different from the 6L6Gs in several ways. First the 5881 has always been considered a high fidelity version of the 6L6G which is considered an industrial public address tube. 5881s are rated at 23 watts per tube compared to the 6L6G's 19 watts. Being a ... Kendricks

 

HIP VINTAGE AMPS

Amps of Our Times-Vintage vs. Modern

The Tweed Champ

The Tweed Deluxe

The Definitive 4X10 Bassman

The Deluxe Reverb

The Super Reverb

The Vibroverb

 

TIPS AND TRICKS

A Tube is a Tube, Right?

The Simple Truth About Biasing Your Amp

Unwinding the Transformer Puzzle

Important Facts About Jensen Speakers

How to Make Your Amp Sound Right

Easy Tricks to Juice Your Vintage Amp

Ten Easy Mods for Your Super Reverb

Ten Easy Mods for Your Pro Reverb

Juice Up That 6G15 Fender Reverb

Resurrecting That Tube Echoplex

Silver to Blackface Conversion for Twin Reverb

 

THE TRAINWRECK PAGES-By KEN FISCHER

 

QUESTIONS AND ANSWERS

 

SCHEMATICS

Ampeg

Fender

Gibson

Hiwatt

Magnatone

Marshall

Rickenbacker

Silvertone

Vox

 

REVIEWS OF KENDRICK PRODUCTS

Gerald Weber, the Tweed King

 

CATALOG OF KENDRICK PRODUCTS

Price: €40,99
€40,99

BASIC GUITAR ADJUSTMENTS & SETUPS.

BASIC GUITAR ADJUSTMENTS & SETUPS. Manule per la regolazione dell'action, dell'intonazione, dei pickup, il montaggio delle corde, il settaggio della chitarra.

Series: Pocket Guide
Author: Various Authors

An essential, easy-to-use guide containing basic set-up and maintenance information for guitar and bass guitar players. Designed to help keep your axe in peak performance condition with tips about tools, cleaning, restringing and adjustments. Along with a good chord book, a must-have! 32 pages.

Price: €5,99
€5,99

BEYOND POWER CHORDS Leo Cavanagh CD TABLATURE LIBRO SPARTITI ACCORDI ACCOMPAGNAMENTO

BEYOND POWER CHORDS, Leo Cavanagh. 252 pagine. CD TABLATURE

Take Your Guitar Playing to the Next Level!
Series: Book
Publisher: ArtistPro
Medium: BOOK W/CD
Author: Leo Cavanagh

Many guitar players are limited in their knowledge of chords. Once you get comfortable with bar chords and the concepts taught in this book, however, the number of chords you can play will increase dramatically. Connecting chords in a variety of common progressions, Beyond Power Chords will give you the means to play all types of chords – major, minor, seventh and more – in all keys, as well as build chords on your own. Features an audio CD with 85 tracks of examples that will clarify every lesson, including 18 ways to play chords to the blues. 52 pages

 

Beyond Power Chords is my response to "chord encyclopedias" that give you 57 ways to hold a C chord but don't tell you which chords go together. It is more important to know that C often goes to F and to know that this voicing of the C chord goes smoothly to this F chord.

Many guitar players rely on power chords, which are simple chords that will limit you from a musical standpoint. Once you get comfortable with bar chords and the concepts taught in this book, however, the number of chords you can play will increase dramatically. The book is 250 pages long, with approximately 300 exercises. Also included is an audio CD filled with 85 tracks of examples that will clarify every lesson.

Connecting chords in a variety of common progressions, Beyond Power Chords will give you the means to play all types of chords - major, minor, seventh and more - in all keys, as well as build chords on your own.


Beyond Power Chords Contents: Follow the links to learn in more detail the contents of the book.

Introduction

Part 1 Chord Progressions: How Chords Go Together

Part 2 Bar Chord Basics: Major, Minor and 7th Chords in All Keys

Part 3 Chord Construction: How to Build Chords and Find Good Voicings

Part 4 More Chord Formulas

Part 5 Jazz Progressions

Appendices: A. Theory B. Self-testing

Price: €39,99
€39,99
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