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ENCYCLOPEDIA OF RADIO ELECTRONICS AND ELECTRICAL ENGINEERING Guitar gadgets. Encyclopedia of radio electronics and electrical engineering
Encyclopedia of radio electronics and electrical engineering / Musician Amplifier
The most important thing after the guitar. The choice of amplifier determines how clear the sound will be, and how it will meet your needs. In theory, the amplifier should be from the same price category as the guitar. It makes no sense to buy a cool amplifier for a bad guitar, it will not improve the sound of the instrument. And vice versa - if you have an expensive guitar, it is advisable to purchase an appropriate amplifier. But, as a rule, all the money is spent on buying a guitar, so if your dad is not B. Berezovsky, then buy something inexpensive to start with, maybe even domestic or second-hand. If yes, then I recommend Marshall Lead 12 + 4 Crown 800W power sources. There are 2 main types of amplifiers:
What is the best amplifier to buy? Until recently, tube amplifiers were much more expensive and most beginner guitarists, due to limited funds, preferred to buy transistor amplifiers. Currently, the prices for amplifiers of both types are quite comparable. So, just like when choosing a guitar, you should rely on your ear. Just play with both types of amps and decide what you like best. The fact that most of today's hardcore guitarists prefer tube amps shouldn't affect your choice. Do not forget that tube amplifiers weigh more than transistor ones, require periodic tuning and replacement of tubes, and also give an overloaded (overdrive) sound only at high volumes. The latter circumstance should be taken into account if you do not have a rehearsal base in the form of a room without neighbors. If you live in a panel house, and even with parents who, in their youth, listened to Kobzon, and not Black Sabbath, then a tube amplifier is an unaffordable luxury for you. In the sense that you will not be allowed to play through it at high volume. What to look for when choosing an amplifier:
guitar effect
The guitar effect (FX-pedal, fuzzbox) is a small (14-8-6cm) box - a pedal that you need to press with your foot to change the clean sound of the guitar to something cooler. In the form of pedals, guitar effects are performed most often, although not always. As mentioned earlier, the effect can be built into the amplifier. There are quite a few guitar effects, and each of them transforms the sound in its own way. Listed below are those whose effects on sound, I know. I gave the names of the types of effects, the names of specific models may coincide with them, contain them in their names, or be completely different.
Where to start? Which effects are vital for a guitarist, and which ones are optional? I think that whatever music you play, Distortion is a must for you. Then it all depends on musical preferences. It is clear that if I play the blues, then I can somehow manage without Heavy Metal Distortion, but it is unlikely without Overdrive. In principle, Reverb and Chorus will not interfere with anyone. Especially Reverb, since reverb, most often small, is almost always present in any music. Wah is also often used in music, and perhaps if you buy a Distortion or Overdrive and have a Reverb built into the amplifier, you will want to get this particular effect. Next on the list of my personal favorites is Flanger. Effects can work separately, and can be superimposed on each other. It is recommended to connect effects in the following order: AMP <- Reverb <- Chorus <- Heavy Metal <- Distortion <- Wah-Wah <- Over Drive <- Comp. Sustainer <- GUITAR. Just because effects can work together doesn't mean they can all be enabled at the same time. If you do this, then from the amplifier you will hear not musical sounds, but the screams of a heffalump wounded in the scrotum. There is a certain compatibility of various effects with each other. So, Reverb and Chorus can work together with Distortion, but Heavy Metal cannot. Pedals work from Krona batteries or DC 9V adapter. To connect the pedals to each other, cords are not needed, there are special "Jack" plugs for this purpose ($2).
There are also so-called guitar processors (Multi-effects pedal) - large boxes, usually with several pedals and a set of built-in guitar effects. For example, Zoom offers for a little over $ 100 ZOOM 505 Compact Guitar Multi Effects Pedal - a pedal with 24 effects (distortion, delay, reverb, wah, chorus, flanger, EQ, 2-octave pitch bend and others), 9 of which can work simultaneously. The device also has a built-in tuner. The only thing to keep in mind when choosing between a processor and a set of separate pedals is that effects in pedals are better in quality than in processors. In addition, if the processor breaks, you will immediately be left without all the effects. In addition to pedals with one effect and guitar processors, there is something in between - one pedal with two or three effects. For example, Dod produces the Chorus/Flanger in one package for $80. Mediator
As you probably already know, a plectrum (pick) is a triangular-shaped plastic plate with which sounds are extracted from a guitar. Like strings, picks vary in thickness. Thick picks are difficult to play, too thin are also not very comfortable. In order to find the thickness that is most convenient for you, try a few different ones, the one that seems better to you than the others is yours. Remember its thickness and continue to buy the same. There is, however, such a pattern - it is more convenient for beginners to play with thinner picks, for steep ones - with thicker ones. So over time, you may want to move from thin picks to medium picks, and then maybe to thick picks, who knows. The thickness of the pick (in millimeters or inches) is written on one of its sides. Personally, I prefer 0.58 mm. Some firms make picks with a rough surface so that they do not slip out of the fingers. If the firm has cheated and made a completely smooth pick, take a knife and carefully cut the part that you are holding. Just do not overdo it, do not cut the part that touches the strings during playing. Picks tend to gradually wear down on the strings. Change the pick as soon as they become uncomfortable playing. How often you need to buy picks depends on how often you play and how extreme the music is. The best and most expensive picks are those made from tortoiseshell (note for new Russian kids). Electric guitar tuner
I note right away that the presence or absence of a musical ear has nothing to do with it. Even if you know how to tune a guitar, you can hardly do it as quickly, accurately and easily as with this pager-sized device.
If the computer has a sound card, then you can tune using the program by connecting the guitar to the computer through the microphone input. Price - $16 (KORG GA20 Guitar Automatic Tuner) capo
A capo is a clip that is attached to the fretboard at one of the frets. By shortening the neck in this way, the guitarist gets the opportunity to play in the keys he needs, using the usual chord fingerings. Once I did not know that there are such clips and could not understand what the words "Capo 1st fret" mean. And they mean that before you start playing this music, you need to attach a capo on the first fret. The capo is not used very often and is not among the necessary lotions. Price - $6. Metronome With its help, the student develops the correct sense of rhythm. There are mechanical (a pyramid with a pendulum) and electronic (a box with a display). Some of them contain a built-in tuning fork, which is needed to tune the guitar if there is no tuner. Personally, I don’t have such a thing yet, but there is a program that works not much worse than a real metronome. Price - $18 (TEMPUS QM-30 Quartz Metronome) Cord Jack-Jack cords connect the guitar to the effects and amplifier. Before, I thought that they were all the same, but when I compared the Russian and the US ones, that's when I, as they say, felt the difference. The American cord is slightly thicker and more expensive, but the sound with it is more voluminous. So cords are important, don't skimp on cords. You will need two cords to connect the guitar to the amplifier through the pedal (guitar --- pedal --- amplifier). Price - from $1 per meter Belt Well, everything is clear here. The strap length is adjustable so they are all the same. Just choose the color you need. Well, do not take too narrow a belt - it will cut your shoulder. Price - $6-8. The minimum set of a guitarist is a guitar, an amplifier and a mediator. Instead of an amplifier, you can use a regular tape recorder with a microphone input. Everything else can be bought in addition to the appearance of banknotes. If we sum up all the above prices (without the price of the amplifier), we get somewhere around 100-130 bucks. Plus the price of the guitar itself, the case for it and the amplifier. Here also consider. Personally, I got $450. I think this is the minimum. Expensive, of course, but if you drink naked beer and save on chips, then one day ... AKAI RIFF-O-MATIC U40Variable Tempo/Constant Pitch Phrase Recorder Almost all playing musicians are probably involved in recording "phonograms. Many simply spend hours at the tape recorder, trying to reproduce note-for-note the solo of their favorite guitarist. However, the whole trouble lies in the fact that some passages are "removed" very difficult due to objective circumstances. - firstly, it may be insufficient practical and theoretical training of a musician or an underdeveloped ear. Secondly, many passages are played at a very high speed, due to which the ear does not have time to recognize individual notes. Thirdly, even venerable guitarists sometimes play some notes. not entirely accurate, "lubricating" them or simply "implying" (slightly denoting). Until quite recently, the only way to slow down the playback tempo was the "old-fashioned" way - you had to record a passage on a reel-to-reel tape recorder at a speed of 19, and then play it back at a speed of 9,5, XNUMX (in this case, the pitch dropped exactly by an octave.) Modern digital technologies, which replaced analog equipment, made it possible to handle sound more freely - to arbitrarily vary the playback speed without changing the pitch, and vice versa - to vary the pitch without changing the playback speed. The Japanese corporation AKAI, one of the leaders in the development of sampling technologies, produces a similar digital device called RIFF-O-MATIC U40, which is used to record musical phrases and then play them at a different tempo and / or in a different key.
Outwardly, the U40 is a small, light rectangular body that practically fits in the palm of your hand. The top panel contains the device controls - recording and playback buttons, recording level indicator (consisting of three LEDs) and operating mode buttons. Proper arrangement of controls and graphic design of inscriptions makes the work with the sampler intuitive; you don't even have to look into the user manual (by the way, it is very detailed and intelligible). On the back of the device there are connectors for connecting various external devices - LINE IN, INST.IN, LINE OUT, HEADPHONE and a power connector (adapter included). The sampler supply voltage is non-standard - 10,5 volts, which is apparently connected with the supply voltage of the microcircuits. Also on the rear wall are two potentiometers - LINE IN LEVEL and OUTPUT LEVEL, which regulate the levels of input and output signals, respectively. There is no power switch on the device - when you turn on the adapter in the network, it is immediately ready for use. The U40 phrase sampler provides the user with all the basic functions that can be useful when "removing" any musical passage from a soundtrack. It is possible to select the sampling frequency of the signal, and, accordingly, the recording time. At 20 kHz the recording time is 13 seconds, and at 10 kHz it is 26 seconds. It should be borne in mind that the quality of the recorded signal is greatly reduced; because at such sampling rates, the upper limit of its frequency range does not exceed 10 kHz (5 kHz). The recorded signal can only be played back in monaural mode with three different speeds: original, 2/3 original and 1/2 original; naturally without changing the pitch. However, regardless of the playback speed, the pitch can also be adjusted within 6 semitones up or down. Fine tuning (+/-50 cents) has also been introduced to fully match the keys of the instrument and the musical passage. In the process of working with the device, it is possible to stop recording at any time, loop any time interval of the recorded phrase, turn on the frequency filter (MID, LOW) to highlight one or another section of the audio range. An interesting possibility is provided by the note grabber (NOTE GRABBER) - pressing the button of the same name leads to looped playback of a very short (within several samples) section of the audio track. Thus, a note that has fallen into this area, as it were, "freezes" and can be easily picked up on the instrument. Many musicians will agree that this feature is indispensable when "removing" a quick-firing guitar passage. Undoubtedly a useful function can be realized using the CONTINUOUS RECORD button; a similar function is present in MD players called "time machine". Its essence lies in the fact that the last 2-second sample of the input signal is constantly stored in the buffer memory of the device. Therefore, even if you missed the beginning of the passage, it is still not too late to press the record button - the passage will still be recorded in its entirety. There is a special input - INST.IN - for the instrument, on which the music is "picked up" with your help, from which the signal is mixed into the recorded passage. When using headphones, the whole process takes place in almost complete silence for others! Working with a digital sampler is completely similar to working with a conventional tape recorder. A source (such as a CD player) is connected to the LINE IN jack and the desired musical passage is played back while the NORMAL RECORD button on the U40 is turned on. Before this LINE IN LEVEL control, the recording level is set (control is carried out by a three-point LED indicator). If you want to record a sufficiently long passage, you must first press the REC TIME x2 button; in this case, the recording time increases from 13 to 26 seconds. To implement the CONTINUOUS RECORD function, the button of the same name is pressed twice - the first time the sampler switches to this mode, the second time it records the soundtrack, taking into account the two-second interval that has elapsed before the button was pressed. Recording stops automatically, after the maximum time allotted for recording, or manually by pressing the PLAY/STOP button. After that, the recorded passage starts to automatically play in a circle. If you need to highlight any phrase in the recorded passage, this is done very simply - in PLAY mode, at the beginning of the phrase, the SET LOOP / START button is pressed, and at the end of the phrase, the SET LOOP / END button. After that, the selected section is played back in a looped mode. To erase the loop start and loop end marks, both buttons must be pressed at the same time. In order to change the playback characteristic, the required parameter is selected with the SELECT button (playback speed, frequency filter, semitone or cent adjustment of the tone), and the desired parameter values are set with the UP and DOWN buttons. Unfortunately, it is not possible to track the tone shift (both semitone and cent) by LED indicators; the only information that the device gives is its position relative to the original key - higher, lower or the same. The NOTE GRABBER function is very easy to use - just press the button once at the right place in the passage, and the "captured" note will be played in a looped mode. In order to "rob" the next note, it is not at all necessary to start all over again. It is enough to move forward or backward through the phrase with the UP and DOWN buttons - with each press, the next small portion of samples will sound. When the device is turned off, all information recorded in it, of course, is lost. Pros: + small size
Undoubtedly, the main advantage of the U40 is its purpose - assistance in training sessions in the analysis of musical material recorded on a phonogram. If the device had an autonomous power supply, then it would have no price at all - it would be possible to practice anywhere with the player - on the train, road and other places. The sound quality of the sampler leaves much to be desired, but this characteristic is not dominant for this type of device. Apparently, it makes sense to buy U40 for musicians who have not yet acquired a computer, since modern sound editors (SoundForge, WaveLab, etc.) allow you to perform the same operations with an order of magnitude higher quality and capabilities. Fender Frontman 25R Fender is well known to all guitarists as a manufacturer of famous guitars that need no introduction. She is no less known for her high-class "amps", which are played by many eminent musicians. But, in addition to expensive models of combo amplifiers, Fender also produces products at a low price category for musicians on a limited budget. A prime example of this is the recently launched Frontman series, of which we'll take a look at the Frontman 25R, a solid-state 25-watt two-channel combo amp with a three-band EQ and built-in spring reverb.
The combo amplifier has small dimensions and weight (a little more than 11 kg), and is made in a standard black color. On the top wall there is a handle for transporting the device. Very often, in small combo amplifiers, the control panel is located in a special recess between the top and rear walls; here it is located on the front wall. This is a definite convenience if the combo is located high, but if it is on the floor, then every time you have to bend down to turn one or another knob. The entire front wall (with the exception of the control panel) is covered with a plastic protective mesh, through which a ten-inch dynamic head peeps through. The company logo is in the upper left corner. The back wall is half open. It lacks any connectors or switches; they are all placed on the control panel. The undoubted advantages of the internal design include the fact that the combo amplifier is accompanied by a circuit diagram and a layout of components on a printed circuit board. As you know, in our country, service centers of musical equipment manufacturers can be counted on the fingers, and they are mostly located in Moscow. Here, in the event of a breakdown, the guitarist can fix the amp himself or with the help of a radio amateur friend, and the attached circuit will greatly facilitate this task. On the extreme right side there is a power switch and next to it is the power indicator (red LED). To the left you can see three jack connectors. Headphones, external loudspeakers (with a resistance of at least 8 ohms) and an external channel switching pedal are connected to them, respectively. When headphones or an external speaker are connected to the combo amplifier, the internal speaker is automatically muted.
On the left side is the input connector ("jack"), which serves to feed the guitar signal to the preamplifier. The input impedance of the amplifier is at least 1MΩ, the nominal level of the applied voltage is 100mV. The first channel of the amplifier ("normal") is intended for playing with a clear sound. In this mode, the "Volume" knob adjusts the volume of the sound, the "Treble", "Mid" and "Bass" knobs control the high, medium and low frequencies of the signal, respectively. The second channel ("drive") serves to overload the amplifier and is turned on using the white "Gain Select" button (duplicated by the "Foot Switch" foot pedal). Channel activation is indicated by a red LED. In this mode, the "Gain" knob sets the input sensitivity level of the amplifier, and the "Volume" knob - the volume of the sound. High, medium and low frequencies are adjusted in the same way as in the previous case. The spring reverb works constantly and has only one adjustment - "Reverb" (reverb level). The sound of the combo is quite consistent with its size. It is difficult to expect any outstanding characteristics from such dimensions and a 10-inch speaker. However, low frequencies, which are most dependent on speaker volume and cone size, are surprisingly deep and not boomy. As for the overall picture, there was an impression of a certain "flatness" of sound and the predominance of the "middle"; however, with the help of an equalizer, these defects can be easily corrected or masked. In overload mode, you can hear the characteristic transistor sound, not particularly bad and not particularly good. When using this mode, it is recommended to "shake" the guitar signal with some kind of "gadget" beforehand; this will give much more opportunities in terms of obtaining the optimal sound picture. The spring reverb is characterized by a standard overtone for this class of devices and does not have a very good sound quality. Unfortunately, the combo amp does not have a button to turn off the reverb, it can only be turned off by setting the reverb level to "0". This is sometimes inconvenient. The description provides four schemes for setting the controls to get different sounds with different pickups (at the nut and at the neck). These diagrams will help beginners take their first steps in "tuning" the guitar sound. In general, the combo amplifier sounded as expected from it. Advantages: + a circuit diagram is attached
The Frontman 25R is good primarily as a "home" or rehearsal amp. Its capabilities are clearly not up to concert use, although it can be useful in small clubs. And, of course, it fully justifies its price with its capabilities and sound. Publication: cxem.net
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