What Are Pickups? At their core, guitar pickups are magnetic devices that capture the vibrations of the guitar strings and convert them into electrical signals. These signals are then sent to your amplifier, shaping the sound that emerges from your speakers.
Types of Pickups:
Single-Coil Pickups: Known for their bright and clear tones, single-coil pickups are composed of a single coil of wire wrapped around magnets. Fender Stratocasters are famous for their iconic single-coil sound.
Humbucking Pickups: Humbuckers, with their dual-coil design, are prized for their warm and noise-resistant characteristics. Gibson Les Pauls often feature humbucking pickups, providing a thick and powerful tone.
P-90 Pickups: P-90s sit between single-coils and humbuckers, offering a balance of brightness and warmth. They are often found in guitars like the Gibson SG.
Aging Process: At the heart of the Murphy Lab guitars is the masterful aging process overseen by skilled artisans. Using a combination of vintage techniques and modern innovations, each instrument is carefully distressed to emulate the wear and tear of a well-played vintage guitar.
Nitrocellulose Finishes: The Murphy Lab guitars feature nitrocellulose finishes, allowing the wood to breathe and resonate more freely. The careful application of these finishes not only enhances the tonal characteristics but also contributes to the authentic vintage look.
Pickups and Electronics: Gibson Murphy Lab guitars are equipped with custom-wound pickups that capture the essence of vintage PAF tones. The electronics are wired to vintage specifications, providing players with the authentic sound and responsiveness that defined iconic Gibson guitars of the past.
Historically Accurate Hardware: Every detail matters, and the hardware on Murphy Lab guitars reflects a commitment to historical accuracy. From the meticulously aged bridge and tailpiece to the hand-aged tuners, each component is crafted to transport players to a bygone era.
Ultra Light Aging: For those who prefer a subtle touch, the Ultra Light Aging option offers a delicate relicing that preserves the original charm of the guitar without compromising its pristine appearance.
Heavy Aging: Embrace the allure of a well-loved vintage instrument with the Heavy Aging option. This level of distressing adds character and history to the guitar, creating a visually stunning and sonically resonant instrument.
Limited Editions: Gibson Murphy Lab guitars are released in limited editions, making each instrument a collector's item. The exclusivity adds to the allure of owning a guitar that not only sounds exceptional but also stands as a work of art.
Playability and Tone: Beyond their aesthetics, Murphy Lab guitars are renowned for their exceptional playability and tonal richness. The careful aging process enhances the feel of the neck and contributes to the instrument's overall responsiveness.
Neck and Scale: The Fender Jaguar is known for its shorter 24-inch scale length, offering a unique playing experience. This shorter scale can make string bending easier, making it a favorite among players who crave a distinctive feel.
Pickups and Controls: Jaguars typically feature single-coil pickups, providing a bright and clear tone. The dual-circuit design allows for a variety of tonal options, with separate controls for each circuit, making it a versatile instrument for different playing styles.
Design Aesthetics: With its offset body shape and distinctive control plate, the Jaguar boasts a sleek and futuristic design that has captivated players since its introduction in the '60s.
Neck and Scale: In contrast, the Fender Jazzmaster sports a longer 25.5-inch scale length, offering a slightly different feel than the Jaguar. This scale length contributes to a tighter response and extended sustain.
Pickups and Controls: Jazzmasters are equipped with single-coil pickups, known for their warm and mellow tones. The rhythm and lead circuits provide a wide range of tonal possibilities, making the Jazzmaster suitable for various genres.
Design Aesthetics: The Jazzmaster's contoured offset body and distinct chrome-plated metal parts contribute to its vintage aesthetic appeal. It's a guitar that not only sounds great but also looks effortlessly cool on stage.
Jaguar: Ideal for players who crave a shorter scale, easy string bending, and a versatile tonal palette. The Jaguar's unique design and controls make it a standout choice for those looking to push sonic boundaries.
Jazzmaster: Suited for those who appreciate a longer scale, warm tones, and a guitar that effortlessly transitions between genres. The Jazzmaster's classic design and tonal flexibility make it a timeless choice for players seeking sonic richness.
Ultimately, the choice between the Fender Jaguar and Jazzmaster comes down to personal preference and playing style. Whether you're drawn to the short-scale innovation of the Jaguar or the timeless design and warm tones of the Jazzmaster, both guitars offer a unique journey into the world of Fender craftsmanship.
Explore these iconic models at our store and discover firsthand the sonic landscapes they can unlock. Our knowledgeable staff is here to guide you on your Fender journey, ensuring you find the perfect companion for your musical endeavors. Happy playing!
Just as the seasons change, so can the setup of your guitar. Temperature and humidity fluctuations can impact neck relief and string tension. Consider getting a setup at the beginning of each season to keep your guitar in top condition year-round.
One of the key indicators that your guitar needs a setup is uneven fret wear. Over time, strings can dig into the frets, causing uneven surfaces. This not only affects playability but can also lead to intonation issues. A professional setup includes fret leveling and dressing to ensure a smooth and consistent playing surface.
Experiencing string buzz or fretting out? These issues can be a result of incorrect neck relief or saddle height. A setup will address these issues, adjusting the truss rod and saddle to eliminate buzzing and ensure clean, fretted notes across the entire fretboard.
If you find that playing your guitar has become more challenging than usual, it's a clear sign that a setup is in order. Whether it's high action, stiff strings, or an uncomfortable neck profile, a professional setup can tailor your guitar to your playing style, making it a joy to play once again.
Intonation problems can manifest as chords sounding out of tune, especially higher up the neck. A proper setup involves adjusting the saddle positions to ensure accurate intonation, allowing your guitar to stay in tune across all frets.
Switching to a different string gauge? This change can affect the tension on the neck and the overall setup of your guitar. A professional setup will recalibrate your instrument to accommodate the new strings, ensuring optimal playability and tone.
- Your guitar is an investment in your musical journey, and regular setups are the key to maintaining its peak performance. If you notice any of these signs, don't hesitate – it's time to bring your guitar in for professional guitar setup. Trust us; your fingers will thank you for the smoother playability and improved tone. Keep rocking! -
Winter in Minnesota brings not only freezing temperatures but also dry air, which can have a detrimental impact on your guitar. Wood is highly responsive to changes in humidity, and the lack of moisture can lead to issues such as cracks, warping, and changes in tone. To prevent these problems, it's crucial to take proactive steps to humidify your guitar.
Before we delve into the solutions, let's establish the ideal humidity level for guitars. Generally, a humidity range of 45-55% is considered optimal for most acoustic guitars. However, in extremely dry conditions, such as Minnesota winters, you might want to aim for the higher end of this range to provide an extra buffer against the cold-induced dryness.
Use a Room Humidifier: Investing in a room humidifier for the space where you store your guitar is a great way to maintain a consistent level of humidity. Place the humidifier near your guitar but not too close to avoid direct contact.
Case Humidifiers: Consider using case humidifiers for acoustic guitars. These small devices are designed to fit inside the guitar case, providing localized humidity to the instrument. Make sure to follow the manufacturer's instructions for optimal use.
Hygrometers: Use hygrometers to monitor the humidity levels around your guitar. This tool helps you gauge whether additional humidification is needed. They are affordable and easy to find at music stores or online.
Avoid Direct Heat Sources: Keep your guitar away from direct heat sources like radiators or heaters. While it might be tempting to warm up your space quickly, exposing your guitar to sudden temperature changes can lead to issues.
Remember that humidity needs may vary throughout the winter. Check your guitar regularly and adjust your humidification efforts based on the conditions. It's better to be proactive and make small adjustments than to deal with costly repairs later.
Warming up your voice and practicing drills that develop skill and agility are important no matter what kind of music you play. Vocal warm ups are unfortunately often neglected in the world of indie, punk, alternative, and rock music. This series of exercises will help get your voice in top form so you can sing your best. Use this video to help you get ready for a show, rehearsal, or recording session.
]]>A guitar is a funny thing. How you set yours up is a matter of preference. Some people like their string action (string height off the fretboard) high so they can use a slide, while others like their string action as low as possible so they can play fast with ease.
For the most part, guitar players just play what they have, not knowing that guitars are adjustable. This doesn't include just amateurs, even pros like Merle Haggard and Elvis Costello have stories of playing guitar for years with the action so high it made playing uncomfortable, until they finally found someone who knew how to fix the issue.
We sometimes see students who come in complaining of sore fingers or feel as though they are unworthy of the instrument because of the difficulty they have getting clear sounding notes on the instrument, only to find that the guitar isn't set up properly. Many of us just assume that the guitar just doesn't play well in certain places. We get used to dead spots and fret buzz, and we adjust our playing around those issues.
It's very rewarding to see the PLEK process work for people. It can bring guitars to life that have had longstanding issues, and it fixes dead spots that players have thought were just something they had to live with. Give us a call at 612-822-3334 or come into the shop to ask if your guitar might play a whole lot better than it ever has with a PLEK setup. And, while you are here, take our PLEK challenge, to enter a drawing for a free PLEK for your own guitar.
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You may not be aware of it, but you already know how to play a baritone guitar. That is, if you already know how to play guitar.
So what exactly is a baritone guitar?
The baritone guitar has been around for a long time and came into common use in the 1950s with the Danelectro as a way to score western films and make surf music. The standard tuning for a baritone guitar is a perfect fourth lower than a typical guitar. So your low E is tuned down four steps to B. Your low A is tuned down to E and so forth with standard tuning being B E A D F# B. On a regular guitar, tuning this low would render your strings too loose to play but baritone guitars have a longer scale length which allows it to maintain a comfortable tension while keeping the tuning low.
This means that all the chord shapes and scales you already know are still usable on a baritone. This allows you to play the same open chord shapes you already know well. Baritones are just plain fun to play and now with the Squier Paranormal Baritone Telecaster, they are affordable tools that can add extra options to your tonal palette.An example of this is the Arctic Monkey’s song “If You Were There, Beware” where Alex Turner plays a baritone which allows him to get different voicing for the chords than he would have on a standard guitar.
Today, baritone guitars are used on all genres of music, allowing metal musicians to access lower and darker riffs or in country music it’s used to double the bass line.
Baritones can even be used as a standard tuning guitar with the help of a Capo on the 4th fret, like Phoebe Bridgers, who plays a Danelectro baritone with a capo so it plays in standard tuning.
With colder weather comes drier air. Every year we fill up the humidifiers and keep lip balm in our pockets, but do we pay attention to our guitars? Dry conditions may spell ruin for an acoustic guitar. Bad string action and buzzing, protruding fret ends, wood cracking, top sinking, bridge lifting, and other damage to your instrument can occur. These types of repairs often require hours of labor, and in some cases, the repair cost may dwarf the cost of the instrument. However, the solution to keeping your guitar healthy is not complex or costly. Enter the humidifier.
Guitar humidifiers are designed to provide the optimal amount of humidity at an ideal rate to the instrument, which is a relative humidity (RH) of around 45-50 percent. In most humidifiers, you add water to a specially designed sponge, which is then placed inside a housing that will sit inside of the case with the guitar. For humidity’s sake, the best place for a guitar to be kept is inside of a hardshell case with the humidifier. Humidifiers work best when being used in a closed environment, so the enclosed space of the case is the most ideal housing for your instrument. Leaving a guitar hanging on the wall or in a stand is often less suitable, unless the climate of the room is relatively stable and sits at the ideal RH.
There are many effective humidifiers, each one offering a different approach to humidifying your instrument. One incredibly popular and effective solution is the Hydrophilic sponge, available as the D’addario Humidifier Pro or the Music Nomad Humitar, which can hold up to 12 times its dry weight in water. This effective dry to wet weight ratio means that the sponge can go a long time without needing to be rehydrated, so it becomes easier to use. This product sits on top of the strings, allowing humidity straight into the soundhole of the guitar. D'addario also makes this style of humidifier for ukuleles.
Another popular solution is the D'addario Soundhole Humidifier. This option uses a sponge placed inside a circular housing that fully covers your soundhole. This is a wonderful solution for getting moisture straight into the body of the guitar, creating a well contained space inside the body cavity itself. This product is a great way to keep your guitar outside of its case, but well hydrated. However, it ignores the neck of the instrument, so any user should be mindful of the RH of the room if they choose to keep the instrument outside of its case.
Oasis created the OH-1, a humidifier that uses their patented product ‘humigel’, a solution that can hold up to 500 times its own dry weight in water. This means far less concern over whether you need to add water or not. When it is time to add more water, it’s easy to tell, since the OH-1 will shrivel up to signal that it has dried out. The enclosure of this humidifier is a fabric that allows water vapor out, but all the liquid is kept inside, so that no small dripping or excess water can damage your instrument. Oasis also make the OH-14 for string and woodwind instruments.
If you are particularly concerned about damage to your instrument in the dry winters of Minnesota, you might be glad to know that there's a smart way to keep track of the humidity in your guitar case with the D'addario Humiditrak.
With so many options, it’s best to consider the amount of time you can devote to caring for your instrument, the space it will be kept, and your own personal playing habits and preferences. These factors are some of the best indicators towards which humidifier will be best suited for you and your guitar. As the weather grows colder and the air begins to dry out, take some time to care for your guitar, and it will thank you with many more years of playability. If you have a guitar that might have been damaged from lack of humidity, Twin Town Guitars offers full repair services such as, setups, neck adjustments, fret work, crack repairs, and restringing. Give us a call at 612-822-3334 to set up a repair, or for any questions on which humidifier would be best for you and your instrument.
]]>By Lila Karash, Local Musician and Teacher at Twin Town Guitars
Here's what I've been up to lately: experimenting with a DAW (Digital Audio Workshop). If you own a Mac and you've played around with Garage Band, then you already know what a DAW is. But for those of you who aren't familiar with a DAW, it's a program that lets you record music on multiple tracks.
]]>By Lila Karash, Local Musician and Teacher at Twin Town Guitars
Here's what I've been up to lately: experimenting with a DAW (Digital Audio Workshop). If you own a Mac and you've played around with Garage Band, then you already know what a DAW is. But for those of you who aren't familiar with a DAW, it's a program that lets you record music on multiple tracks. For instance, you can record guitar on one track and then play back what you just recorded while you record vocals on another track. Then you can blend them together in a process called "mixing."
In order to get the sound of your instrument onto your computer, you will need one of two things:
By Hayley Nelson, Local Musician and Violin, Viola, Cello Teacher at Twin Town Guitars
Even though practicing can feel lonely and difficult sometimes, it's important to remember that the music we create makes the world a nicer place to live, not just for us, but for everyone else too!
]]>By Ryan Smith, of Soul Asylum, Melismatics, Ryan and Pony & Teacher at Twin Town Guitars
Have you ever felt like you can play a song really well, but as soon as other people start paying attention and listening to you it becomes infinitely more difficult? You are not alone!
]]>By Jeb Silburn, Twin Town Guitars Staff Writer
Empowering creatives who may be yet-unacquainted with the world of synths and drum programming, Korg’s Volca series offers a variety of intuitive platforms for first time users to begin their journey.
]]>By Jeb Silburn, Twin Town Guitars Staff Writer
Empowering creatives who may be yet-unacquainted with the world of synths and drum programming, Korg’s Volca series offers a variety of intuitive platforms for first time users to begin their journey. Covering much of the established territory, the line includes a number of analog synths, bass synthesizers, samplers, and drum machines. The Volca series comfortably introduces fledgling users, but still offers plenty of room for growing into the capabilities of the devices.
The Volca Kick delivers the powerful presence of an analog kick that just cannot be replicated by any sort of plug in or sample. Designed around the powerful richness of the original MS-20 filter, the Volca Kick becomes an incredibly approachable tool for crafting any variety of sounds that can only be made capable through the arcane magic that is analog circuitry. Anything from clear kick drum sounds to raunchy kick basses can be found under the hood of the Volca Kick, and can be effected in real time using the Touch FX feature for immersive live performance.
Their FM synthesis machine, the Volca FM, paints the classic sounds in a new light. The Volca FM is a three-voice digital FM synthesizer, drawing up iconic tones from early groove machines and samplers, as well as modern dance music favorites. The Volca interface makes it easy for unvetted players to crack open and take control of the sound, even if you’re unfamiliar with the long lineage and complexity of FM Synthesis.
Each Volca unit can be paired with any number of its kin, and connected using the sync cable for synchronized playback with each unit. The Volca line encourages experimentation without the daunting limitations of cost and learning curve that seem to be so inherent to the vibrant landscape of synthesizers and drum programming. Successfully, Korg has unbound what can feel so gate-keepy and unattainable about approaching new ways to make music, and put creativity back at the forefront of their players' minds.
]]>By Jeb Silburn, Twin Town Guitars Staff Writer
Few things feel as good as standing in front of a 100watt full stack, turned up to ten, with fuzz blasting out of it at full throttle. For the longest time, big and loud have been the go to solution for many performing artists.
]]>By Jeb Silburn, Twin Town Guitars Staff Writer
The brave new world of simulated amplifiers & cabinets.
Few things feel as good as standing in front of a 100watt full stack, turned up to ten, with fuzz blasting out of it at full throttle. For the longest time, big and loud have been the go to solution for many performing artists. A wall of amplifiers almost always promises an exciting performance, or at least a serving of tinnitus. Using multiple different amps to achieve different tones, or to increase volume and stage presence can be the name of the game. However, these monolithic rigs can add up to be back breaking load-ins, and even a stereo set of combos can be enough to make the joints ache. Over the years, different individuals have set out to alleviate this issue, and different iterations of Amp and Cab Simulators have bubbled into the market. Often referred to as Amp/Cab Sims, these devices are typically small, featherweight platforms that use different technologies to accurately replicate the sound of a mic’d amplifier and/or speaker cabinet. Some of the first versions of these were clunky, unreliable, and were often a far cry sonically from the legendary amplifiers they had boasted to mimic. In more recent years, a few companies have found success in creating pedal platforms that use digital technology to create some of the best to-date simulated amp and cab rigs. Strymon’s Iridium stepped up to bat, soon followed by Walrus Audio’s ACS1, and the two have been reigning in the market since their releases.
Understandably, both pedals share a striking amount of similarities.
The two boast the capabilities of being excellent for use on stage, in the studio, or for silent rehearsal. In a live performance setting, the Iridium or ACS1 can both go into a DI or front of house and get killer sound straight from the PA. For recording purposes, the pedals eliminate the need to mic up a cabinet (which is no easy task) and deliver top quality sound straight into your interface. Using their headphone outputs, either option can sit at the end of your signal chain and be used to practice at any hour, without sacrificing tone or volume for yourself.
Each pedal has three amplifier presets, named differently but made to imitate a Fender Deluxe Reverb, Vox AC30, and Marshall Plexi or Bluesbreaker amplifier profile. For cabinet options, the two implement IR (Impulse Response) technology to accurately recreate any number of speaker cabinets, and while they ship with a selection of presets, users can upload their own IR’s using each company's own software. IR works by doing much more than just applying a specific EQ curve to an amplifier output, it replicates a specific recorded cabinet's character and nuance. It tracks everything from the speaker vibrations, cabinet reflections, room sound, and mic placement, and catalogues it all into an imprint within the software that can be called up and used with any selection of amplifiers.
One of the main differences between the two options lies in how their stereo functions operate. The Iridium’s amplifier profiles and IR cabinets are recorded in true stereo, so that your signal chain remains a pure stereo signal all the way through the pedal, and has the ability to sum stereo to mono, and vice versa. The ACS1 offers some versatility in this arena, and allows you to mix and match what amplifier or cabinet you are using in either left or right channel, and allows you to tweak the settings on each one independently.
Largely, the consensus has been that the two pedals are incredibly similar, and both allow us to play our favorite amplifiers without the need of a chiropractor on standby. For touring musicians, at home enthusiasts, or recording artists, these are some of the first venerable pioneers in saving space, time, and weight in our rigs. The future only looks brighter for simulated amplifier and cabinet technology. Time will tell if our fabled walls of sound outlive these featherweight workhorses.
]]>By Jeb Silburn, Twin Town Guitars Staff Writer
Once upon a time, Harmony stood as the largest producer of musical instruments in the United States. Crafting everything from banjos and ukuleles, to violins and- most notably, guitars.
]]>By Jeb Silburn, Twin Town Guitars Staff Writer
Once upon a time, Harmony stood as the largest producer of musical instruments in the United States. Crafting everything from banjos and ukuleles, to violins and- most notably, guitars. Harmony’s roots began in 1892, and writhed through a number of growing pains with different owners and corporations at its head, until it eventually ceased and the name was sold in 1975. Luckily, in 2019, BandLab Technologies relaunched the brand and came to market with a small number of production models made in Kalamazoo, MI. Among this first set of releases were the Silhouette and Juno.
Silhouette
Made in the image of their original 1960’s model of the same name, the current update to Harmony’s silhouette is snappy, lightweight, and articulate. This modern take on a vintage classic is built like a workhorse, with a look and feel that competes with the space of many leading boutique manufacturers. Two Goldfoil pickups ooze vintage vibe, with crispy top end and emphatic lows. The sparkle finishes on any of its three standard colorways are nothing short of cosmic, and the woods selected are a dream to the touch. It’s incredible to have so well encouraged growth in such a well loved instrument, while still maintaining what made it so coveted in the first place. The Silhouette’s offset shape, and 25” scale make it an incredibly comfortable player, with harmonics and richness that let its 60 years of heritage shine through brightly.
Juno
The Juno recalls the body and stylings of Harmony’s venerable H44 Stratotone, a model from the early 50’s. A diminutive, yet robust body is perfectly balanced with Harmony’s iconically massive neck profile, and barks much louder than anything else of its size. Loaded up with an updated pair of custom made P90 Goldfoil pickups, the Juno excellently delivers loads of growl and note definition in perfect unison. The size and scale of the body make for a wonderfully intimate playing experience, enheartening the desire to sit and dwell upon unaffected single notes as they ring out into warm decay. The Juno feels familiar to hold, and fills a room despite its footprint.
Somehow, Harmony has reestablished itself with incredible foothold in what tends to be a very saturated market- updating vintage guitars. Carving out their own niche once again, Harmony has successfully called upon its roots to design their new line of instruments. Often, modern takes on classic guitars can feel gaudy, and repress what we love so dearly about their vintage counterparts. The contemporary Juno and Silhouette do just the opposite, and only seem to emphasize what made their namesakes so estimable. A player can be sure to find themselves lost in the tonal vibrance and aesthetic authenticity of these new offerings.
]]>By Lila Karash, Local Musician and Teacher at Twin Town Guitars
Since spring is almost here, it's time to check in with your guitar and see how it's feeling. Does it have any dead or buzzy frets? Are the strings so high off of the neck that it's difficult to play?
]]>By Lila Karash, Local Musician and Teacher at Twin Town Guitars
Since spring is almost here, it's time to check in with your guitar and see how it's feeling. Does it have any dead or buzzy frets? Are the strings so high off of the neck that it's difficult to play? If the answer to either of these questions is yes, it's time to bring your guitar into Twin Town Guitars for setup service.
How do your hands feel when you play? If your fretting hand tires quickly when you are practicing and you feel like the guitar is fighting you, you might want to consider switching to a lighter string gauge when you bring your guitar in to get it set up. Also consider how hard you are pressing down when you play. You might be using more force than you actually need! To check this, play a note repeatedly while gradually reducing the pressure that your fretting finger is using. Do this until the note no longer sounds clean, then add the pressure back again little by little until the note sounds clean again. You might be surprised that you don't need to press down as hard as you thought you did.
Another thing to be aware of is how you hold your guitar. While playing in a seated position, your fretting hand shouldn't really need to be doing the work to hold the neck in place. Your strumming arm should help hold the guitar against your body. Place your feet flat on the floor, and if the guitar feels like it is slipping off of you, try putting something under your feet to function as a foot rest, or lower the chair if that's possible. Consider using a guitar strap to help hold the guitar in place. Also, some people prefer using classical guitar position when sitting. To try this, place the guitar on the opposite knee (the one that's the same side as your fretting hand) so that the neck angles upward. This position will take some of the strain off of the wrist of your fretting hand, although your arm will have to reach out farther to the side.
Finally, is your guitar the right size for you? Guitars come in different sizes, and some people find that a guitar with a smaller or thinner body fits them better.
Getting comfortable with your guitar is a process. Often, you will find that you adapt over time and that whatever was bothering you before has gone away, but it helps to experiment with different options as well.
By the way....
If you have a guitar that you really, really like and you've had it set up before but it still seems like it could feel even better, you might want to consider having it PLEK'd. What is PLEK? It's a machine that automatically fine-tunes the neck and frets of an instrument to optimize its playability. To learn more about it, check out the Twin Town Guitars PLEK web page.
By Jeb Silburn, Twin Town Guitars Staff Writer
A historical summary of one of the most iconic birds of prey in music history.
]]>By Jeb Silburn, Twin Town Guitars Staff Writer
A historical summary of one of the most iconic birds of prey in music history.
In 1954, Jimmie Webster aimed to improve upon the venerable Gibson Super 400, in the hopes to craft a “dream guitar”. Drawing much of his inspiration from the multitude of instruments made in the Gretsch factory, such as the engraved pearl inlays and adorned headstocks of their banjos, and the gold sparkle drum wraps that he would then adapt as a binding for his guitar.
That year at NAMM, Gretsch unveiled Webster’s creation, dubbed The White Falcon, as a “guitar of the future”, intended as a showpiece to intrigue sales representatives with Gretsch’s top notch luthiers and build practices. The guitar drew incredible interest, and in response Gretsch launched the model into production, with its first models at market in 1955 identified as the 6136. This model sat as Gretsch’s most high end offering upon its release, originally costing $600 (close to $4100 considering inflation), a price that was then only dwarfed by Gibson’s Super 400CESN, which sat at $690.
Throughout the 50’s and 60’s, the White Falcon received a multitude of updates and fresh appointments. Half moon inlays in ‘57, changing out the DeArmond single coil pickups for a pair of Filter’Tron humbuckers in ‘58, a handful of different bridges and eventually the addition of the Bigsby vibrato came into play as the new standard in 1962. Later on, even a stereo model was introduced, and then a double-cutaway body that same year.
The retirement of company owner, Fred Gretsch, in 1967, led to the Baldwin Piano Company purchasing the entire business. Unfortunately, it was widely perceived that Baldwin didn’t understand guitars or players well enough to maintain a spotlight on their instruments. With their fall from grace, rockabilly giving way to rock and roll, and a pair of factory fires at the Arkansas plant in 1973, Gretsch escaped the 70’s by the skin of its teeth, only to finally close as the 80’s rolled in. A revival came in 1989, as Fred Gretsch III retook the reins of the family business, and began rolling out production models that held truer to the original Gretsch designs- including the White Falcon.
Nowadays, the White Falcon is being painstakingly recreated in all its most famous eras. A collection of artist signature models have made their way to market since ‘95, including players like Stephen Stills, Bono, and Brian Setzer’s ‘Black Phoenix”, which features stripped down electronics. Standard production models can be found in the iconic original white colorways, as well as silver or black, each accurately mirroring the design and craft of their now vintage models.
See the amazing Gretsch Falcons available at Twin Town Guitars!
]]>By Mark Wade, of Melismatics, Teacher and Assistant Director of Music Education at Twin Town Guitars
When you hear something that is “in tune,” what does that really mean?
]]>By Mark Wade, of Melismatics, Teacher and Assistant Director of Music Education at Twin Town Guitars
When you hear something that is “in tune,” what does that really mean? To most people, it means that what they’re hearing is in tune with itself. Meaning, if an instrument is tuned consistently flat or sharp, it will still sound in tune when heard by itself. Only people with a discerning ear or perfect pitch will notice if the entire instrument is out of tune with standard tuning.
Standard tuning is A - 440 Hz, which means that the A above middle C on a keyboard will vibrate 440 times per second.
But how did that become the standard? For centuries, tuning was ambiguous and varied from region to region. Primarily, cities would tune to the largest instrument—the organ—and well, every organ was made differently. The tuning could vary as wildly as a third above or below what is now standard. Traveling vocal soloists would struggle immensely with the varied tunings from region to region.
Eventually, tuning forks were invented but they also lacked a standard. But in 1834, Johann Heinrich Scheibler invented a tonometer that contained 56 differently pitched tuning forks. He then traveled to different countries to analyze which pitches the forks were tuning to and offered A - 440 Hz as a compromise and standard. The United States adopted A – 440 Hz in 1910 and many countries followed in 1939. In 1955 A - 440 Hz was adopted by the International Organization for Standardization.
Despite it being standard, there are still a number of orchestras that tune to different frequencies. For example, the New York Philharmonic uses 442 Hz. Most electronic tuners will give you the option to set the Hertz. So if you tune your guitar, but it doesn’t sound in tune with others, make sure your Hertz is set to 440!
]]>By Jeb Silburn, Twin Town Guitars Staff Writer
Reverb is a favorite effect for many when it comes to adding depth, texture, and space in their sound. Let's explore a trio of effects that take up a more painterly mantle than some of the familiar analog classics, and pull the mind to far off landscapes...
]]>Reverb is a favorite effect for many when it comes to adding depth, texture, and space to their sound. Let's explore a trio of effects that take up a more painterly mantle than some of the familiar analog classics, and pull the mind to far off landscapes; sonic territories that best fit fantasy and science fiction. Less spaghetti western sparkle, more sci-fi soundscapers...stompboxes that pull you deep into the silver screen.
From distant murky caverns, the tonal spelunkers at Walrus Audio returned from the depths with their immersive octave reverb- the Descent. Three different reverb modes, three programmable presets, programmable expression pedal out, and stereo output allows for impressive versatility, while maintaining intuitive functionality. Choose from a textural hall mode, blown out shimmer, or a reverse reminiscent of the beloved digitech rv-7. All the while, blend the high and low octaves to your liking. If you’re looking to add vast depth to your tone, the Descent will take you all the way there and back again. Experience the hall, shimmer and reverse!
This pedal ought to be catalogued under ‘things containing a flux capacitor’ for future reference. The Context V2 is the lovechild of mad science, dark magic, and a whole lot of R&D. Red Panda drew inspiration from iconic 1980’s rack mount units to develop a reverb pedal that goes above and beyond most player’s definition of “dynamic”. Eight reverb algorithms, each built out to incredible detail, enable a fantastic range of creativity to begin sculpting your tone. From there, Red Panda packed in stereo input and output, USB Midi, fully assignable expression pedal, delay plus reverb in all modes, high and low frequency damping, modulation, and infinite hold. The Context is like having a full blown Swiss army knife on your board, meeting every reverb need and then some. Whether this is a time machine, effect pedal, or lexicon of knowledge, we still do not know. Feel the sound with this pedal.
Lastly, this list would not be complete without mentioning the infamous Earthquaker Devices Afterneath V3. Admittedly, to call this one a reverb pedal is slightly cheating. A better way to describe the Afterneath is to say that Earthquaker enchanted a hive of bees and flew them into a cave, crashing about and humming with mystery. Bold imagery, sure, but in function this effect is a tightly packed slew of hundreds of delay notes. Use it to create deeply scattered washes of sound, affecting your signal chain like no other ambient reverb can. In use, this pedal can be a stretched into an aggressive hall reverb, or it can be tweaked into more of a “dying star” with the drag and reflect functions. The Afterneath V3 holds tales of barren lands and verdant woods underneath its hood, and to get lost in it is an easier task than most. Hear the magic for yourself!
Where words fail, sounds that encapsulate far-off lands are held within these sonic tools. Check out a complete selection of reverb effects at twintown.com to begin your quest.
]]>By Lila Karash, Local Musician and Teacher at Twin Town Guitars
Historically, the "rule of eighteen" is the mathematical formula used to determine the fret positions on the guitar neck, but it should really be called the "rule of 17.817, since technology has allowed for more accurate calculations. Here is how it works...
]]>By Lila Karash, Local Musician and Teacher at Twin Town Guitars
Intonation is defined as the ability of the guitar to play the correct tone at each fret. In order for the notes to have the correct pitches, the guitar neck must be divided into parts according to a mathematical formula. As you go up the neck of the guitar, each fret raises the pitch by shortening the string.
Historically, the "rule of eighteen" is the mathematical formula used to determine the fret positions on the guitar neck, but it should really be called the "rule of 17.817, since technology has allowed for more accurate calculations. Here is how it works: To find the distance between the nut and the first fret, first figure out the scale length of the guitar. The scale length is defined as the total length of the vibrating string, between the nut and the saddle (use the high E string). Divide the scale length by 17.817, and that is the distance to measure for the placement of the first fret. Now take the remaining distance - first fret to saddle - and divide that by 17.817 to find the placement of the second fret. Repeat the process using the remaining distance to place the 3rd fret, and follow the procedure all the way up to the final fret.
The object of these calculations is to put the 12th fret at exactly half the scale length. Halving the vibrating string doubles the frequency of the open string. However, some correction must be made because the string stretches slightly when it is being fretted, and this would cause each note played on a higher fret to be progressively sharper, causing inaccurate intonation. Guitar makers (luthiers) overcome this problem by moving the bridge/saddles to increase the length of the vibrating string. Also, since each successive string has a heavier gauge, the saddle is sloped to maintain correct intonation.
Sources: The Guitar Handbook by Ralph Denyer
Lutherie Information Website: http://liutaiomottola.com/formulae/fret.htm
By Mark Wade, of Melismatics, Teacher and Assistant Director of Music Education at Twin Town Guitars
Most of you have probably heard of the band Black Sabbath, known for such songs as "Iron Man" and "Paranoid." But did you know that the guitarist behind those iconic riffs accidentally sawed off the tips of two of his most important fingers?
]]>By Mark Wade, of Melismatics, Teacher and Assistant Director of Music Education at Twin Town Guitars
Most of you have probably heard of the band Black Sabbath, known for such songs as "Iron Man" and "Paranoid." But did you know that the guitarist behind those iconic riffs accidentally sawed off the tips of two of his most important fingers? That's right, Tony Iommi lost the tips of his middle and ring fingers of his fretting hand in a factory accident. Through much trial and error, he created his own prosthetic fingertips and learned how to play without being able to feel the strings in those fingers.
While he was in the hospital—being told he'd never play the guitar again—a friend came in and played him a Django Reinhardt recording. Iommi wasn't familiar with the virtuoso guitarist but was blown away by him. He then learned that Reinhardt had also sustained a hand injury: he was injured in a fire and lost the use of his ring and pinky fingers. Reinhardt relearned how to play guitar using only his index and middle fingers.
At that time there was only one gauge (or thickness) of strings available. Iommi had a hard time bending strings and found it painful to play on them, so he put banjo strings on his guitar for a lighter gauge. He then went to string companies to try to convince them to make lighter gauge guitar strings but they said the strings would never sell. Iommi kept asking and finally convinced a company to make them. So not only can you thank Tony Iommi for some great guitar riffs, you can also thank him for lighter gauge strings!
]]>By Jeb Silburn, Twin Town Guitars Staff Writer
The PLEK is like a magic salon for your instrument. It’s capable of fret dressing, nut slotting/shaping, fingerboard work, and bridge slotting. If there was such a thing as Guitar-Narnia, this would be the wardrobe.
]]>By Jeb Silburn, Twin Town Guitars Staff Writer
Just the same as we need our flu shots, pedicures, and haircuts, our guitars need a little pruning and maintenance every once in a while too. It could be as simple as a restring, or a setup, or something a little further into the deep end like a fret dress. Whatever it may be, a little self-care for your instrument will go an incredibly long way for its longevity and playability. The fretboard of a guitar is a complicated scene, and it’s where all the action happens. Keeping the frets in shape, the fingerboard level, the nut properly adjusted- it’s no simple task. Luckily, a strapping group of German engineers created a one stop shop for sprucing up your axe. They call it the PLEK, and we are in love with ours.
The PLEK is like a magic salon for your instrument. It’s capable of fret dressing, nut slotting/shaping, fingerboard work, and bridge slotting. If there was such a thing as Guitar-Narnia, this would be the wardrobe. Built like some sort of alien-tech refrigerator, your guitar is placed into the door and then is swung into the machine. On appearances alone, you’d anticipate it to come out frozen in a block of carbonite. In reality, it’s about to undergo an immersive process of scanning and analyzing the physique of your guitar in incredible detail. After it’s made this analysis, the PLEK system will create a plan for the most pinpoint accurate setup your instrument has ever had.
Putting your instrument through the PLEK machine is a fantastic way to bring it back to life. Worn frets, necks that just won’t stay properly setup, and poor playability can all be solved with ease. A regular setup is still plenty worth its while, but you can be certain that after PLEKing, your instrument is going to sing! For a new instrument with little mileage, the PLEK ensures a high quality baseline for how your guitar ought to play, and then it can be easily restored with this incredible maintenance machine. Give us a call at 612-822-3334 with any questions about the magical PLEK machine or to set up a PLEK appointment for your instrument.
By Lila Karash, Local Musician and Teacher at Twin Town Guitars
During a lesson recently, the pick slipped out of a student's fingers and went through the sound hole. Every guitar player has probably done this at one point or another. I know I have. It can be tricky to extract a pick once it has fallen inside the guitar.
]]>During a lesson recently, the pick slipped out of a student's fingers and went through the sound hole. Every guitar player has probably done this at one point or another. I know I have. It can be tricky to extract a pick once it has fallen inside the guitar. Sometimes it comes out easily. Other times, not so much, as in this instance. We both tried for a while with no success.
A book I read a while ago mentioned a method for dealing with this problem. I thought it was funny at first, but it is very practical advice after all. The author explained that you should jiggle the guitar with the sound hole facing up until the pick is visible directly beneath the hole. Then, quickly flip the guitar and the pick should drop out "after a try or two." Sounded simple enough, so I tried it. Unfortunately, there were wooden braces on the inside just near the sound hole, and they were blocking the pick from sliding out smoothly. After more than a try or two, I said to my student: "This could take a while." I lent him my guitar and said: "Practice that song while I figure this out."
After several minutes of wasting valuable lesson time, I had an idea. I ran out of the room and got a piece of tape. I rolled it end-to-end so that it was sticky on both sides, like you do when you hang a poster. I stuck one side of the tape to the end of a pencil and reached inside the guitar with the sticky end of the pencil-and-tape, placing it against the pick (now visible directly beneath the sound hole according to instructions). The pick stuck to the tape and Presto! I pulled it right out. I am thinking about marketing my new invention. Pick Stick?
By Ryan Smith, of Soul Asylum, Melismatics, Ryan and Pony & Teacher at Twin Town Guitars
"There are really three parts to the creative process. First there is inspiration, then there is the execution, and finally there is the release." - Eddie Van Halen
Whether you are a fan of Eddie's music or not, it's undeniable that he had a serious impact on future generations of guitar players and created his own unique sound that is instantly recognizable. He found his own voice and made his mark in a profound way!
]]>By Ryan Smith, of Soul Asylum, Melismatics, Ryan and Pony & Teacher at Twin Town Guitars
"There are really three parts to the creative process. First there is inspiration, then there is the execution, and finally there is the release." - Eddie Van Halen
These words of wisdom came from the late-great guitar innovator Edward Lodewijk Van Halen. Whether you are a fan of Eddie's music or not, it's undeniable that he had a serious impact on future generations of guitar players and created his own unique sound that is instantly recognizable. He found his own voice and made his mark in a profound way!
As a musician, songwriter, or artist of any kind these three steps are necessary parts of the creative process. The world has drastically changed due to COVID-19, and the playing field for creating, performing and releasing music has been LEVELED! There has never been a better time to develop your craft, practice, write, record, and release your music! Here are a few things to consider about this process:
Inspiration
You really can't plan inspiration, but if you are having a tough time getting going try talking a brisk winter walk, reading something new, going for a drive, catching up with a friend, or watching a good movie.
Execution
This is the part that takes the most discipline. If you have an iPhone, you are walking around with a recording studio! GarageBand is also very easy to use and an excellent way to develop and record your music. There are all kinds of tutorials on YouTube showing you how to use these and other programs.
Release
It's never been easier to release your music to the entire world! Bandcamp, Tunecore, CD Baby, and other sites can help you get your music to the masses.
After working with some of the greatest American songwriters through the years, and keeping this three-part creative process in mind, I created a video to share the Top 5 Songwriting Tips I've found work best.
I also have an online Songwriting class currently available. If you'd like to join my class "Online Songwriting for Teens and Adults", we will meet weekly for 4 Mondays starting on January 11th, at 8PM CT. It's an exciting adventure through the process of creating your own music, and a great way to connect with friendly, creative, and supportive new friends!
]]>By Lila Karash, Local Musician and Teacher at Twin Town Guitars
A lot of us are feeling isolated right now due to the pandemic. But isolation can be your friend! I'm talking about isolating different parts when you're practicing guitar. Your brain can become cluttered at first when it's trying to do too many things at once.
]]>By Lila Karash, Local Musician and Teacher at Twin Town Guitars
A lot of us are feeling isolated right now due to the pandemic. But, isolation can be your friend! I'm talking about isolating different parts when you're practicing guitar. Your brain can become cluttered at first when it's trying to do too many things at once. Separating out individual tasks will help you clear up this mess so you can improve faster. Here are some examples:
If you're trying to learn a difficult strumming pattern, try isolating the strumming part by muting the strings with your fretting hand while you strum so that you don't have to worry about what chords your fretting hand is playing.
If you're trying to learn a picking pattern, play just the open strings so that you can focus on your picking only.
If you're learning a new chord, practice switching to that chord with just the fretting hand. Then, add in a simple quarter note strum of 4 beats on the chord, and 4 beats on the open strings, and repeat.
If you're trying to sing and play a song, first isolate the singing part by listening to the song and singing along with it. Then, isolate the playing part by playing the song on guitar without singing it. Next, sing and play the song, but simplify the strumming part by playing just one or two chords per measure.
If you haven't tried isolating before, you might want to explore it. Your fingers and brain will thank you for allowing them a quiet time to focus without being interrupted by other distractions!
]]>By Lila Karash, Local Musician and Teacher at Twin Town Guitars
Calling all fretting hands! If you are a fretting hand and your fingernails are too long, be advised that you are in danger of committing thunky, unclear chord sounds. Why?
]]>Calling all fretting hands! If you are a fretting hand and your fingernails are too long, be advised that you are in danger of committing thunky, unclear chord sounds. Why? Because when you fret with long nails, you can't get the tip of your finger to make contact with the string without the nail getting in the way. You might even end up using the front part of your finger instead, so the finger will lay flat across the strings instead of being arched. When the finger is flat instead of arched, it is in danger of touching other strings, instead of clearing them, and this will block out some of the chord tones.
How short should your nails be? Nails of the fretting hand should not protrude past the fingertip. Even if they are level with the fingertip, they can still get in the way a little, but be careful not to cut the nails too short because that can lead to painful irritation. Nails can grow fast! I have students who say, "But, I just cut my nails last week!" Be sure to check your nails weekly, and when you are playing, pay attention to how your fingertips feel. If you can't get your fingers positioned correctly, your nails could be one of the culprits.
If you are a picking hand and you have long nails, listen up! You are free to disregard this public service announcement. Long nails are often curated and championed by picking hands, as they can be used in fingerstyle playing to enhance the attack of the notes.
By Jeb Silburn, Twin Town Guitars Staff Writer
Finding the perfect pair of drum sticks is not always such a straightforward task. With such an impressive variety to choose from, many having the slightest differences from the next, it can take some time to find what works best for you.
]]>By Jeb Silburn, Twin Town Guitars Staff Writer
Finding the perfect pair of drum sticks is not always such a straightforward task. With such an impressive variety to choose from, many having the slightest differences from the next, it can take some time to find what works best for you. Promark and Vic Firth have been cranking out many of these options that have set, and reset the industry standard time and time again.
The Promark Classic 5A is their best seller, due to its balanced design. An intuitive length, paired with incredible durability, make this stick a fantastic option for a variety of playing styles. Medium taper and an oval tip give this hickory build a dark, responsive sound on most kits. The Classic 5A is our top recommendation for drummers who are sitting down behind a kit for the first time, and yet many seasoned veterans will still stand by a pair of 5A’s.
Vic Firth’s American Custom line rolls out their SD1 General as a versatile option for orchestral percussion, rock drumming, and- where we think it excels best- the practice pad. The heavier weight and meaty size makes this a great stick for developing technique and muscle response. The SD1 will help your reflexes improve, and help you get your drumming to the next level. However, it is still plenty of a force to be reckoned with in any setting from band to thrash metal.
In a much heavier design, the Vic Firth Corpsmaster Ralph Hardimon Signature sticks are best suited for marching band. The unique barreled tip shape and lengthy taper enable snappy rebound and excellent control. The Ralph Hardimon is one of the most widely used marching sticks today, and it’s no mistake. Ralph’s years of experience and mastery in marching percussion are well translated in this signature Corpsmaster design.
]]>By Lila Karash, Teacher & Local Singer Songwriter
Here's a thing that I hear about a lot: A student practices a song and plays it perfectly when they're at home and nobody else is listening. But as soon as they play it in front of the teacher or someone else, they choke and mess it all up. If this happens to you, it's perfectly normal!
]]>By Lila Karash, Local Musician and Teacher at Twin Town Guitars
Winter is here, and so are online group classes! Check the Twin Town Guitars Class web page for details about my beginner group guitar and advanced-beginner/intermediate play-along classes. A lot of people like the play-along class because everyone mutes themselves, so nobody else can hear them. That takes the pressure off if you have performance nerves. Speaking of performance nerves...
Performance Nerves are Normal
Here's a thing that I hear about a lot: A student practices a song and plays it perfectly when they're at home and nobody else is listening. But as soon as they play it in front of the teacher or someone else, they choke and mess it all up. If this happens to you, it's perfectly normal! Even playing in the comfort of your own home in front of somebody on the other end of the internet can be nerve wracking, and guess what? It also happens to me! In fact you've probably heard me mess up lots of times during a lesson.
Back in my band playing days, it would take me at least two times playing a new song in front of a live audience before I wouldn't mess it up, even if I played it perfectly during practice. Playing in front of someone is a shift in perspective, especially if you're in a public place where there can be many distractions and acoustical variations from what you're used to at home. It takes a while to adapt. Even famous people get nervous before a performance.
One thing that can help: Don't go in cold! Warm up a little bit before your performance or lesson. Each time you pick up your guitar, your brain needs to adjust its spacial relationship to the instrument. Warming up before a performance can help you feel like you're not flying blind when the nerves start setting in. At the very least, you'll feel like you did your best to be prepared. If there's nowhere to warm up before a live performance, practice earlier in the day before you head out to the show (when there is a live show again, of course).
Remember, above all, nerves are normal, and you are making people feel happy just by playing for them.
]]>By Lila Karash, Teacher & Local Singer Songwriter
When you're practicing a song, do you often lose track of where you are on the page because you are looking down at your hands? This is something that happens often for beginners.
]]>By Lila Karash, Teacher & Local Singer Songwriter
When you're practicing a song, do you often lose track of where you are on the page because you are looking down at your hands? This is something that happens often for beginners. When the majority of your focus is on the technical part of playing guitar, it's easy to lose sight of the song as a whole. You might completely filter out the lyrics even if someone is singing them right in the same room. Once your chord changing and strumming start to feel more natural, you can begin to focus more on the song itself.
The best way to keep track of where you are in the song (if it has lyrics), is to sing it while you play it. As the melody changes, you will get a sense of how the chords change with the melody. Even if you don't like to sing, you can at least try to at home when no one is around, or if not, then hum or even think the tune in your head. Memorizing the song is also a good idea so that you don't have to keep looking back and forth between the paper and your hands.
Even experienced players lose their place sometimes. If you are playing with other people and you get lost, listening to the people around you will help you find your way back. Try to pick up on vocal cues or distinct riffs. Sometimes the whole band gets lost when one person's mistake throws everything off. Sometimes the whole song stops, but often someone takes the leading role by continuing to play and and everyone else jumps back in, and the audience doesn't even know the band made a mistake. In fact, some mistakes can come out sounding pretty cool by accident. There's an old saying: If you make a mistake, play it again a second time as if you meant to do it on purpose, and no one will know it was a mistake.
By Jeb Silburn, Twin Town Guitars Staff Writer
Little else can top the wall shaking power of a tube amplifier. Any guitarist who has plugged into one has felt that deep sense of wonder as they let their first few strums come through the speakers. Whether you’re a beginner in the tube wattage world, or an expert in the tone field, a tube amp is a needy little monster- there’s some maintenance and care required.
]]>Little else can top the wall shaking power of a tube amplifier. Any guitarist who has plugged into one has felt that deep sense of wonder as they let their first few strums come through the speakers. Whether you’re a beginner in the tube wattage world, or an expert in the tone field, a tube amp is a needy little monster- there’s some maintenance and care required. Knowing how to care for your Chariot of Tone (we’re coining that) will ensure a full life of playing together. All of those wanton nose-to-the-grindstone & cares-to-the-wind rock and roll sensibilities may not imply such an amount of upkeep, but taking good care of your amp will make sure it sounds its best, and let you rip your hardest. We can’t always just Hendrix our gear aflame, sadly.
Whether it’s a Peavey Deuce or a Marshall Plexi, amps need some love. Some basic safety that’s inherent to all electronics is the first key to taking care of your amplifier. Your amp comes with a three prong power supply cord, and you should leave it that way. Often enough, someone wants to plug their amp in to a two prong wall outlet, so they simply truncate the third leg of their cable. This takes away your ground- electricity now has nowhere to go other than through the amp chassis, your guitar, you, or all three. All of these outcomes are less than ideal, and even dangerous. If you have a vintage amplifier that only has a two prong plug, it can be modified in most cases to adopt a grounded power supply. We highly suggest this for the aforementioned reasons.
Liquids- Morning coffee, a favored cocktail or brew, even just the water bottle. All are deadly hazards to a tube amplifier. Sure, everyone knows that a vintage head or combo makes the best cup holder, but the combination of wet + electrical has never been a fortuitous marriage. At best, you’ve marred the finish of your amplifier. No big deal, but the only other outcome could prove fatal for the amp, or painful for you. A spilled beverage can short out your amplifier, causing extensive internal damage, and possibly even shocking the user.
Vacuum tube amplifiers need to be treated a bit differently than a solid state amp. The virtue of patience will take one far on this road. When powering up a vintage amp, there’s a small delay before signal will pass through the speakers. During this period, it’s best to let your amp do its thing and resist the urge to play. If possible, you may even want to leave the standby switch, your magic best friend, on to let the amp warm up for a minute or two before playing. Flip that standby off when it’s time to start rocking.
Bringing your amp in from the cold? Even a small car ride in the middle of a Minnesota January can freeze your Fender Twin solid. When bringing your amp inside from the wintry weather, there are a few points of caution one should take. Let your amp warm up to room temperature, gradually. Turning it on immediately when it’s cold can wear on the tubes immensely from temperature shock as they rapidly heat up. In some cases, the tube sockets are more brittle than the tubes themselves when frozen, and great care should be taken to avoid breaking these when moving an amplifier. Condensation will form on almost anything that’s too cold and introduced into a warmer environment. If you notice condensation forming on your tube amp after bringing it out of cryo-sleep, do NOT power it on! Wait for all of the moisture to evaporate before turning the amp on to avoid shorting it out.
Another factor in caring for your tubes is their age and amount of use. Over time, tubes wear out and need to be replaced. Knowing when to replace your tubes can be a tricky endeavor. Luckily, there's a few visual and auditory cues one can follow to know when it’s time to make the ol’ switcheroo. When the amp is on and playing, look at your power tubes. If one is glowing far less than the others, this dimmer fella is probably close to biting the dust. Too, some tubes will glow much whiter than their candle-yellow counterparts, and this can be a sign of wearing out as well.
Sometimes an amp with old tubes can have excessive hum, or even seemingly phantom notes. This can be a sign that power or preamp tubes have become microphonic, and need to be changed. One way to test this is to lightly tap the tubes individually while the amp is on using a pencil, chop stick, or whatever small wooden tool you might have on hand. A good tube will just make a glassy ‘plink’ as one might expect. A microphonic tube will pass a thumping or rattle through the speaker; this should be interpreted as a cry for help. Your amp is in need of professional guidance to make it through this hard phase of its life. Consult an amplifier tech to diagnose any further issues, and fix up your treasured amp.
In any case, these cautionary practices are well worth the time. A tube amp can be a lifelong companion if you’re willing to invest the time and intentionality into its upkeep. Even when following all the best advice, amplifiers are finicky contraptions and something will inexplicably go haywire. This is okay, and often very manageable. Our amp technicians have seen it all, and are here to help. Many times it’s tempting to take a DIY approach, fix it up yourself, and save a few bucks. If you are one of the rare few who can succeed in this endeavor, I envy you. If not, know that you are in the majority, and consulting a professional amp repair tech for any sort of service is always encouraged when something’s wrong. Twin Town Guitars offers full service amplifier repair every day of the week. Give us a call at 612-822-3334 to set up a repair, or to ask any questions on how to best care for your tube amplifier.
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