Staff Recommendations
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Phil
New member
GRAPHTECH RESOMAX TUNE-O-MATIC BRIDGE
What is it?
The Graphtech ResoMax bridge is basically the melding of their popular String Saver Saddles™ with a specially designed tune-o-matic bridge. The result is
increased sustain, an enhancement of harmonics, improved tuning, and of course, a reduction of string-breakage. As it's tag implies, the ResoMax bridge will, quite simply, 'max out' the resonation of your instrument.
Tech-talk.
Let's talk about the two main highlights separately.
Each String Saver saddle on the ResoMax bridge is impregnated with Teflon™, which among its many other properties, has a very low co-efficient of friction. A low number equals low resistance and smooth operation.
A string resting on a metal saddle binds and locks the string in place. As the string vibrates it stresses the string on a very specific point and produces metal fatigue and then string breakage.
The Teflon in String Saver eases the grip between the saddle and string, spreading the stress over a greater portion of the string, just enough to dramatically reduce string breakage.
And according to the manufacturers themselves, the patented String Saver material increases sustain by up to 25% over brass and 15% over steel and will greatly reduce or eliminate string breakage.
Next will be the specially designed tune-o-matic bridge.
The base of the ResoMax Bridge is made from a high strength, light weight alloy designed to maximize harmonic content.
More harmonics means more richness and sizzle in every note you pick or strum.
Sound-test.
A friend of mine has an MIJ Tokai Les Paul which has been outfitted with the ResoMax bridge. First thing I noticed when I played the guitar was the sustain. The sustain of a Les Paul is well-known to be darn good, or long, for the lack of a better word. But this particular guitar's sustain is just amazing. My friend will bear testament to the marked increase in sustain after swapping the stock-bridge out for a ResoMax.
The sizzle, the richness and the enhanced harmonics touted by Graphtech is also very evident. When chording, one can distinguish each note in the chord with amazing clarity, coupled with the thick, rounded tones that is the trademark of a Les Paul shaped guitar. The result is a very rich, thick and complex sound that absolutely appeals to me.
Conclusion.
All in all, the Graphtech ResoMax bridge will be a more than worthy upgrade for any guitar with a tune-o-matic bridge. Stock parts on guitar are more than often sub-standard, as they are catered for the mass market. Upgrades for crucial elements, such as the bridge will yield great improvements in tone and functionality, which translates to a better and more enjoyable playing experience.
It won me over, it just might do so for you too.
What is it?
The Graphtech ResoMax bridge is basically the melding of their popular String Saver Saddles™ with a specially designed tune-o-matic bridge. The result is
increased sustain, an enhancement of harmonics, improved tuning, and of course, a reduction of string-breakage. As it's tag implies, the ResoMax bridge will, quite simply, 'max out' the resonation of your instrument.
Tech-talk.
Let's talk about the two main highlights separately.
Each String Saver saddle on the ResoMax bridge is impregnated with Teflon™, which among its many other properties, has a very low co-efficient of friction. A low number equals low resistance and smooth operation.
A string resting on a metal saddle binds and locks the string in place. As the string vibrates it stresses the string on a very specific point and produces metal fatigue and then string breakage.
The Teflon in String Saver eases the grip between the saddle and string, spreading the stress over a greater portion of the string, just enough to dramatically reduce string breakage.
And according to the manufacturers themselves, the patented String Saver material increases sustain by up to 25% over brass and 15% over steel and will greatly reduce or eliminate string breakage.
Next will be the specially designed tune-o-matic bridge.
The base of the ResoMax Bridge is made from a high strength, light weight alloy designed to maximize harmonic content.
More harmonics means more richness and sizzle in every note you pick or strum.
Sound-test.
A friend of mine has an MIJ Tokai Les Paul which has been outfitted with the ResoMax bridge. First thing I noticed when I played the guitar was the sustain. The sustain of a Les Paul is well-known to be darn good, or long, for the lack of a better word. But this particular guitar's sustain is just amazing. My friend will bear testament to the marked increase in sustain after swapping the stock-bridge out for a ResoMax.
The sizzle, the richness and the enhanced harmonics touted by Graphtech is also very evident. When chording, one can distinguish each note in the chord with amazing clarity, coupled with the thick, rounded tones that is the trademark of a Les Paul shaped guitar. The result is a very rich, thick and complex sound that absolutely appeals to me.
Conclusion.
All in all, the Graphtech ResoMax bridge will be a more than worthy upgrade for any guitar with a tune-o-matic bridge. Stock parts on guitar are more than often sub-standard, as they are catered for the mass market. Upgrades for crucial elements, such as the bridge will yield great improvements in tone and functionality, which translates to a better and more enjoyable playing experience.
It won me over, it just might do so for you too.
Last edited:
bruisedwee
New member
The Ultimate El-Cheapo Upgrade for your Gibson-styled guitar
Probably almost all guitarists out there are affected with a highly contagious disease. Though not as deadly as Necrotizing Easciitis which eats away one's flesh, this disease east away his or her wallet. This disease is none other than GAS.
We musicians are constantly bombarded by music manufacturers every year, NAMM after NAMM, Musicmesse after Musicmesse with new products, and because of all these, many give parts such as pickups and electronics priority for upgrades, spending hundreds, even thousands just to make one's axe sound better.
Despite all these gadetry out there, it is hard to believe that we have to look no further than two simple, low-cost upgrades could give a guitar a major improvement acoustically.
In this post, I am going to focus on two constantly overlooked components of the guitar. The bridge and the nut. Because these two components act as "contact points" for both ends of the vibrating portion of the string, they affect the sonic transference from the string to the instrument, hence, effectively affecting the tone as well.
Two of my superiors at the workplace affected my decision to upgrade the ones on my guitar. First, KC gave me tips on how to make my guitar sound better by just swapping out these two parts out. At first I didn't think it would make a big difference, that is until Isaiah did a major overhaul on his Epiphone Les Paul, which included upgrades to the nut and the bridge. I was pretty impressed with the results and decided to do a similar overhaul to my cheap Ibanez Artcore!
These are the two upgrades:
Gotoh Tune-O-Matic
These bridges come in two versions: The version with Standard Posts (ABR-1 style) and the version with studs and bushings (6mm posts like the ones on Epiphones). Do note though that instead of the 3-facing-up, 3-facing-down configuration of most Tune-O-Matic, this bridges have all six saddles facing upwards. According to KC, this improves the intonation. Well, you heard it from the man, 'nuff said.
Graphtech TUSQ nut
Bone and Ivory are probably the most optimal material when it comes to guitar nuts. Their rigidity and density yields a nice, full sounding tone. However, they are plagued with inconsistencies due to their organic source. Enter the TUSQ nut. This nut is made out of a special synthetic material which tries to mimic their sound. Do note that you WON'T get it spot on with the real thing, but it still drastically improves the guitar's tone, while having a price tag easy on your wallet. Even guitar manufacturing titans such as Gibson and Taylor are using them! Also, it gets even better you're an animal rights activist. Now you can do away with the dead-sounding plastic nuts without the guilt that comes with bone nuts!
After I got KC to install these components and setup my guitar, I experience the same improvement on my guitar that Isaiah did on his. They say that if you can't get a good acoustic tone out of an electric guitar, don't expect anything good from it plugged in, and that is really the case right here. played unplugged, the once dead sounding guitar now rang with brightness and more "zing" with increased clarity as well as richer harmonics. Through my Vox amplifier, its fuller sound was a far cry from what used to be a muddy sounding drone. The best part is that these upgrades cost no more than $50 (not including installation)!
Probably almost all guitarists out there are affected with a highly contagious disease. Though not as deadly as Necrotizing Easciitis which eats away one's flesh, this disease east away his or her wallet. This disease is none other than GAS.
We musicians are constantly bombarded by music manufacturers every year, NAMM after NAMM, Musicmesse after Musicmesse with new products, and because of all these, many give parts such as pickups and electronics priority for upgrades, spending hundreds, even thousands just to make one's axe sound better.
Despite all these gadetry out there, it is hard to believe that we have to look no further than two simple, low-cost upgrades could give a guitar a major improvement acoustically.
In this post, I am going to focus on two constantly overlooked components of the guitar. The bridge and the nut. Because these two components act as "contact points" for both ends of the vibrating portion of the string, they affect the sonic transference from the string to the instrument, hence, effectively affecting the tone as well.
Two of my superiors at the workplace affected my decision to upgrade the ones on my guitar. First, KC gave me tips on how to make my guitar sound better by just swapping out these two parts out. At first I didn't think it would make a big difference, that is until Isaiah did a major overhaul on his Epiphone Les Paul, which included upgrades to the nut and the bridge. I was pretty impressed with the results and decided to do a similar overhaul to my cheap Ibanez Artcore!
These are the two upgrades:
Gotoh Tune-O-Matic
These bridges come in two versions: The version with Standard Posts (ABR-1 style) and the version with studs and bushings (6mm posts like the ones on Epiphones). Do note though that instead of the 3-facing-up, 3-facing-down configuration of most Tune-O-Matic, this bridges have all six saddles facing upwards. According to KC, this improves the intonation. Well, you heard it from the man, 'nuff said.
Graphtech TUSQ nut
Bone and Ivory are probably the most optimal material when it comes to guitar nuts. Their rigidity and density yields a nice, full sounding tone. However, they are plagued with inconsistencies due to their organic source. Enter the TUSQ nut. This nut is made out of a special synthetic material which tries to mimic their sound. Do note that you WON'T get it spot on with the real thing, but it still drastically improves the guitar's tone, while having a price tag easy on your wallet. Even guitar manufacturing titans such as Gibson and Taylor are using them! Also, it gets even better you're an animal rights activist. Now you can do away with the dead-sounding plastic nuts without the guilt that comes with bone nuts!
After I got KC to install these components and setup my guitar, I experience the same improvement on my guitar that Isaiah did on his. They say that if you can't get a good acoustic tone out of an electric guitar, don't expect anything good from it plugged in, and that is really the case right here. played unplugged, the once dead sounding guitar now rang with brightness and more "zing" with increased clarity as well as richer harmonics. Through my Vox amplifier, its fuller sound was a far cry from what used to be a muddy sounding drone. The best part is that these upgrades cost no more than $50 (not including installation)!
Last edited:
Phil
New member
MAESTRO SD-1
What is it?
In the case that you have not heard of Maestro Guitars, we are a local brand that produces a wide range of quality, handcrafted acoustic and classical guitars.
The SD-1 is our entry-level model, boasting superb quality at a very reasonable price of $219.
SD-1 is short for Standard Dreadnought, model 01. It's specifications are as follow,
- Premium laminated Sitka Spruce top with Mahogony sides and back.
- Rosewood fingerboard.
- Die-cast Machine-heads.
- Bolt-on neck joint.
- Authentic cow-bone nut and saddle.
Tech-talk.
First, let's talk about the Premium laminated Sitka Spruce top with Mahogony sides and back.
One thing to take note of, is that laminated guitars are easier to take care of when compared to a solid-top guitar, or a full-solid for that matter.
Laminates are more impervious to the effects of humidity, which is a boon to us here in Singapore, where the humidity levels are extremely high.
For the unintiated, high-humidity levels can cause the warpage of the neck and bloating of the body, among other ill-effects.
Also, the woods chosen into making our guitars are specially selected to suit areas of high-humidity. So that's one less thing for you to worry about.
The SD-1 has a rosewood fingerboard. Rosewood is a common choice for fingerboards and there's a good reason to it, as it is naturally oily, and it works well for any surface that sees frequent human contact.
The die-cast machine-heads that are used on the SD-1 are a world of difference from the ones found in lower-end guitars. The importance of a set of stable and true tuner-heads cannotbe stressed enough, as your tuning stability is dependent on them,
Lower-quality machine-heads cause your tuning to run, and that means that you would have to constantly fine-tune your guitar. This problem is eliminated with a good set of machine-heads.
One unique feature of our Maestro guitars is the bolt-on neck. Mostly acoustic guitars have set-necks, that means that the neck is set to the body and cannot be extricated from the body easily.
This will prove to be exceedingly troublesome when you need to replace the neck of your guitar, in the event of an accident, say, after a drop, the headstock is broken off, or when the neck is seeing some cracks, etc.
A bolt-on neck will enable one to remove the neck and replace it easily, saving you a lot of effort, time and money.
Lastly, the authentic cow-bone nut. Any guitar-enthusiast will tell you that bone nuts and saddles have the most 'mojo'. They sound better, have a better feel and have more sustain as compared to a plastic nut. The SD-1 uses authentic cowbone nut and saddle.
Sound-test.
As expected, laminates will sound much brighter than a solid-top guitar.
The sitka spruce top is very resonant, and has a very open mid-range while retaining the high frequencies.
The mahogogy on the sides and back give the guitar its jangly brightness.
As a whole, the SD-1 provides a very balanced tone, that is still very powerful and punchy. This dynamic tone is ideal for strumming as the chords just rings out beautifully. Strumming first position D, A, G chords that are full of overtones are simply a joy.
The SD-1 would probably not suit someone who is seeking a more mellow and warm sounding guitar, the SD-2 or the SD-3 would probably suit you better.
The SD-2, with it's Zebrawood/Ovangkol sides, will sound mellower and be more controlled, while the SD-3 would be significally bassier with it's rosewood sides.
But for those who are looking for something powerful, punchy and jangly, the SD-1 will definitely rock your boat.
Another thing to add is how wonderfully this guitar plays. The neck profiles fills my hands very naturally, providing a good fit and grip.
The action is also very low and comfortable, and it makes my journey all over the fingerboard a really smooth and easy one.
Conclusion.
At a mere $219, the SD-1 is definitely a bargain.
This guitar is hand-crafted, of which is apparent in its near-flawless construction and professional set-up.
Tone-wise, it's outstanding as well, far exceeding what you would expect out of a 200-odd bucks guitar. It's rich, it's full, and it's dynamic.
Maestro Guitars have never professed to making cheap, bargain guitars.
We are more interested in making excellent sounding, high-quality guitars that are priced very reasonably. Price-performance ratio wise, this guitar simply cannot be beaten.
For beginners who are looking for your first guitar, look nowhere else. If you budget is sub-200, why not stretch it slightly and get the SD-1?
You only have to try it out for yourself to comprehend the difference in tone, quality and feel. And one thing about cheap and poorly made guitars is how quickly one will outgrow them. The SD-1 is one guitar that you'd not outgrow in a hurry.
And although it makes an excellent first guitar, the SD-1 is by no means only restricted to beginners. With it's outstanding tonality, superb build, it'd also be a magnificent addition to any guitar-enthusiast's stable.
And to address one final point, some might say that as an employee of Maestro Guitars, my reviews will be biased. In response, I'd just implore you to try a Maestro out yourself and you'd understand where my praises are coming from.
When something is good, I believe that it sound be lauded and recommended. And in this spirit of sharing, here's the Maestro SD-1.
Link to Specifications
What is it?
In the case that you have not heard of Maestro Guitars, we are a local brand that produces a wide range of quality, handcrafted acoustic and classical guitars.
The SD-1 is our entry-level model, boasting superb quality at a very reasonable price of $219.
SD-1 is short for Standard Dreadnought, model 01. It's specifications are as follow,
- Premium laminated Sitka Spruce top with Mahogony sides and back.
- Rosewood fingerboard.
- Die-cast Machine-heads.
- Bolt-on neck joint.
- Authentic cow-bone nut and saddle.
Tech-talk.
First, let's talk about the Premium laminated Sitka Spruce top with Mahogony sides and back.
One thing to take note of, is that laminated guitars are easier to take care of when compared to a solid-top guitar, or a full-solid for that matter.
Laminates are more impervious to the effects of humidity, which is a boon to us here in Singapore, where the humidity levels are extremely high.
For the unintiated, high-humidity levels can cause the warpage of the neck and bloating of the body, among other ill-effects.
Also, the woods chosen into making our guitars are specially selected to suit areas of high-humidity. So that's one less thing for you to worry about.
The SD-1 has a rosewood fingerboard. Rosewood is a common choice for fingerboards and there's a good reason to it, as it is naturally oily, and it works well for any surface that sees frequent human contact.
The die-cast machine-heads that are used on the SD-1 are a world of difference from the ones found in lower-end guitars. The importance of a set of stable and true tuner-heads cannotbe stressed enough, as your tuning stability is dependent on them,
Lower-quality machine-heads cause your tuning to run, and that means that you would have to constantly fine-tune your guitar. This problem is eliminated with a good set of machine-heads.
One unique feature of our Maestro guitars is the bolt-on neck. Mostly acoustic guitars have set-necks, that means that the neck is set to the body and cannot be extricated from the body easily.
This will prove to be exceedingly troublesome when you need to replace the neck of your guitar, in the event of an accident, say, after a drop, the headstock is broken off, or when the neck is seeing some cracks, etc.
A bolt-on neck will enable one to remove the neck and replace it easily, saving you a lot of effort, time and money.
Lastly, the authentic cow-bone nut. Any guitar-enthusiast will tell you that bone nuts and saddles have the most 'mojo'. They sound better, have a better feel and have more sustain as compared to a plastic nut. The SD-1 uses authentic cowbone nut and saddle.
Sound-test.
As expected, laminates will sound much brighter than a solid-top guitar.
The sitka spruce top is very resonant, and has a very open mid-range while retaining the high frequencies.
The mahogogy on the sides and back give the guitar its jangly brightness.
As a whole, the SD-1 provides a very balanced tone, that is still very powerful and punchy. This dynamic tone is ideal for strumming as the chords just rings out beautifully. Strumming first position D, A, G chords that are full of overtones are simply a joy.
The SD-1 would probably not suit someone who is seeking a more mellow and warm sounding guitar, the SD-2 or the SD-3 would probably suit you better.
The SD-2, with it's Zebrawood/Ovangkol sides, will sound mellower and be more controlled, while the SD-3 would be significally bassier with it's rosewood sides.
But for those who are looking for something powerful, punchy and jangly, the SD-1 will definitely rock your boat.
Another thing to add is how wonderfully this guitar plays. The neck profiles fills my hands very naturally, providing a good fit and grip.
The action is also very low and comfortable, and it makes my journey all over the fingerboard a really smooth and easy one.
Conclusion.
At a mere $219, the SD-1 is definitely a bargain.
This guitar is hand-crafted, of which is apparent in its near-flawless construction and professional set-up.
Tone-wise, it's outstanding as well, far exceeding what you would expect out of a 200-odd bucks guitar. It's rich, it's full, and it's dynamic.
Maestro Guitars have never professed to making cheap, bargain guitars.
We are more interested in making excellent sounding, high-quality guitars that are priced very reasonably. Price-performance ratio wise, this guitar simply cannot be beaten.
For beginners who are looking for your first guitar, look nowhere else. If you budget is sub-200, why not stretch it slightly and get the SD-1?
You only have to try it out for yourself to comprehend the difference in tone, quality and feel. And one thing about cheap and poorly made guitars is how quickly one will outgrow them. The SD-1 is one guitar that you'd not outgrow in a hurry.
And although it makes an excellent first guitar, the SD-1 is by no means only restricted to beginners. With it's outstanding tonality, superb build, it'd also be a magnificent addition to any guitar-enthusiast's stable.
And to address one final point, some might say that as an employee of Maestro Guitars, my reviews will be biased. In response, I'd just implore you to try a Maestro out yourself and you'd understand where my praises are coming from.
When something is good, I believe that it sound be lauded and recommended. And in this spirit of sharing, here's the Maestro SD-1.
Link to Specifications
playguitar
New member
Lyric HG /w Neutrik straight heads
The goods
Smooth high and mid
Articulate
Clarity
The bads
Lack of flexibility
As you guys know Evidence Audio has a huge reputation for being high-grade cable, I wasn't so sure about them until I got to try them. I was amazed by its clarity and articulation.
Lyric HG uses solid core conductor. While a conventional stranded cable sounds thicker, you don’t feel it in the floor. With an Evidence Audio solid core cable you feel the bass more in the seat of your pants and hear it less.
Comparing with the usual cable which dynamics are flattened and compressed, I find that the Lyric HG is define and the attack is articulate. The midrange and highs are smooth while not overly exaggerated.
However, the cable lack of flexibility due to its solid core. Bending it too angled might break it's core (will need a resolder job). Though these cables are quite expansive compared to the other brands, but i must say your investment is definifely worthwhile.
* check out more on http://www.evidenceaudio.com
DarknessIsComfort
New member
Everly 9113 X Rockers
Good/Bad: Nice tension. Doesn't sound dead after a few weeks.
No sevenstring version.
Comments.Designed specifically for tuning down, your strings won't flop around when you de-tune with Everly X Rockers. Nice tension all round. Not too tight nor too floppy. The auditioned guitar was tuned to B flat .
Tonewise, it sounds a bit brighter than Daddario's. Definitely lasts longer than other non-coated strings.
Give it a try.
Good/Bad: Nice tension. Doesn't sound dead after a few weeks.
No sevenstring version.
Comments.Designed specifically for tuning down, your strings won't flop around when you de-tune with Everly X Rockers. Nice tension all round. Not too tight nor too floppy. The auditioned guitar was tuned to B flat .
Tonewise, it sounds a bit brighter than Daddario's. Definitely lasts longer than other non-coated strings.
Give it a try.
PunkyPorky
New member
Equator
Hi everyone...this is my take...GET THE EQUATOR w Bband A6TY...I say that it's the most solidest coolest awesomost accoustic guitar...Everything about it is amazing.
Top: Solid Stika Spruce
Back: Solid Ovangkol
Side: Ovangkol
Neck: Nato
Fingerboard: Rosewood
Nut: Cow bone
Saddle: TUSQ
Machine heads:Grover gold machine heads
Sound: 9.5/10
Without Pre-Amps
The sound of the equator is not too warm nither is it too bright. It has the perfect balance tone. My first strum on the guitar totally captivated me. It has the perfect sound for contemporary music and alternative rock music. I would say it is also the most compatible tone for an acoustic set.
With B.Band A6TY or A2.2
This sound of the guitar is totally magnified. Because of the preamp that uses both UST and AST, the sound is totally rich. Perfect for any kind of settings. From Blues to Rock to RnB to Cantopop to pop to Alternative. It's perfect for stage. If you feel that the A6TY is too ex...there is alway the option of A2.2.
Playability: 9/10
Easy on the fingers, smooth neck and low action is what Maestro Guitars is all about. Comfort while playing the guitar is most definately there. Playing this guitar give one a sense of ecstacy.
Looks: 8/10
I would say that it is a beautiful guitar. But I prefer the previous generation of Equators, when the back and sides were staind red. But I still think that it looks really good in it's natural colour.
Hi everyone...this is my take...GET THE EQUATOR w Bband A6TY...I say that it's the most solidest coolest awesomost accoustic guitar...Everything about it is amazing.
Top: Solid Stika Spruce
Back: Solid Ovangkol
Side: Ovangkol
Neck: Nato
Fingerboard: Rosewood
Nut: Cow bone
Saddle: TUSQ
Machine heads:Grover gold machine heads
Sound: 9.5/10
Without Pre-Amps
The sound of the equator is not too warm nither is it too bright. It has the perfect balance tone. My first strum on the guitar totally captivated me. It has the perfect sound for contemporary music and alternative rock music. I would say it is also the most compatible tone for an acoustic set.
With B.Band A6TY or A2.2
This sound of the guitar is totally magnified. Because of the preamp that uses both UST and AST, the sound is totally rich. Perfect for any kind of settings. From Blues to Rock to RnB to Cantopop to pop to Alternative. It's perfect for stage. If you feel that the A6TY is too ex...there is alway the option of A2.2.
Playability: 9/10
Easy on the fingers, smooth neck and low action is what Maestro Guitars is all about. Comfort while playing the guitar is most definately there. Playing this guitar give one a sense of ecstacy.
Looks: 8/10
I would say that it is a beautiful guitar. But I prefer the previous generation of Equators, when the back and sides were staind red. But I still think that it looks really good in it's natural colour.
WYRES - Handmade Phospor P.T.F.E Enhanced (TP1254)
Hey folks, here's another string review / recommendation. this time it's for those of you who love hollow bodied, plus sized women.. erh i mean.. guitars
WYRES - Handmade Phospor P.T.F.E Enhanced
The strings in the spotlight are the TP1254 - 12 16 24 34 44 54
TP stands for Teflon Phosphor, and the numbers behind are the string guages.
What are Wyres?
Debuting at the NAMM Show in 1997 and showcasing their propietary P.T.F.E process, the Wyres brand originates from the Anaheim, California and boasts a completely hand-wound process in their production.
What does "handwound" mean?
As opposed to machine wound strings, Wyres strings are hand wrapped around the core wire, resulting in a lower tensioned, looser wound, softer playing strings.
What is P.T.F.E?
Wyres' P.T.F.E proprietary technology stands for Polymer Tetra-Fluoro-Ethylene. What that means is P.T.F.E technology is about...
"combining a dry inert plastic with a carrying agent of rubbing alcohol. This lighter coating doesn’t dampen frequencies and is applied over the finished string, allowing more wire to wire contact for more brilliance. P.T.F.E. lubricates the string, protecting it against oils, acids and oxidation, resulting in less fret wear, less chording noise, longer life and a smooth, silky touch." (extracted from www.wyrestrings.com)
In the process, millions of particles of P.T.F.E are infused into the string. So as you play, the P.T.F.E gets distributed into the pores of the metals, both protecting and lubricating.
So what do i think?
I've used the TP1254 (TP: teflon phosphor) on my grand-auditorium, with rosewood back & sides and a spruce top.
Having previosuly used EXP16s (Coated Phosphor Bronze), which are great strings IMO, I was looking to find a balance between the bright sounding high and mid tones of the guitar. The EXPs werent giving me the overall tonal quality i was looking for. The mid tones were muddy and the bass notes werent projecting adequately. I play a mix of strumming and fingerstyle noodling, So i needed a set of strings which complemented that. On the advice of my colleagues here, who've heard me play (and resisted sniggering in disgust) i went with a set of Phosphor Bronze strings.
On opening the packet of strings, i noticed that unlike other brands where each string is individually packed, Wyres strings are packed together. (saving packaging and saving the planet). The strings also appeared to be coated with a chalky substance which I assumed to be the P.T.F.E. The strings look like your standard bronze strings except they look like someone put on too much makeup on. Once the guitar was restrung, took a couple of good tugs on the string to make sure they were somewhat stretched and sitting nicely on the nut and saddle. During the tuning process, I could immediately feel a difference in the tension of the strings. Under my stubby lazy fingers, the strings felt infinitely different from its predecessor. When compared to the EXPs, the overall tactile feel was that of comfort. fretting was noticeably easier.
During the first few hours of playing, you can expect the normal amount ot stretching, and re-tuning is in order. During the "teething" period, I could hear no loss in tone. The highs were crisp and concise, the mids were warm, and the lows were mellow. Playing through some strummy chords and using both a pick and fingers, the notes played on these strings were well balanced even when playing at different volumes.
After a week of playing, you will see a visible change in color. Gone is the chalky look. In fact, the strings now look like they're beginning to tarnish. The fresh bronzed look, now looks you've spent a little too long in the sun. Looks however are deceiving. the strings have settled down, and only needed a slight tune up before i was happily playing again. Like when i first put on the strings, the strings were a breeze to play. with no audible loss in tone.
I'm now into my 4th week with these strings. and still, the strings look like they've been run throught the mill. Normally by now, I would have changed strings. I live on the East Coast, and the fresh sea air tends to be murder on my strings (and anything else metallic). Strings that i've used previously don't normally go past 3 weeks (my guitars are stored in their gig bags when i dont play them, and i wipe them down with a dry cloth after each session) How do they feel? they still feel great! i wont say they feel exactly like they did when i put them on because they dont. over the course of 3 weeks of playing, they've lost that silky feeling. which i presume to be part of the "infusion" process of the P.T.F.E coating. However, the strings don't feel worn out. they don't feel dead, and they definitely dont' sound dead!
So in conclusion....
I'm wondering how long more before I'd have to change strings? Colleagues have said that when using these strings, they did not find a need to change strings even after a couple of months. i'm going to try to put that to the test will keep you updated. Would i use the TP1254s again? Most definitely. Ive used coated strings for a while now and i have swung from brand to brand over the years. but with these strings, Wyres now has a new ambassador!
I'm actually quite eager for these strings to go dead on me, cos i really do want to try the HB1254s from Wyres (Handmade 80/20 bronze strings) but as it stands now, i might have to get another guitar to try them on, the TP1254s don't seem to know when to quit
so till then, go change your strings lah!
Hey folks, here's another string review / recommendation. this time it's for those of you who love hollow bodied, plus sized women.. erh i mean.. guitars
WYRES - Handmade Phospor P.T.F.E Enhanced
The strings in the spotlight are the TP1254 - 12 16 24 34 44 54
TP stands for Teflon Phosphor, and the numbers behind are the string guages.
What are Wyres?
Debuting at the NAMM Show in 1997 and showcasing their propietary P.T.F.E process, the Wyres brand originates from the Anaheim, California and boasts a completely hand-wound process in their production.
What does "handwound" mean?
As opposed to machine wound strings, Wyres strings are hand wrapped around the core wire, resulting in a lower tensioned, looser wound, softer playing strings.
What is P.T.F.E?
Wyres' P.T.F.E proprietary technology stands for Polymer Tetra-Fluoro-Ethylene. What that means is P.T.F.E technology is about...
"combining a dry inert plastic with a carrying agent of rubbing alcohol. This lighter coating doesn’t dampen frequencies and is applied over the finished string, allowing more wire to wire contact for more brilliance. P.T.F.E. lubricates the string, protecting it against oils, acids and oxidation, resulting in less fret wear, less chording noise, longer life and a smooth, silky touch." (extracted from www.wyrestrings.com)
In the process, millions of particles of P.T.F.E are infused into the string. So as you play, the P.T.F.E gets distributed into the pores of the metals, both protecting and lubricating.
So what do i think?
I've used the TP1254 (TP: teflon phosphor) on my grand-auditorium, with rosewood back & sides and a spruce top.
Having previosuly used EXP16s (Coated Phosphor Bronze), which are great strings IMO, I was looking to find a balance between the bright sounding high and mid tones of the guitar. The EXPs werent giving me the overall tonal quality i was looking for. The mid tones were muddy and the bass notes werent projecting adequately. I play a mix of strumming and fingerstyle noodling, So i needed a set of strings which complemented that. On the advice of my colleagues here, who've heard me play (and resisted sniggering in disgust) i went with a set of Phosphor Bronze strings.
On opening the packet of strings, i noticed that unlike other brands where each string is individually packed, Wyres strings are packed together. (saving packaging and saving the planet). The strings also appeared to be coated with a chalky substance which I assumed to be the P.T.F.E. The strings look like your standard bronze strings except they look like someone put on too much makeup on. Once the guitar was restrung, took a couple of good tugs on the string to make sure they were somewhat stretched and sitting nicely on the nut and saddle. During the tuning process, I could immediately feel a difference in the tension of the strings. Under my stubby lazy fingers, the strings felt infinitely different from its predecessor. When compared to the EXPs, the overall tactile feel was that of comfort. fretting was noticeably easier.
During the first few hours of playing, you can expect the normal amount ot stretching, and re-tuning is in order. During the "teething" period, I could hear no loss in tone. The highs were crisp and concise, the mids were warm, and the lows were mellow. Playing through some strummy chords and using both a pick and fingers, the notes played on these strings were well balanced even when playing at different volumes.
After a week of playing, you will see a visible change in color. Gone is the chalky look. In fact, the strings now look like they're beginning to tarnish. The fresh bronzed look, now looks you've spent a little too long in the sun. Looks however are deceiving. the strings have settled down, and only needed a slight tune up before i was happily playing again. Like when i first put on the strings, the strings were a breeze to play. with no audible loss in tone.
I'm now into my 4th week with these strings. and still, the strings look like they've been run throught the mill. Normally by now, I would have changed strings. I live on the East Coast, and the fresh sea air tends to be murder on my strings (and anything else metallic). Strings that i've used previously don't normally go past 3 weeks (my guitars are stored in their gig bags when i dont play them, and i wipe them down with a dry cloth after each session) How do they feel? they still feel great! i wont say they feel exactly like they did when i put them on because they dont. over the course of 3 weeks of playing, they've lost that silky feeling. which i presume to be part of the "infusion" process of the P.T.F.E coating. However, the strings don't feel worn out. they don't feel dead, and they definitely dont' sound dead!
So in conclusion....
I'm wondering how long more before I'd have to change strings? Colleagues have said that when using these strings, they did not find a need to change strings even after a couple of months. i'm going to try to put that to the test
will keep you updated. Would i use the TP1254s again? Most definitely. Ive used coated strings for a while now and i have swung from brand to brand over the years. but with these strings, Wyres now has a new ambassador! I'm actually quite eager for these strings to go dead on me, cos i really do want to try the HB1254s from Wyres (Handmade 80/20 bronze strings) but as it stands now, i might have to get another guitar to try them on, the TP1254s don't seem to know when to quit
so till then, go change your strings lah!
Last edited:
bruisedwee
New member
Maestro ED-2
“The Maestro ED-2, a guitar barely available... Gentlemen, we can replenish them. We have the technology. We have the capability to build the world's most awesome value-for-money acoustic guitar. The Maestro ED-2 will be that guitar. Better than it was before. Better, stronger, faster...”
Okay, maybe that was a little exaggerated but good news to those who have been dying to get their paws on the long-awaited ED-2 from Maestro. IT'S BACK! And though it's not faster, it's definilty better and stronger...
Six Million Dollar Guitar? NOT!
No, that's nowhere near the price of the guitar. In fact, the ED-2 retails at a very reasonable S$549, street price (that's 1/10928 out of six-million dollars FYI)! For those who want to plug this sucker in, just add in another S$200 only and Maestro will pop in a state-of-the-art B-Band transducer pickup (as opposed to a piezoelectric pickup) with an A3T preamp! Gnurly!
Better
So what would you get for $549? You get an awesome A-Grade Sitka Spruce top, coupled with Ovankol back and sides. A bound rosewood fretboard with well-trimmed frets lies on a neck made out of Nato which is a reminicent to the tone of Mahogany, yet more resillient to humid conditions. Also, it's bolted-on from inside, so if the neck ever goes bad or breaks, servicing it would be no sweat!
Apart from the tonewoods, it also has a cowbone saddle and nut, a feature which you probably wouldn't find on guitars in this price range. It will definilty provide better sonic transference as compared to the typical el-cheapo plastic counterparts. It also now comes with new Grover tuners. To be honest, I still prefer the chrome 14:1 ratio tuners used on earlier batches as I felt that they were more solid and tuned smoother. Still, these new ones aren't bad. I guess it all boils down to preference. Besides, the higher gear-ratio (18:1) gives more precise tunings while the black plastic buttons further adds a touch of class.
All Maestro guitars are strung with D'Addario EXP11 or EXP16 strings. This ensures that you have optimal tone as well as string longevity, so that you don't have to replace the strings a week after you buy the guitar! And oh yes, did I mention that it also looks AMAZING? The new rosette's design just oozes class while the Ovankol back gives a very beautiful, exotic look to it.
Stronger
The ED-2 retained every single aspect it had from the previous incarnations, but the new batch of ED-2's, like Steve Austin, have received their share of technological enhancements, including Maestro's Tone-Plate, a brass plate located directly beneth the bridge to reinforce the surrounding area as well as enhancing the tone, as well as the Carbon-Fibre neck reinforcing rods which are located at either side of the truss rod to further deter neck warpage and to eleminate neck bow inconsistancies.
Other than the beneficial enhancements, the ED-2 also comes in Maestro's new headstock which looks really sweet and less generic.
... and to put it to the test...
The ED-2 was in every right a joy to play. The neck has a comfortable profile that fits my hand like a glove. I also felt very “at-home” with the matte finish, especially on the neck, which felt so smooth to run my hand on.
In the tone department, the ED-2 also performed really well. The solid spruce top coupled with the Ovankol back and sides gave a more complex tonality as compared to Mahogany-backed counterparts. When strummed, the guitar sounded bright, yet provided the neccesary volume to “push” the sound. When picked, it sounded just as good as the sound was balanced.
Now you're probably wondering to yourself, “What kind of music would this guitar be great for?” In my humble opinion, the ED-2 is as versatile as it gets. Want to play acoustic renditions on your impromptu “unplugged” gig? You've got it covered. Want to wail the Blues? No sweat! Want to play this in church? Sure! From campire strumming to complex Emmanuel-esque fingerstyle, this guitar would sound GREAT either way. Trust me, it handles EVERYTHING!!! ...except death metal, that is...
I just wish a dang case was included, but for the price, it's still a steal!
“The Maestro ED-2, a guitar barely available... Gentlemen, we can replenish them. We have the technology. We have the capability to build the world's most awesome value-for-money acoustic guitar. The Maestro ED-2 will be that guitar. Better than it was before. Better, stronger, faster...”
Okay, maybe that was a little exaggerated but good news to those who have been dying to get their paws on the long-awaited ED-2 from Maestro. IT'S BACK! And though it's not faster, it's definilty better and stronger...
Six Million Dollar Guitar? NOT!
No, that's nowhere near the price of the guitar. In fact, the ED-2 retails at a very reasonable S$549, street price (that's 1/10928 out of six-million dollars FYI)! For those who want to plug this sucker in, just add in another S$200 only and Maestro will pop in a state-of-the-art B-Band transducer pickup (as opposed to a piezoelectric pickup) with an A3T preamp! Gnurly!
Better
So what would you get for $549? You get an awesome A-Grade Sitka Spruce top, coupled with Ovankol back and sides. A bound rosewood fretboard with well-trimmed frets lies on a neck made out of Nato which is a reminicent to the tone of Mahogany, yet more resillient to humid conditions. Also, it's bolted-on from inside, so if the neck ever goes bad or breaks, servicing it would be no sweat!
Apart from the tonewoods, it also has a cowbone saddle and nut, a feature which you probably wouldn't find on guitars in this price range. It will definilty provide better sonic transference as compared to the typical el-cheapo plastic counterparts. It also now comes with new Grover tuners. To be honest, I still prefer the chrome 14:1 ratio tuners used on earlier batches as I felt that they were more solid and tuned smoother. Still, these new ones aren't bad. I guess it all boils down to preference. Besides, the higher gear-ratio (18:1) gives more precise tunings while the black plastic buttons further adds a touch of class.
All Maestro guitars are strung with D'Addario EXP11 or EXP16 strings. This ensures that you have optimal tone as well as string longevity, so that you don't have to replace the strings a week after you buy the guitar! And oh yes, did I mention that it also looks AMAZING? The new rosette's design just oozes class while the Ovankol back gives a very beautiful, exotic look to it.
Stronger
The ED-2 retained every single aspect it had from the previous incarnations, but the new batch of ED-2's, like Steve Austin, have received their share of technological enhancements, including Maestro's Tone-Plate, a brass plate located directly beneth the bridge to reinforce the surrounding area as well as enhancing the tone, as well as the Carbon-Fibre neck reinforcing rods which are located at either side of the truss rod to further deter neck warpage and to eleminate neck bow inconsistancies.
Other than the beneficial enhancements, the ED-2 also comes in Maestro's new headstock which looks really sweet and less generic.
... and to put it to the test...
The ED-2 was in every right a joy to play. The neck has a comfortable profile that fits my hand like a glove. I also felt very “at-home” with the matte finish, especially on the neck, which felt so smooth to run my hand on.
In the tone department, the ED-2 also performed really well. The solid spruce top coupled with the Ovankol back and sides gave a more complex tonality as compared to Mahogany-backed counterparts. When strummed, the guitar sounded bright, yet provided the neccesary volume to “push” the sound. When picked, it sounded just as good as the sound was balanced.
Now you're probably wondering to yourself, “What kind of music would this guitar be great for?” In my humble opinion, the ED-2 is as versatile as it gets. Want to play acoustic renditions on your impromptu “unplugged” gig? You've got it covered. Want to wail the Blues? No sweat! Want to play this in church? Sure! From campire strumming to complex Emmanuel-esque fingerstyle, this guitar would sound GREAT either way. Trust me, it handles EVERYTHING!!! ...except death metal, that is...
I just wish a dang case was included, but for the price, it's still a steal!
Phil
New member
BLUERIDGE BG-160
What is it:
The Blueridge company is an offshoot of the South San-Francisco based Saga Musical Instruments, to introduce
its own “traditional” series guitars that give players a taste of vintage-modern vibe at considerably more affordable prices.
The Blueridge BG-160 are Chinese-made instruments that are modeled on a National guitar that was made by Gibson in the 1950s.
It features:
- solid spruce top, solid rosewood sides and back.
- slope-shoulder dreadnought body styles (16" wide at the lower bout)
- classic inlay patterns, lovely two-tone sunburst finishes
- old-world construction details such as hand-carved parabolic X bracing (which is of the smaller, thinner type used on the National guitars)
- dovetail neck joints.
- slim, “C”-shaped neck
- 24e" fretboard
- The open-gear tuners
- headstock accessible trussrods, which are easier to adjust than the type that must be accessed through the soundhole.
Evaluation:
Cosmetically, the Blueridge BG-160 is nothing short of stunning.
The beautiful two-tone sunburst finish complemented with its faux tortoise-shell, beveled edged pickguard is sight to behold.
The three-ply matching rosette is tasteful, and the headstock spots pearl inlays in the design of scroll with 'Blueridge' written in script emblazoned on it, surrounded by some flower of sorts. The intricate floral inspired pearl inlays continue on to the fretboard, and are all neatly set into the wood with no sign of any filler.
And the open backed tuners completes the 'vintage' look very succintly.
Frets are all nicely shaped and rounded off, and a look inside the soundhole reveals smoothly sanded, neatly and tight-fitting braces with no excess glue visible.
My view? I think that these guitars from Blueridge are seriously well-made. The attention to detail, be it cosmestically or structurally, is impeccable.
First test that I always do is to check for even output. All 6 strings ring out very evenly, which is a good sign. Sometimes, certain guitars have very weak treble strings, or vice versa, that is something undesirable.
One thing to note, the BG-160 is a full-solid; solid spruce top, solid rosewood back and solid rosewood sides.
Due to the rosewood back and sides, the highs are snappy and bright with a lot of sparkle, and the lows are tight and deep.
With rosewood. we often 'perceive' that there is a scooped midrange because of the exaggerated highs and lows of rosewood; but in fact, the midrange is intact.
And on the BG-160, the midrange is not scooped even though it has a rosewood back and sides. On the contrary, the midrange is very punchy. This can be attributed to this particular body design.
This proves to be very good for leads, but chording wise, this guitar can handle it very well too.
Light strumming still sounds full and cohesive, and when you attack the strings hard, you will hear the guitar roar. It does not break-up too overtly, and neither will you feel that the top is compressing excessively, heavy strummers will love this about this guitar, as the output is not restrained in any way.
Fingerstyle wise, notes are crisp and detailed as well, which is pleasantly surprising for a guitar that handles flatpicking so well.
In conclusion, the BG-160 is a distinct instrument that is superbly constructed and good sounding. It delivers both the tone and looks of a vintage guitar but at a modest price-tag. What is does it to effectively bridge the gap between run-of-the-mill models and the high-end custom guitars.
So if you are in the market for a high-quality guitar but is somewhat reluctant to shell out S$4k and above for a Gibson and the likes, then it would be wise to check out what Blueridge has to offer. And also to find out for yourself what all the hype is all about.
What is it:
The Blueridge company is an offshoot of the South San-Francisco based Saga Musical Instruments, to introduce
its own “traditional” series guitars that give players a taste of vintage-modern vibe at considerably more affordable prices.
The Blueridge BG-160 are Chinese-made instruments that are modeled on a National guitar that was made by Gibson in the 1950s.
It features:
- solid spruce top, solid rosewood sides and back.
- slope-shoulder dreadnought body styles (16" wide at the lower bout)
- classic inlay patterns, lovely two-tone sunburst finishes
- old-world construction details such as hand-carved parabolic X bracing (which is of the smaller, thinner type used on the National guitars)
- dovetail neck joints.
- slim, “C”-shaped neck
- 24e" fretboard
- The open-gear tuners
- headstock accessible trussrods, which are easier to adjust than the type that must be accessed through the soundhole.
Evaluation:
Cosmetically, the Blueridge BG-160 is nothing short of stunning.
The beautiful two-tone sunburst finish complemented with its faux tortoise-shell, beveled edged pickguard is sight to behold.
The three-ply matching rosette is tasteful, and the headstock spots pearl inlays in the design of scroll with 'Blueridge' written in script emblazoned on it, surrounded by some flower of sorts. The intricate floral inspired pearl inlays continue on to the fretboard, and are all neatly set into the wood with no sign of any filler.
And the open backed tuners completes the 'vintage' look very succintly.
Frets are all nicely shaped and rounded off, and a look inside the soundhole reveals smoothly sanded, neatly and tight-fitting braces with no excess glue visible.
My view? I think that these guitars from Blueridge are seriously well-made. The attention to detail, be it cosmestically or structurally, is impeccable.
First test that I always do is to check for even output. All 6 strings ring out very evenly, which is a good sign. Sometimes, certain guitars have very weak treble strings, or vice versa, that is something undesirable.
One thing to note, the BG-160 is a full-solid; solid spruce top, solid rosewood back and solid rosewood sides.
Due to the rosewood back and sides, the highs are snappy and bright with a lot of sparkle, and the lows are tight and deep.
With rosewood. we often 'perceive' that there is a scooped midrange because of the exaggerated highs and lows of rosewood; but in fact, the midrange is intact.
And on the BG-160, the midrange is not scooped even though it has a rosewood back and sides. On the contrary, the midrange is very punchy. This can be attributed to this particular body design.
This proves to be very good for leads, but chording wise, this guitar can handle it very well too.
Light strumming still sounds full and cohesive, and when you attack the strings hard, you will hear the guitar roar. It does not break-up too overtly, and neither will you feel that the top is compressing excessively, heavy strummers will love this about this guitar, as the output is not restrained in any way.
Fingerstyle wise, notes are crisp and detailed as well, which is pleasantly surprising for a guitar that handles flatpicking so well.
In conclusion, the BG-160 is a distinct instrument that is superbly constructed and good sounding. It delivers both the tone and looks of a vintage guitar but at a modest price-tag. What is does it to effectively bridge the gap between run-of-the-mill models and the high-end custom guitars.
So if you are in the market for a high-quality guitar but is somewhat reluctant to shell out S$4k and above for a Gibson and the likes, then it would be wise to check out what Blueridge has to offer. And also to find out for yourself what all the hype is all about.
Phil
New member
HUMISTAT Hygrometers and Humidifiers!
We at Maestro are always sourcing for new, useful and affordable products to bring in.
And recently, the HUMISTAT Hygrometer and Humistat Humidifier have arrived.
Check out this thread to learn more about humidity.
Hygrometer
The Humistat Hygrometer is classy-looking little device that monitors the humidity level in your room or chosen space. It comes stock with double-sided tape at the rear so you can just easily stick it on your wall, or simply just place it in your instrument case.
Time to take the guesswork out of maintaining the optimum humidity level is your room or instrument case!
Humistat No.1
If you are wondering what's with the 'No.1', well, it's simply a model number. No.1 is the smaller one for smaller instruments like guitars, and its counterpart, No.3, is for larger instruments like cellos, etc.
The Humistat No.1 is used for humidifying your guitar. Take note, it is meant for cold and dry countries. Ideal for people who travel a lot to colder/dryer regions with their acoustic instruments. Because if your guitar gets too dry, it'd be prone to cracking.
The thing about the Humistat No.1 is how easy it is to use, and how effective it is. You simply add some water into it, adjust the control vents (the vents allows you to dictate how much moisture you want in your instrument case), and pop it into your instrument case. Yes, that's all!
You have full control over how much water vapour is emitted, and when the water runs out, just refill it. No mess, no hassle!
The Humistat No.1 is arguably the best humidifying tool in the market now. However, in the tropical heat and humidity of Singapore, what you need is a de-humidifier. And for that we are bringing in the Zorb-It soon. Stay tuned for its impending arrival and review!
The Humistat No.1(to humidify) coupled with the Zorb-It(to dehumidify) is, in my humble opinion, the best and most complete coverage for your prized instrument's humidity concerns.
We at Maestro are always sourcing for new, useful and affordable products to bring in.
And recently, the HUMISTAT Hygrometer and Humistat Humidifier have arrived.
Check out this thread to learn more about humidity.
Hygrometer
The Humistat Hygrometer is classy-looking little device that monitors the humidity level in your room or chosen space. It comes stock with double-sided tape at the rear so you can just easily stick it on your wall, or simply just place it in your instrument case.
Time to take the guesswork out of maintaining the optimum humidity level is your room or instrument case!
Humistat No.1
If you are wondering what's with the 'No.1', well, it's simply a model number. No.1 is the smaller one for smaller instruments like guitars, and its counterpart, No.3, is for larger instruments like cellos, etc.
The Humistat No.1 is used for humidifying your guitar. Take note, it is meant for cold and dry countries. Ideal for people who travel a lot to colder/dryer regions with their acoustic instruments. Because if your guitar gets too dry, it'd be prone to cracking.
The thing about the Humistat No.1 is how easy it is to use, and how effective it is. You simply add some water into it, adjust the control vents (the vents allows you to dictate how much moisture you want in your instrument case), and pop it into your instrument case. Yes, that's all!
You have full control over how much water vapour is emitted, and when the water runs out, just refill it. No mess, no hassle!
The Humistat No.1 is arguably the best humidifying tool in the market now. However, in the tropical heat and humidity of Singapore, what you need is a de-humidifier. And for that we are bringing in the Zorb-It soon. Stay tuned for its impending arrival and review!
The Humistat No.1(to humidify) coupled with the Zorb-It(to dehumidify) is, in my humble opinion, the best and most complete coverage for your prized instrument's humidity concerns.
Last edited:
Phil
New member
ToneRite Review!
What the hell is the ToneRite? Explained in layman's term.
It is basically a device that you mount onto your guitar's strings, e.g
Once plugged in and switched on, the Tonerite will pulsate/vibrate, in turn it vibrates the strings and the strings will cause your guitar to vibrate. Sounds just like when you play the guitar doesn't it? Well, that's exactly the point, the ToneRite aims to effectively mimic someone playing the guitar.
So why is this device needed?
It is widely recognised and accepted that solid wood guitars (or at least a solid top), will mature and 'open up' in time. The solid-wood will become more flexible and vibrate better. Different guitars will mature in different ways, but generally they become much more resonant and 'sweeter' with time and playing.
However it takes years upon years of playing to fully maximise the potential of your instrument. So you might not be able to experience your guitar at its full potential in this lifetime. So that's where the ToneRite comes in. It rapidly accelerates the 'play-in' process to allow your guitar to realise its full potential in just mere days.
Our personal experience with the Tonerite.
We used the ToneRite on a several of our guitars. First thing to note is that different guitars yield different results. And of course, a full solid guitar will have a lot more potential for improvement than a solid-top only.
- Maestro ED-1:
This guy is a tad bright and quite jangly.; solid spruce top with mahogany sides and back. After using the ToneRite on it, it became a lot warmer and fuller, yet retaining its characteristic sparkle and 'jangliness'. Also, it became a lot more resonant.
- Maestro ED-3:
I love the warmth and rounded-ness of the red-cedar top. It's beautiful for fingerpicking. But one thing about cedar is that there is a ceiling to it. It responses very well to light fingerstyle as the softer notes are being amplified very beautifully. However, the ceiling becomes very apparent when you strum hard. Unlike spruce tops which can take very heavy strumming, there is a certain threshold for cedar whereby after that, it just doesn't get any louder. So heavy pickers/strummers might get frustrated as they might not be able to get the projection that they need.
After using the ToneRite on the ED-3, first thing I noticed was the projection. It was very LOUD for a red cedar top. Very resonant too, you can feel the vibrations thumping against your chest when you play it. Shiok. So now this ED-3 is has the sweet, warm tones of red cedar with great projection. It is just amazing.
-Maestro Rosetta:
This is a full solid guitar, spruce top with rosewood sides and back. Very common combination of tonewoods here.
Before the ToneRite, it is already a splendid sounding guitar. Taut, tight, deep bass, sparkly highs and a nice organic midrange, if not somewhat recessed. But that is probably because of the exaggerated highs and lows that the rosewood provides that give you the perception of the mids being scooped. But it is not.
After using the ToneRite, everything just clicked for this guitar. As always, it became a lot more resonant, you can really feel the difference in the vibrations. It is as if it woke up from a deep slumber. Bass can be felt deeply, but it doesn't overpower the highs. The highs retain the sparkliness but it sounds a lot sweeter. Just playing a open D chord, you can hear the overtones and how the notes ring out and seem to combine and overlap one another, heavenly! When I play the simple D on some guitars, they just do not interact nicely with one another, sounds incoherent and uninspiring. You really have to experience it yourself. This is guitar is just so responsive and I can't put it down.
Our experiments with it show that all guitars will see an improvement in the resonance. How your guitar will mature, I cannot say for sure, because each guitar is unique. But one thing I can ascertain is that if you love how your guitar sounds, you will love it even more after it matures.
Here are some FAQs that customers have directed my way:
- Is it safe? Will it overheat and burn my guitar?
A resounding 'NO'. It will not cause any harm to your guitar in anyway if used correctly. I have not encountered or heard of it overheating before.
- How long does it take?
The recommended initial treatment is at least 72 hours. Obviously spruce tops will take a lot longer than the softer cedar top. But most guys I know just use it whenever they are not playing the guitar.
- Does it really work?
A resounding 'YES'!
For more information:
Official Website
More reviews and comments!
Some ToneRite before and after soundclips from BGW!
What the hell is the ToneRite? Explained in layman's term.
It is basically a device that you mount onto your guitar's strings, e.g
Once plugged in and switched on, the Tonerite will pulsate/vibrate, in turn it vibrates the strings and the strings will cause your guitar to vibrate. Sounds just like when you play the guitar doesn't it? Well, that's exactly the point, the ToneRite aims to effectively mimic someone playing the guitar.
So why is this device needed?
It is widely recognised and accepted that solid wood guitars (or at least a solid top), will mature and 'open up' in time. The solid-wood will become more flexible and vibrate better. Different guitars will mature in different ways, but generally they become much more resonant and 'sweeter' with time and playing.
However it takes years upon years of playing to fully maximise the potential of your instrument. So you might not be able to experience your guitar at its full potential in this lifetime. So that's where the ToneRite comes in. It rapidly accelerates the 'play-in' process to allow your guitar to realise its full potential in just mere days.
Our personal experience with the Tonerite.
We used the ToneRite on a several of our guitars. First thing to note is that different guitars yield different results. And of course, a full solid guitar will have a lot more potential for improvement than a solid-top only.
- Maestro ED-1:
This guy is a tad bright and quite jangly.; solid spruce top with mahogany sides and back. After using the ToneRite on it, it became a lot warmer and fuller, yet retaining its characteristic sparkle and 'jangliness'. Also, it became a lot more resonant.
- Maestro ED-3:
I love the warmth and rounded-ness of the red-cedar top. It's beautiful for fingerpicking. But one thing about cedar is that there is a ceiling to it. It responses very well to light fingerstyle as the softer notes are being amplified very beautifully. However, the ceiling becomes very apparent when you strum hard. Unlike spruce tops which can take very heavy strumming, there is a certain threshold for cedar whereby after that, it just doesn't get any louder. So heavy pickers/strummers might get frustrated as they might not be able to get the projection that they need.
After using the ToneRite on the ED-3, first thing I noticed was the projection. It was very LOUD for a red cedar top. Very resonant too, you can feel the vibrations thumping against your chest when you play it. Shiok. So now this ED-3 is has the sweet, warm tones of red cedar with great projection. It is just amazing.
-Maestro Rosetta:
This is a full solid guitar, spruce top with rosewood sides and back. Very common combination of tonewoods here.
Before the ToneRite, it is already a splendid sounding guitar. Taut, tight, deep bass, sparkly highs and a nice organic midrange, if not somewhat recessed. But that is probably because of the exaggerated highs and lows that the rosewood provides that give you the perception of the mids being scooped. But it is not.
After using the ToneRite, everything just clicked for this guitar. As always, it became a lot more resonant, you can really feel the difference in the vibrations. It is as if it woke up from a deep slumber. Bass can be felt deeply, but it doesn't overpower the highs. The highs retain the sparkliness but it sounds a lot sweeter. Just playing a open D chord, you can hear the overtones and how the notes ring out and seem to combine and overlap one another, heavenly! When I play the simple D on some guitars, they just do not interact nicely with one another, sounds incoherent and uninspiring. You really have to experience it yourself. This is guitar is just so responsive and I can't put it down.
Our experiments with it show that all guitars will see an improvement in the resonance. How your guitar will mature, I cannot say for sure, because each guitar is unique. But one thing I can ascertain is that if you love how your guitar sounds, you will love it even more after it matures.
Here are some FAQs that customers have directed my way:
- Is it safe? Will it overheat and burn my guitar?
A resounding 'NO'. It will not cause any harm to your guitar in anyway if used correctly. I have not encountered or heard of it overheating before.
- How long does it take?
The recommended initial treatment is at least 72 hours. Obviously spruce tops will take a lot longer than the softer cedar top. But most guys I know just use it whenever they are not playing the guitar.
- Does it really work?
A resounding 'YES'!
For more information:
Official Website
More reviews and comments!
Some ToneRite before and after soundclips from BGW!