To paraphrase Dave Chappelle "modern problems require, modern solutions" and sometimes you get presented with some head scratching problems. Particularly when dealing with antiquated technology.
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Harken Rifflords, Riffladies and everyone in between. I hath returned!
Time for some fresh tips, tricks and incites into the diabolical world of guitars and sound production. I've already pontificated on quite a few subjects in the past, so lets go back and add a bit of expansion to a previous topic.
Using noise gates.
Thats right people. Second only to the tuner the noise gate is the most absolutely indispensible tool in the sound production pantheon, and anyone that believes otherwise can simply kiss my grits. You cannot control the environments in which you play, and any number of factors can introduce unwanted 60 cycle hum into your audio output. This is an issue particularly felt by guitarists that favor single coil pickups or who utilise high gain distorted tones.
So we already know this, this is basic knowledge. However in the workshop i am constantly questioned as to where in the signal chain to put your noise gate to get maximum benefit without negatively impacting your sick tonez.
Lets do this.
If your tone method is to use pedals into a clean or cleanish amp signal placement is fairly straight forward. Simply place the gate after your gain stages in the signal chain.
Gain increases not only the parts of the guitar signal you want to stand out but also the trash parts of the signal you dont in equal measure. To clarify what i mean by gain stages this covers any boosts, overdrives, distortions, fuzzes etc. Place your gate after these effects and tame the beast! all the frequencies want and none you dont. And remember (in most cases) to put modulation, reverb and delay after the gate so it is not negatively effected.
Positioning noise gates after distorted signals seems like a totally sensible way to utilise a gate right? So if your running a sound that achieves its main distortion in the pre amp section of your amplifier it would make sense to put the noise gate in the effects loop right?.......riiiiiggghhhhtt?
Well this is where it can get a little tricky.
I find the easiest way to think about it is to consider before the pre amp before and after as two different zones.
For ease of explanation lets call them zone 1 (before pre) and zone 2 (after pre).
When using a gate in zone 1 what you are really attempting to control is the excess noise picked up by the antenna like qualities of your guitar. For most people this is the more crucial area of control as most unwanted sounds due to electromagnetic interference are stopped here.
So whats the deal with zone 2? Well if you use a high gain amp like a Peavey 6505, Engl Powerball, Mesa Dual Rectifier etc you may have encountered a less than desirable noise floor between the pre and power section of the amp. The noise floor is a background hum that increases with the volume or gain of the amp, and in some cases it can be distractingly loud. By running a noise gate in zone 2 by placing it in the effects loop the effects loop you can tame this noise floor.
One of the frequent unfortunate mistakes many make with the zone 2 gate is to attempt using this gate in zone 2 to tame the issues in zone 1. This is rarely very effective and often significantly "thins" out your overall tone. Detracting from the sound qualities that led you to desire the amp in the first place.
So do i need 2 noisegates?
Well not necessarily.
Many noise gate manufacturers have made products that are able to be run with 4 cable method. Meaning they can be setup to effect zone 1 and 2 simultaneously from the one noise gate.
The old Boss NS2, ISP Decimator Gstring, TC electronics Sentry and SMG Cockblocker all have options to be run in 4 cable method. So its important you identify what you need as it applies to your desired sound and amp/pedal choices.
And just remember if in doubt just get the one with the most options. Choice is always better than lack of choice. Well its good to be back.
I hope this helped demystify the in's and outs of noise gate placement for you all.
As always friends stay safe and riff hard.
Chris Reanimator
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It’s that time again, recording time!
You've written your songs, rehearsed the band and booked the studio but are you really ready?
I've done many studio recordings; in fact, I was finishing up tracking an EP just last week. In some respects, its easier and more attainable to create a great quality recorded product than ever before. However, I still see newbies and even seasoned veterans of the studio life fall into traps and pitfalls that can sabotage their capture. Eroding the fidelity of the final piece and the enjoyment of the process.
Let’s chat.
I think that before committing to the recording process with a band (apart from the standard pre-production preparation like song order, tempos, practice etc) you need to discuss a recording philosophy. Sounds like a pretty simple, almost negligible step, but it's more essential than you might think.
Music is an intensely personal thing. A lot of the time logic and efficiency of capture is thrown out the window for people’s beliefs in what they feel is the right thing to do, regardless of evidence to the contrary. If you rock up to the studio and find people immediately digging in their heels and disagreeing on the best way to proceed buckle up for a terrible time buckaroo.
To avoid this happening take time to discuss the aims and manner of recording beforehand. Talk about what each member wants to get out of the experience and develop a unified plan of attack.
Here's a shortlist of points you should touch on when mentally gearing up for a recording session.
1. What kind of production do you think is best?
Stripped back and raw? Live capture? Multilayered and polished production? Agreeing on the aim of the recording will inform your preparation focus and the techniques to be utilised by the engineer.
2. To click or not click! That is the question?
Personally, I favour a recording to click but some people just don’t like metronomes. This is an issue to hash out waaaaayyyyyy before ever getting to studio. Find out if a player is resisting click because of lack of ability or just personal preference. If its preference there is a discussion to be had, if its due to lack of ability it’s a moot point without committed training. Don’t wait till someone has to be shamed in studio, it’s not cool and never ends well.
3. Instruments and sounds, what’s it gonna be?
Plug ins, real amps, or both? Specific drums, percussion, triggers, natural, or just create tracks in superior drummer? Sound effects, noises? Pedal choices, guitar types? Figure it out ahead of time and make sure all equipment is in perfect working order. Broken equipment is no good in studio.
4. Okay now the sometimes-weird bit.... talk about the way you want to record.
Most people have opinions... Strong sometimes overbearing opinions about how best to get the performance capture. Ranging from tried-and-true experience and researched methodology to absolutely mythologised Rolling Stone, puff piece, un-researched, bollocks. Regardless, it's these attitudes you need to manage effectively to have the best experience and make the most of your time in the studio.
Take it from me get this stuff in order before you dedicate your time and money to the recording process. Get on the same page with recording philosophy while you’re not on the clock and enjoy your opportunity to create. No stress, just the rock.
Well, I hope this gives you something useful to consider on your journey into sound.
Till next time stay safe and riff hard.
Chris Re-Animator.
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I was contacted by a client via email asking if I could correct a severe neck bow in their guitar. Correcting a neck bow can pose a multitude of difficulties so, I suggested he drop by the workshop with the offending instrument for a proper assessment. He dropped by at the end of the day with his guitar and told to me a tale... A tale of the six string cowboys.
As I began the assessment, I noted the guitar neck was severely bowed and not helped by a poorly slotted nut and overly high saddle action. As I removed the strings and unbolted the neck, I asked the client when the instrument had last been seen by a tech? He told me he had taken it to someone else a short time ago.
This "tech" had informed the client that his neck was twisted and that he would need a full fret level to fix the issues with the action. As he told me this, I discovered the truss on the neck was totally loose and not assisting the bow. Immediately upon adjustment of the truss, the neck returned to straight with no twist which I determined with my notched straight edge and demonstrated to the client.
Reviewing the frets, I found no rust, discolouration, dents, or divots. In fact, they appeared to be almost new stainless steel.
My initial assessment found the neck to be incorrectly adjusted and that the high nut and saddle action would require a setup. The client said he thought the initial consult with the other "tech" has seemed strange as the guitar was basically new and rarely played.
I would like at this time to make clear that I make no judgement as to the motives of the assessment previous to mine. The guitar tech world is a strange one, with no standardisation. A large portion of tech's are self-trained or trained by someone who was self-trained. So, there is a wide scope of ability and experience that can be encountered.
This client had the good sense to seek another opinion but too often people agree to totally unnecessary work due their lack of basic knowledge.
Here are a couple of standard things to look at and consider before visiting your local tech.
1) Check the Frets:
Pull your strings aside enough to see where the string contacts the fret and move the guitar into different angles of light to detect low spots, dents, dings, or corrosion. If you find dings and dents its full level, recrown and polish time.
2) Check Nut and Saddle Height:
Guitar action is supposed to be comfortable. Look at the height of your strings at the nut they should be roughly a business cards width away from the first fret. Then look at the string height around the 14th fret. If it's over 3mm from the top of the fret you will most likely benefit from some adjustment to the action.
3) Look at the Neck Relief:
With your guitar strapped on press down on the low E string at the 1st and 16th fret. Then view the area around 8th fret, the gap will give you an indication of the amount of relief (bow) in the neck. If it appears more than a couple of millimetres, it may be in need of adjustment.
4) Check your Electronics:
Gently wiggle your jack in the guitar to make sure it doesn’t cut in and out. Twist your tone and volume knobs (while plugged into an amp) and listen for any crackles or cuts in sound. Test your switches for the same. If anything sounds amiss it may require electronic service.
These 4 simple steps will not only let you know when it’s time to consult a tech, but also give you a basic idea of the issues your guitar faces. Never be too apprehensive to ask questions during an assessment. Issues should be demonstrably problematic with basic measurement tools like straight edges etc, it's good to see the logic behind a guitar’s diagnosis.
I hope you have garnered some insight into guitar maintenance and given you some pause for thought regarding your own instrument.
If this piece has raised any concerns about your beloved riff stick my door is always open for assessments. Drop in anytime within my business hours and let’s check it out.
Till next time stay safe and riff hard.
Chris Re-Animator
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One minute you’re on tour, living the dream of fast riffz, cheap booze, and slow cars full of like-minded weirdos. Playing your guts out, beating the proverbial poop out of your long suffering riff stick.
Then it happens.
Something in your signal chain fails, and you can't figure it out. Now you are totally dependent on the kindness of strangers and it doesn’t feel good.
So, what to do?
If you’re totally obsessive like me you spend years buying tonnes of books, pick your peers brains, scour the interwebs and before you know it you’re building electronics, spending all your spare time and cash on tools, attempting to cut bone blanks and re-fret necks!
But let’s be reasonable most people don’t have the time or inclination to go that far. However, a little knowledge does go a very long way with music, so I’ve decided to condense some of my more useful knowledge into seminars for the curious.
We are going to open proceedings by starting at the beginning, with an examination of the ins and outs of nylon string classical guitars in a structured 2-hour seminar where you will learn:
This seminar will have small class sizes with strings and maintenance equipment provided.
Simply B.Y.O. a nylon string (classical) guitar and you are good to go!
It’s going to be fun, informative, and empowering. The skills learnt understanding classical guitar are the basis for understanding ALL guitars. So, grab that dusty classical in the corner, learn some sweet skills, and give that riffer a new lease on life!
Class sizes will be limited to 5 per seminar to ensure adequate 1 to 1 time whilst the number of seminars offered will be based on demand.
So, if you’re interested, reserve a spot at the eventbrite page HERE and we'll get you on your way to a working understanding of your instrument.
As always, stay safe, riff hard and I'll see you in the workshop!
Chris Re-Animator
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I'm not going to lie.
I don't like relics. There I said it.
I know, I know... some people like them. But, some people like tripe. Or Coldplay. Or Fascist Dictatorships. Does that make those things okay? Of course not! Especially not Coldplay, god damn it have some standards.
I think for me the biggest issue that gnaws at my sensibilities with relics is the offensive fakeness. There is a definitive difference between machined and tooled "wear", and the natural wear that the ravages of time and playing meet upon a riff stick.
There is no part of a human body that comes into contact with a guitar that removes finish like sandpaper. Most guitars will never come into contact with chains, or gravel, or a claw hammer!... Thats right I've seen a relic that was claw hammered. This kind of wear is about as "authentic" as Tim Armstrong's British accent.
So, does this mean I prefer new guitars?
Nope.
I prefer vintage guitars. I like character, and pretty obviously I like fixing things. If you appreciate an aged aesthetic there's a really only one way to go.... buy an old instrument.
It's absolute madness to me that so many would insist upon the creation of a brand new riff stick, just to have it shitted up by some guy thats probably never toured or played enough to put real wear on an instrument. These misguided efforts that waste resources in vain to create a fake narrative of serious play are not my idea of a great look. Particularly when there are so many instruments left unconsidered with real history, crying out for a little TLC to grace stages and inspire players once more.
Take this fine example of what I'm pontificating about.
This is a battle worn 1976 Fender Telecaster made in the Fullerton plant USA.
This Olympic white (thats right this is not a typo, white!) Riffer has turned an almost butterscotch colour due to nearly 50 years of UV damage, sweat and tobacco staining. People can be a bit disparaging about the CBS (1965 to early 80's) era of Fender production due to the ruthless cost cutting set loose upon the brand. However, the cheaper materials used during this maligned period resulted in the unplanned effect of ageing in an aesthetically pleasing way, without resulting (for the most part) in major structural issues.
This Is a guitar with history.
Its neck stripped of poly from decades of use. The patina of tarnish on the chrome hardware the result of hundreds of sweaty shows. the gouges on the top apparently the result of Paul Dempsey's riffing on tour with legendary 90s Australian rock band Ammonia. What a beast, and a tangible part of Aussie rock history.
I had the absolute pleasure of being bestowed the honour of restoring this warhorse to active duty for its owner David from the aforementioned band Ammonia. Now cleaned and polished, frets rejuvenated, bone nut cut, faulty electronics replaced, Seymour Duncan Broadcaster neck and bridge pickups installed and the action set up to maximum shred. Once again this killer riff stick is prepared for another decade of glory.
No relic'd instrument can (at least for me) compare with the satisfaction and true player feel experienced when thrashing a restored true rock survivor. Brought from obscurity to vintage worn magnificence.
Do not buy new imitation fad instruments. Respect your elders.Fix old classics and know the satisfaction of breathing new life into authentic old school riffers, and bring them into a new era of play. You know it makes sense.
'Till next rant stay safe and riff hard.
Chris Re-Animator.
This bad boy was a real blank canvas for some "LVL Up" mayhem. Lucky for me the owner being a gentleman of taste and distinction brought a set of Fishman Fluence Stephen Carpenter signature pick-ups to the party and set me loose. It was a big job.
The previous EMG harness was very utilitarian with only 1 on/off toggle switch and a single three way switch. Given the optimum set up for the Fluence pick ups are a 2 pot with push/pull and 3 way switch. Coupled with the uncomfortable proximity of the original switch hole to the bridge, I was left with no option but to seal, fill, and refinish the original hole to make way for two new ones!
No easy task, but with a lot of elbow grease and patience I got there, and I'm glad I did.
The new Fishman setup was transformative. Easily the best sounds I have ever heard from the Fluence line, my new favourite. Beautiful crystalline cleans and neck shattering heavy tones. They are quite an intriguing departure from traditional pickup design.
Traditionally pickups both passive and active relied on quite similar components. Those being multiple copper windings around pole pieces or a "blade", attached to a magnet at the base. The difference between active and passive being that active have a basic yet powerful 9v preamp circuit voicing the output of the pickup.
This design has two main advantages over traditional passive pickup design.
1. Consistency of Manufactured Output.
With traditional passive construction small differences in magnet strength, number of coil windings, and wire density can effect the final tonal quality. In active pickups these small differences are negated by the pre amp voicing. Meaning pickup to pickup regardless what you put them in, the sound is the same.
2. Voltage Assisted Output.
Because of the 9V preamp you are essentially output buffered directly from the guitar, meaning you can use very long leads without loss of signal.
The interesting thing about the Fishman Fluence design is instead of coils, poles, and magnets, these pickups are composed of layers of thin circuit boards each with its own embedded magnetic coils and voicing components. This radical reinvention has allowed Fishman designers the freedom to sculpt multiple voicing options into their pickups with an even greater degree of pickup to pickup tonal accuracy.
Pretty cool stuff!
Anyway, after a bit of further polishing and neck work this tonez behemoth is back better than ever to wreak havoc on the ears of the innocent. Cower mortals!
Well, that's it from me this week. If you're looking to freshen up your tonez with a tasteful pick-up-grade gimme a holler, I love that solder lyfe.
'Till next time stay safe and riff hard.
Chris Re-Animator.
However, to paraphrase the 90s philosopher Dennis Leary "Sometimes that just ain't enough to keep a man like me interested. Oh no, no way, uh ahhh. No, I gotta go out and have fun, at no spared expense. Oh yeah, yeah, yeah. Yeah, yeah, yeah, yeah."
Ahhh poetry.
Of course, Mr Leary was speaking about commissioning a custom axe.... Or was it axehole?
In any case let's think about the joys, pitfalls, and considerations should you attempt to embark on the path of shredological specificity.
It's important when considering a custom build to understand what your reasoning is for the endeavour in the first place.
Is form paramount? Or function?
What level of finish are you expecting?
Are you a fan of a particular luthier’s work?
Do you want the satisfaction, exclusivity, and personal feel of supporting a smaller builder?
Do you crave a personalised instrument from a larger established group?
These are things you should consider before making your choice.
A word to the wise. If you are expecting the kinds of standard finish/presentation you associate with large companies like Ibanez or Fender I would usually suggest you straight up contact their custom shops. This is not to say that extremely high-quality finishes are not achieved by smaller luthiers, they absolutely are. But if what you had envisioned is an ultra-specific version of an existing instrument sometimes the path of least resistance is the way ahead.
However, If what you desire is a somewhat more unique instrument there are many a talented riff stick creator out there. Get Googling, view the websites, observe the previous builds, talk with the luthier, and appreciate their process.
Dig if you will this very beautiful custom BlacKat riff stick.
Poland is a bit of a dark horse in the luthier world but particularly in the last decade the Polish builds have really been super impressive. If you are unaware of the Polish riff sticks of glory, check out creators such as Mayones guitars, who have really made a big impact with their stunning quality and style choices. Also custom specialists like Skervesen and as this example shows BlacKat. Both are making beautiful work with that bespoke handcrafted feel and look.
Looking at the BlacKat custom guide on their website I would suggest that this is a great tool for anyone attempting a custom build. Regardless of whether you are adamantly considering a build, the guide can help give you a fairly complete overview of what you need to make decisions about should you commit to taking the plunge. It categorically offers all the available choices in order.
Starting with a written introduction to dealing with certain build constraints you are systematically guided through your choices. From body shapes, lengths, and bevels. Wood choices, neck, headstock, fretboard shapes, inlays, and wood choices. On to hardware such as bridges, machine heads etc and then the all important electronics: wiring harness types and pickups.
Finally we arrive at the finish types and string choices along with an area to write notes regarding any particulars not covered. Very thorough stuff and worth a look. I personally love the BlacKat we have here. Gorgeous exotic woods, glow in the dark inlays, Schaller strap lockls, Bareknuckle pickups, ooh la la. Apart from these nice features there is something else going on here. It doesn't feel like a standard instrument it has this certain handmade perfection through imperfection going on. It has small build quirks, eccentricities, and imperfections that make it a rather uniquely special and exclusive feeling instrument.
This to me is really the best thing about these builds. You can feel to creator’s process in a tactile visceral way that is truly worth the price of admission.
If you’re looking for a builder here in Australia there are some great choices: Shub guitars make absolute god tier riff sticks in Melbourne. Also in Melbourne, Polaris basses create beautiful instruments for our low end friends as does Brock Custom basses in South Australia. Metal multiscale masters Ormsby Guitars in Western Australia, Gilet Guitars in New South Wales, Melville guitars Queensland.... The list goes on and the talent options are exciting to see. Get your google on and explore the riffscape.
I trust this has provided a little illumination as to the pleasures and pitfalls of custom guitar builds. It only scratches the surface of the process, but hopefully will help assist in your decision making should you be um'ing and ahh'ing how to proceed.
Till next time stay safe and riff hard.
Chris Re-Animator.
From Jaco to Jack Bruce, Les Claypool to Charles Berthoud the primal instinct to go back to the beginnings of bass, to cast aside the convenience of frets, and go old school is always there.
The mighty urge to go fretless is always a temptation.
To that end, I am sometimes called upon to convert a bass with frets to its de-fretted state. Let’s go over the considerations and techniques necessary to embark on this jazzy journey to slinky sounds.
Behold, this exceptionally nice 6-strong Cort bass.
Now, before committing to a fretless conversion, consider the instrument itself.
Are you sure this is the right choice for this riff stick?
Will the conversion negatively affect the resale of the instrument?
Am I happy to outlay the cost to convert?
Is the bass string through?
That last one is important if you want to use flat wound strings, as they cannot be used on string through body instruments.
If you've mulled these considerations over and have decided to go ahead here's a run-down of what’s involved in a conversion.
First job, de-fretting: To begin we remove the nut and manipulate the truss rod, to put the neck into a gentle back bow. The back bow helps fret removal by relieving any compression on the fret slots caused by neck relief (forward bow).
Now using special fret removal pliers, masking tape, a fret board guard and soldering iron we heat the frets to liquefy any glue inside the slot. Then quickly and carefully work the fret out of the slot with the pliers. This can be a slow process as we need to be careful to avoid any chipping, so the slots look clean.
There are a few different methods of filling in the slots. Some make a wood/glue paste, some use putty. But in this case, I chose to offset the rosewood top with some thin cut maple I carved and glued into place. After leaving the slots to dry overnight they can be carefully trimmed flush with a sharp chisel.
Now the fret slots are filled, and excess removed, we use a straight edge and manipulate the truss to make sure the neck is straight. Once straight we use the appropriate radius block to sand down the neck starting coarse and getting gradually finer till the fingerboard is totally smooth and tactile.
From here we must choose how best to protect the top. Maple tops require sealing by tru oil, polyurethane, or cyanoacrylate glue. This is because maple reacts poorly to the oils and sweat secreted by our hands resulting in discoloured grey/green stained wood and rough raised grain. However, the small amount of maple we have used is already effectively glue sealed and the top has a wonderfully tight grain so a through waxing is perfect to finish.
And there you have a basic overview of the process. On this bass I also hand crafted a bone nut because I’m a classy bitch, and because now there are no frets. I would have had to re cut the plastic nut anyway to accommodate the new action and while we are upgrading, in for a penny in for a pound. Ya know?
Well, I hope this has illuminated somewhat the process of fretless conversion. And given you some pause for thought regarding whether to attempt it with your own instrument. Should you be interested further drop me a line.
Till next time stay safe and riff hard.
Chris Re-Animator
It is an overwhelming drive that we the riff stick toting Rough Necks of the Guitarmy are compelled by the Rear Admirals of riffage to smash with reckless abandon to victory or death!
And there is a price to pay for such an honour…
Your guitar is (despite its glory) only wood and glue, with sparse plastics, metal, and bone. It is vulnerable and must be protected. Luckily, we live in a time where basic tools are cheap and readily available so, let’s take a quick look at the absolute essentials you should have in your gig bag.
1. Microfibre Cloth. Cheap, soft, effective. The mighty microfibre cloth is your all-purpose post riff rub down cleaning pal. It will extend the life of your strings, stave off corrosion, keep your finish shiny, teach you algebra, heal the rift between you and your estranged family member, start a cryptocurrency, and show you the answer was in your heart all along...... Well, some of those things. They good. Buy some. |
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2. Dunlop Platinum 65 Deep Clean. Let’s not kid ourselves. We only have room and time in our lives for one all-purpose cleaning spray and this is it. It’s effective, ubiquitous, not too dear and leaves a nice Montan wax shine and smell. Make it happen.... but not on open pore woods. |
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3. Hex Keys and Screwdrivers. Every riff stick has a specific set of hex keys (or truss nut wrenches) and screwdrivers appropriate to the adjustment of the instrument. A cheap metric and imperial hex and driver set should accommodate 80% of guitars out there. The ability to make adjustments on the fly is an absolute boon and it’s easy to forget to check basic stuff like string or pickup height, which if incorrect can have a negative effect on your sound. With these basics in your gig bag, you can relax in the knowledge you’re only a turn of a screw away from good action |
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4. Planet Waves Pro String Winder and Cutter. It winds. It cuts. It’s cheap. It passes through airport security without requiring you be strip searched by a guy named Bruce, who will go deep and hard because of the pliers in your pocket you had for string changes that never answer your calls... oh Bruce. You don’t need that, but you do need quick string replacement. You know what to do. And most importantly the final trio of gigging adequacy. |
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5. Strings, Picks, and Gaffer Tape. You can never, NEVER have enough picks. I have 7 million picks in my various environments, in many gauges depending on the guitar. My washing machine is so full of plastic it’s starting to resemble a real housewife of Melbourne. Always stash a couple of spare packs of Ernie Ball strings, no strings = no gig (that’s quick math people). And of course, gaffer tape. At one point I swear I became one with gaffer like a symbiotic knockoff, crappy roadie Venom (please don’t sue me Marvel). It will fix anything in your music world. Your strap, your car, your clothes, your overwhelming need for validation, your fear that your blog readers will realise you keep treading the same comedic tropes. Yes, you need this stuff more than anything. Believe! |
I hope this has been a fun and informative romp through the mighty essentials of the basic guitar survival kit. Now go forth mighty riffer and crush your riders, see your audience driven before you, and hear the lamentations of your parents.
Stay safe and riff hard.
Chris Re-Animator.
Congratulations on dodging the pandemerrific hazards of the cursed 2021, you have reached the next level, 2022!
The future of this year’s guitar dominance is in your capable hands. To which end I must now ask myself:
What is the most broached subject I have come across in the last year?
After a moment of reflection, I have to state it’s not what I expected.
"How do I properly restring a classical (nylon string) guitar?"
I really feel a lot of people psych themselves out when it comes to this common practice, as it takes a few more steps than a steel string acoustic or electric guitar to do. But with a little practise you will never sweat this ever again. Let’s get it on peeps.
Before we continue this step-by-step stylee I just want to give this crystal-clear warning:
Do not. Under any circumstance. Use steel or electric strings on your classical guitar. It was never designed to take those stresses long term. You will damage your instrument should you disregard this warning.
Also, yes you can get nylon strings with ball ends to save time, but you still need to know proper technique at the headstock so check it.
Step 1 Get your S#!t Together.
Set up a little uncluttered space, get your fresh strings, wire cutters and pliers, string winders, cleaning cloths and solutions, and headrests if ya got ‘em. Basically, prep your workspace so you’re ready to go.
Step 2. De-string and Clean the Thing.
Take your time and carefully remove the old strings and use this opportunity to properly clean up the instrument pre restring. Filth belongs in your gain pedals not your fretboard, so get polishing.
Step 3. Loop Your Strings at the Bridge.
If you can do a basic tie this will be a synch. I normally start with the thickest (6th) string. Pass the string through its saddle hole from top to bottom, take about an inch-and-a-half length of string from the bottom then loop it back over the top from right side to left. Then pass the string under itself in a loop. Do this a minimum twice but three times is optimal.
If done in the correct direction the string end should be facing the centre of the guitar so remember to reverse the direction of the knot loop on the higher 3 strings so all ends face toward centre. To finish, hold both ends and pull tight. Beautiful.
That’s the "hard" bit, so now the easy part.
Step 4. Wind on the Strings at the Headstock.
The rule to this is to always wind the string toward the outside of the headstock. Pass the string through the tuner hole leaving enough slack for around 3 revolutions of the string barrel. Pull the string end back over to the entry point and hook the string around itself away from the centre. Then wind the string over the end till its taut to hold it in place.
Step 5. Tune, Stretch, and Snip.
The final ordeal. Tune dem bad stringy bois up, then give them a gentle pull. Tune again and repeat till it starts holding tune. It’s normal for nylon strings to go out a lot as they stretch and conform to their new tension. Just play and retune as necessary, then to finish up, snip the excess string ends. Then it’s classical shred time.
See how easy that is? Like tying your shoelace. Just take it slow and remember practice makes perfect.
Or if you can't be stuffed, get down to the shop and I'll sort it out in a flash!
As always friends, stay safe and riff hard!
Chris Re-Animator.
You don't need to look far in the world of riff sticks to find an opinion, and yes the irony that I am writing this in an opinion piece is not lost on me.
You have saved your filthy lucre and it's time again. Time to buy a sick riff stick of epic magnitude. You want the best you can get and now you're eye balling all your favourite artists signature models for the most premium there is, but is it really the best you can get?
Signature models can be viewed a few ways.
Viewed kindly they are a way to experience a loved artists pro specs and appreciate the choices they arrived at and developed to utilise through their career.
Viewed cynically they are a simple marketing tool to piggyback on the fame of an artist to promote a brand. They get some sweet promo, move some units to a new demographic and have a great reason to slap a few hundred extra bucks on an instrument's price tag.
And viewed harshly signature models are a sweaty fan boy/girl collector’s item. A thinly veiled excuse for buyers to purchase the same guitar again and again in different colours because I love the shit out of Dime Bag and YEEEEHAWWWWWW! (Pulls sick dive bomb).
So, what’s the verdict on whether or not to indulge in a signature model?
Realistically it’s down to what you value.
Here’s a basic mental checklist:
What do you want this guitar for?
If it’s just to have a collectable wall hanger, go ape! Get the best looker you can find. However, if you’re going to try and use this live or during a recording session you will need to consider far more than just the visual appeal alone. And let’s be real about one thing, honestly, outside of Pantera tribute acts have you ever seen anyone convincingly use one of those Dean/Washburn Gumby guitars? Me neither, only one man could make that bad boy look truly natural, R.I.P.
What are the specs that really count to you?
There are no magic bullets for tonez. You might love the sound an artist got on record, but you have no idea how much layering and gear they used to get there. Not only that but how they used that gear is just as important. I've seen many disappointed players struggle with unfamiliar pickups and bridge configurations. Do some research and avoid disappointment.
Lastly is it even worth the outlay?
Don't just get suckered by slick marketing. Take a good look at what’s available and what upgrades you can afford. You might find a non-Sig model you can max the stats on that would be a way more usable piece of equipment than someone else’s idea of perfection. In other words, make your own signature riff stick.
I hope this helps you make a good choice on future riff stick purchases.
‘Til next time, stay safe and riff hard.
Chris Re-Animator
]]>Your riff stick...
You play it, you love it, you want to keep it protected so you keep it in the safest circumstance.
But how safe is it?
I remember when I first began procuring instruments from Japanese auction websites. Certain lots would come with a "Junk" warning due to instruments being in storage for long periods making the guitars significantly cheaper. Sometimes it's hard not to chance an opportunity to blow on your lucky dice take a gamble. That being the case I succumbed to the temptation on many occasions and learned a terrible truth.
Unused instruments die.
Some can survive for surprising amounts of time in optimum conditions, but if left alone too long without being at least inspected and cleaned every once in a while after a time something will happen.
Necks bow, inlays lift, poly finishes flake, old sweat or blood eats at everything, corrosion, rust, bridges sag, frets sprout and lift. Many are the terrors of disuse.
Sometimes all thats left is just pretty fire wood, and in this case not even that.
Behold this tragic scene.
Apparently once an Ibanez JEM.
I found this image doing the rounds on the guitar forums.
This poor bloke thought he had left this once magnificent riff stick in safety, stored in its case and kept in storage. He could never have foreseen the absolute devastation that he was to find as insects found their way through the case and decimated all organic matter inside.
A stark warning of the fate that could await all our instruments should the worst befall them.
Pour one out for our fallen comrade.
Luckily most people will never experience this level of destruction, but i hope this demonstrates to everyone that you shouldn't take your riff sticks for granted. Use good cases, ensure cleanliness, use moisture wicks, and most importantly take them out for a spin and polish at regular intervals. That last point cannot be stressed enough, it's the only true way to ensure the continued playability of your instrument into the future.
If any of these issues mentioned sound familiar don't worry most are correctable, it's what I do. Get in contact and we can see whats to be done to make your bad riffer A1 again.
Till next time stay safe and riff hard.
Chris Re-Animator.
]]>The Holy Grail of all riffers.
You dream of it, you strive for it, you'd step over your own mum and drag yourself uphill over hot coals and broken glass with your fly unzipped to attain it. You buy amplifiers, guitars, pedals, pickups, leads, strings all in the search of the ultimate combination to take you to the promised land of sick riffz. Yet like Venus's arms or Scomo's integrity it remains unfound.
Why?
WHYYYYYYYYYYY!?
Well, often the reason for this can be an issue many players avoid acknowledging like George Calombaris ignores workers rights. That reason is bad technique. You can give a person Van Halen's full rig, guitar tech, and sound engineer, but without reasonable technique they will still sound like a dying Dachshund dropped in a piano full of bees.
Now mostly this is a problem that can only be addressed by lessons and practice. But there is one glaring little thing I notice in many players that can be corrected instantly, and will greatly improve the relationship of player to instrument.
Using the right pick for the job.
Over many years of performing with and recording guitar, this little unsung issue has had an impact on my sound far more profound than I could have ever imagined. It's the point of interface between yourself and the instrument. It can accentuate or hinder your playing depending several factors: how you use it, its thickness, its shape, and what it's made from.
All these factors can change your dynamic response greatly, and it's important to get it right. Here are a few of things to consider when picking your pick:
Heed my advice friends. Even 20 years later I am still trying different pick styles and I imagine I always will. Attack, control, dynamics all begin here and it is always worth considering.
Till next time, stay safe and riff hard.
Chris Re-Animator.
]]>So what's next?
Surely now you have to find "the sound"! That special combination of equipment that's going to lift your guitar tonez to the next level. To challenge the might of the old guitar gods, and bend the sweaty masses to the majesty of your sick riffz with extreme prejudice!
But is that really a thing?
The world of guitar is beset on all sides by the fearsome armies of myth, bias, and absolute relentless marketing. Signature model guitars, reissues, deluxe hardware, boutique pedals, bespoke pickups, oh my! Hundreds maybe thousands of posters, internet adverts, magazines, YouTube channels, guitar celebrity demos, facebook groups, forums, instagram pages and ahem...... internet blogs.
All of them (well... except for me) have one sole purpose. Freeing you of your cumbersome cashola for items that realistically you probably can do without. Look at the touring rigs of the people who are blasting crowds day in day out past and present. Bar from a few exceptions... reliability, versatility, and simplicity reign supreme.
There is a reason for that. Apart from the lack of access to cohorts of touring techs to fix your oversized pedal board when it fails. Or unlimited access to funds when your boutique 1/50 overdrive or amp you've built your "sound" around goes on the fritz. The reason is far more simple. That reason is your "sound" isn't in your gear, that's your tonal palate. Gear is essentially a tool musicians use to create, like a brush or pigment to a painter.
Yes, some gear can spark inspiration but it doesn't hold your creativity, musical choices, or personal taste. Its awesome too have nice gear and multiple options for tonal colours. And of course it is important that they work well (hence my bread and butter). But don't fool yourself. You will almost definitely get more out of consistent focused practice and song writing, or broadening your horizons appreciating new musicians and genres than you will buying some overhyped equipment.
Here's my advice for other musos:
Music is about personal development as well as the relationship between player and instrument. Improve on these and follow the points and your individual sound will soon become apparent.
Then buy a bunch of cool s#!t because f#@% it!
Till next time stay safe and riff hard.
Chris Re-Animator.
]]>Okay everyone, it's time.
Apart from the washboard abs, fabulous hair, unmatched charisma and ass that just wont quit that are all prerequisites for this biz. There is one quality above all others that is required to do the job and do it right.
Patience.
Trouble shooting is the name of this game, and that can mean multiple assemblies and disassemblies of any and all components. Woods, bone, plastic, surface finishes, electronics, taken apart altered and put back together again and again, till it's as optimal as possible.
This may seem a tedious work to some, but it's just the way it goes. There are of course many methods/systems of work flow I utilise to decrease the time spent on an instrument, but you simply cannot predict the weirdness you may find in any riff stick.
Incorrect nuts, truss rod issues, pickups incorrectly polarised, cold solders, factory defects, an old man fashioning a kayak out of a log... Well not that last one but you get the gist.
Let's look at an example of a standard...ish job. Dig if you will this First Act Sheena. It looks pretty good now but thats because it's at the end of the process. Here's a point form run down of the steps taken on this troubled riffer.
Initial inspection/evaluation, confirmation of electronic operation, separation of neck and body, truss adjustment to straighten neck, plastic nut removal, neck tape up, fret marking, fret level, fret marking, re crowning, 120/180/400/1000/1500/2000 grit and paste re-polish, bone blank cut and shaped, string position measured marked and cut, body cleaned/polished, neck cleaned polished, neck/body rejoined, restring, action check, nut file/cut adjust and polish, neck relief adjustment, saddle action adjustment, tuning/intonation and final sound test.....
Whew!
That was a lot.
But, that's just the regular stuff. Now the real fun begins because sound check?
No good.
Now...
Discovery and testing of pickup fault, discussion with owner about options followed by implementation of decisions, removal of faulty pickup and old electronic harness, discovery of damage to pickup mount, file and refinish of pickup mount, confirmation of recommended schematic wiring, installation and wiring of pickup and harness, re tune, sound test aaaaaaaaaannnnnnndddddddd ground noise.
Sooooooooo back on the bench with a multimeter conductivity test and discovery of no ground to bridge. Not even a hole with a missing wire. So, strings off, bridge removed, new grounding portal drilled, ground wire installed and bridge re-seated, confirm conductivity, strings back on re-tune, sound test aaaaaaannnnddddd.... We're done! Final polish and back to the owner.
Thats a fair old bunch of works but I have to let you know this wasn't even a really tough one. This a base sample of the kind of stuff I do on the reg to make sure things work well, and isn't even an in depth explanation of how each step was met.
So as you can see patience is crucial to success in this endeavour. You have to methodically approach each individual instrument and not get discouraged by set backs. For some this might seem too much hassle but for me its so satisfying to get a great result for the owner. Making these guitars riff as hard or harder than ever before.
Also Axl Rose, not my cup of tea. Thats not even how you spell axle.
Full circle.
Till next time stay safe and riff hard.
Chris Re-Animator
]]>This one will be short but important, and maybe a touch sensitive for the old school guitar maintenance types.
Over the years guitar servicing techniques have been progressively updated. Brands like Stew Mac, Crimson, Hosco and others have provided more and more elegant and efficient solutions to the myriad issues of riff stick re-radification.
These advancements are normally more to do with increased efficiency and precision rather than totally rethink and replace old methods. However, there is definitely one old method that is being subtly discouraged and with good reason.
Steel wool finishing. An old school fret finish technique from waaaaaaaaaaaaayyyyyyyyy back.
0000 fine steel wool was often used as a micro abrasion tool to "polish" frets, post levelling and re-crowning. This used to be a fairly standard practice in a time before wide spread availability of fret erasers, micromesh, high grit wet sanding paper and abrasive pastes. But it's been largely relegated to the tech jobs of the past. Not just because of the less than stellar finish compared to modern techniques, but for a very problematic byproduct of the process. Hundreds of broken extremely fine conductive steel hairs.
Ever leave the barbers and continuously for the rest of the day find tiny hairs all over you? Imagine that but it's steel wool.
Feel itchy? Well it could be worse, at least we humans don't rely on magnetic coils and poles to operate.
That is the real problem posed by this method of finishing. Should any of those tiny broken wires get into your pickups, switches or potentiometers they can cause all kinds of bridging electric signal havoc on your poor innocent riff stck. A fret polish shouldn't have the potential to necessitate electronic component replacements.
Check this late 70s Gibson black beauty.
This was a near miss situation. This poor riffer needed a lotta love after a long life of regular play and some offensive relicing. New bone nut, fret level and polish, extensive finish correction was all on the menu, but that's all pretty standard stuff. The real horror was to come when I inspected the neck pickup and found this.
A significant amount of steel wool stuck to the underside of the pickup.
This could have been a real issue but luckily no harm seems to have come to the pickups operation. This was the worst of the electronic areas effected but small amounts of steel wool got literally into every interior cavity and had to be carefully removed with magnets and microfiber clothes. This was happily a situation of no consequence, but that was pretty much down to pure luck. My advice is to steer people away from this practice.... or eat their liver with some faba beans and a nice chianti.
As always stay safe and riff hard.
Chris Re-Animator.
]]>The 16 bit graphic video game consoles, the baggy skate shorts, the slow mo on Baywatch. It was a glorious time to be alive. And as a young heavy music obsessed teenager I was right in the middle of a sonic revolution.
There was a real spirit of experimentality. Styles were being blended, technology was capturing sound better and better, the boundaries of heavy music were being pushed further and further into to insane gain saturation and low tunings. This led to heavier string gauges, the rise of 7 string and baritone guitars. And like all counter culture hangovers it left an undeniable impression on guitarists ever since that heavy strings are better than lighter, which was the earlier preference.
But is that really a thing?
Well... sometimes. The problem with many extremes of opinion is the lack of consideration for nuance. When setting out to achieve a sound and feel you should consider two factors.
What have progenitors of your musical preference used in the past to achieve their ends?
Take a look at the equipment you are using. What kind of limitations need to be considered in regards to tension capacity?
This second step is extremely important. Sure Max Cavalera used to string up a Warlock with a bass E string and 3 heavy gauge guitar strings to play in drop B but do you have a guitar endorsement to replace your guitar with a neck now twisted like M. Night Shyamalan's pretzel? Probably not. And that is the biggest problem to consider about string gauge. Your guitar is really just a beautiful lump of glue and wood. It has limitations.
Dig if you will this ripper Gibson custom E339 The owner had decided to use a very heavy string gauge in standard E tuning. The resulting pressure apart from bowing the neck into dissonance, had begun to twist the neck and put hairline cracks in the join. This is seriously bad news, had this been left much longer the damage may have been irreparable.
Luckily corrections were able to be made, and a more suitable string gauge was introduced. One that maintains a taut action without causing damage to the instrument.
At the end of the day string choice is about resonance, playability and comfort. Experimentation is a great thing but always consider the stress on the instrument. There are tension guides available online to assist your journey. And as always if you would like some advice i am always available to help.
Till next time stay safe and riff hard friends.
Chris Re-Animator
]]>A buck of all trades, master of none.
A Les Paul will never be a Jazzmaster. A Strat will never be a Gibson ES335 and that boils down to simple, unchangeable factors. Hollow bodies impart a distinctive resonance that solid bodies do not. The neck feel and radius choices on different instruments present musicians with significantly different player experiences effecting the way they mould with the instrument. Differing scale lengths, fret sizes, bridge types, nut types and profiles... the list goes on. All have an overarching effect on how we, the player, interface with the instrument.
Certain hardware options are rarely the tonal "golden ticket" they are often presented as. Case in point; split coil pick ups never sound as great as specifically designed single coils. This is for the simple reason that the designers focus was not with single coil tonality but to create a great sounding humbucker with the single coil function as an optional extra.
So, what's to do?
Well my philosophy regarding instruments is simple: "Get the right tool for the job"
Screwdrivers are great but you wont remove a tire with it. You don't see many black metal bands sporting Fender esquires. I've never seen John Mayer rip blues solos on an Abasi Concepts Larada 8-string.
Create a specific tool box of answers rather than rely on one less than perfect multitool.
In other words amass a sick arsenal of glorious riff sticks to blast every style you enjoy with extreme prejudice.
Happy hunting Rifflords and Riffladies.
]]>Not for the first time, I’ve been presented with a common problem for many players I like to term “Lost Lid Syndrome”. The main symptom of LLS is the chronic loss of any and all plastic bits and pieces - knobs, lids, battery pack and truss rod covers, scratch plates, the list goes on, but you name it and I've lost it - from your guitars, basses, pedals, even your own sanity… At one point or another we have all been afflicted by this relentlessly inconvenient malady.
What can be done you ask?
Majority of the time there are simply no aftermarket replacement parts available for discontinued pedals or instruments so you can either suffer in your jocks or come see me – someone who has learned to create bespoke parts to fill those tiny little voids left in your life by the offending article. For the void left in your heart by your ex, well, that is definitely beyond repair.
Here are just a handful of examples of the fun and games I’ve had measuring, cutting, filing, sanding, razoring, and cursing my way through new lids and scratch plates this month!
My favourite being the Warwick truss rod access lid I hand crafted to snugly click into place of the original lid. Easily removed with a small flat head screwdriver, I trust this small and precise work will restore some sanity to the user.
Till next time stay safe and riff hard
Chris Re-Animator
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The first thing I noticed was active pickups.
I didn't know they were called active pickups. All I knew was they looked like solid black rectangles, they made stuff metal, and I MUST HAVE THEM! Of course, I didn't actually own a good set of active pickups ‘til my 20s (EMG 81,85 set) and to my horror I discovered something I never thought would be the case... I didn't like them.
After years of playing passive pickups, I learned to pull sounds from my equipment using overwound passives like the Seymour Duncan JB. So I was blown away by the differences tone wise I experienced using actives when compared to what I was used to.
Two main factors immediately got my attention: Compression and Voicing.
Unlike passive pickups that use magnetic coils to receive the guitar string vibrations, active pickups have less coils but use a preamp section powered by a 9-volt battery to drive them into higher output than their purely magnetic cousins. Think of it like having a boost pedal inside your guitar. Sounds awesome right!?
Now let's consider the implications. Boosts are a very useful tool in tone sculpting but essentially having one you can never turn off can be a drag. The level of compression is always high meaning subtlety starts to go out the window. All your hand dynamics get stifled. Heavy picking sounds like regular picking, light picking sounds like regular picking – you’re always in the parameters of the pre-amp. Now this is considered a plus by many metal players as uniform strikes mean consistent palm mutes regardless of your picking consistency which is a handy little cheat but it does make your playing a little less expressive.
The compression is one thing but the voicing is what will really be noticeable with many classic active pickups, and it's a real love or hate affair. I swear I can tell if someone’s playing EMGs with my eyes closed, blindfolded, whilst standing behind a wall. No matter how you tweak them the internal voicing pervades all.
I've had conversations with other high gain users and for some, what I don't like about actives is the thing that they love. Consistency of tone and tight compression instantly (providing you change your 9-Volt battery regularly). Realistically, you could nail them to a bus, attach strings and get the same response as any other active equipped instrument. Thus, making every guitar a tonal clone of the next one off the rack. Things like that can be a boon to live sound guitar changeovers. Also, the player can be confident in the standard responsiveness. It might make your sound a little vanilla but reliability is a big consideration, and who doesn't like vanilla sometimes, it’s totally under-rated flavour!
I am aware that I've talked a lot about EMGs as they are really the active pickup industry standard but almost all actives suffer the same problems or strengths depending on your point of view. Notably, I have found Seymour Duncan Dualities to have a far more subtle compression and voicing than most. Also, Levinson have equipped their Blade series guitars with active/passive hybrids that you can adjust the voicing with a tone pot in the back.
I hope if you're considering a pickup change this has been informative. Tonez are subjective. One player's Excalibur can be another's Kryptonite so arm yourself with knowledge and give some things a try. Experimentation is the key to enjoyment of your instrument and development of your sound.
And if you're still bewildered but desire a change, drop into the shop and let's talk about what could take you to the next level!
Till next time stay safe, riff hard and a happy, healthy New Year to ya.
Chris Re-Animator.
Now I would never infer tone woods do not have any impact on sound. Wood choice on acoustic guitars is very important. Particularly as it pertains to the soundboard; koa, cedar, spruce, mahogany - these woods all impart something unique to the resonance, and luthiers spend many hours carefully selecting the woods they use to ensure the quality of their builds.
Whew!
So that’s the part most people agree with.... Now for the hotly debated part. Do tone woods effect the sound on electric guitars?
In my opinion, very minimally.
A nice acoustic resonance on an electric guitar is certainly important sustain wise, but resonance is less dependent on woods with solid body electric guitars than excellent build quality and good setup. I have worked on guitars made of masonite and plywood that had great resonant sustain. At the other end of the spectrum some guitars made of lovely woods such as korina (limba), buckeye burl and indian rosewood that had pretty average results considering the extra cost. A good snug neck pocket, well-crafted nut, adjusted truss, and a well-adjusted bridge has a far more significant impact on your sound.
And we haven’t even discussed the glaring reason for tone woods minimal consequence in this situation, the electronic harness.
Signal path in the amplified medium is really what dictates tone.
The pickups, leads, amplifier, speakers, power sources, pedal choices all have a big impact on sound. Wood has some impact but not in ways as drastically obvious as the aforementioned electronics.
Now nobody's out there advocating you upgrade your guitar tone by stuffing your guitar cavities with cedar to improve the tone. It just isn’t that important.
So why use these sought-after woods to create solid electric guitars?... Simple.
Because it's cool!
Utilising beautiful woods to create guitars with high quality finishes is just good business acumen. Guitars are objects of desire not necessity, so the more desirable the guitar the more chance of a sale. That's the long and short of it!
So that's my two cents on the issue. I’m sure some people will be a little ruffled but ya know what? It’s my blog and I’ll broach an opinion if I want to.
Till next time, stay safe and riff hard.
Chris Re-Animator