Posts Tagged ‘Great Guitar’

Vacuum tube amplifiers are some of the most sought after amps in the industry due to their warm rich tones. For years people have compared certain types of amp tubes for their sonic richness and warmth. More than that, it seems to be the older vintage models that win most guitarists over for their great guitar tone. The big problem usually occurs when trying to find new old stock tubes, or at least tube that may be similar in its characteristics.

In this article we are going to look at the KT66 power tube. This well respected tube was introduced in the mid 1950′s by the Marconi-Osram Valve Company. They marketed their tubes under the name of “Genalex”. The KT66 was Europe’s version of the American 6L6GC.

The KT66 tube is quite larger than the 6L6 in physical size. It also has quite a big sound to go along with it’s size. The tube was used in the famous Marshall Bluesbreaker Combo in 1965 – 1966. Marshall eventually changed to the more readily available EL34.

If you’re lucky enough to find an original new old stock matched pair of KT66 tubes, you should be prepared to pay around $600.00. This is the current cost of these “original” bad boys.

On the other hand, you can get a matched pair of the reissue Genalex KT66 tubes for a much more affordable price of $99.00. These reissue tubes duplicate the large clear bottle of the UK tube, as well as it’s brown base, gold-ink lettering with prancing lion logo, gold plated screen, and huge plate structure.

The comparison between the original KT66 tubes and the reissue tubes are as follows:

The early original KT66 tubes sounded big and brawny, with extended lows and a very rich and detailed set of mids and highs. Something all guitar players tend to look for in a quality tube. The reissue Genalex KT66 tubes sounds incredibly similar to the original. They deliver an almost identical sense of presentation and focus. They did not seem to drift into the dreaded saggy zone when pushed into distortion. As with the original tubes, the reissues KT66′s overdrive voice is throatier and more british-sounding than the 6L6′s, and they respond beautifully to the changes in picking and volume dynamics.

It’s very easy to see why this robust-sounding tube remains so popular with savvy musicians. With such a great-sounding reissue tube available at only a fraction of the cost of the originals, it’s an attractive replacement for any 6L6 amp that has enough cabinet space to accommodate the KT66′s tall bottle.

As far as long-term reliability of the reissue, it’s hard to say for sure because the superbly made original is a tough act to follow in that regard. However, if you’re interested in getting great guitar tone with the highly acclaimed KT66 power tube, the reissue Genalex model really hits the mark.

I hope this has helped shed light on the highly acclaimed KT66 power tube.

For more information on Great Guitar Tone see details below.

Thank You,

Bob Molton

One of the best features of a new acoustic electric guitar is the built-in controls included with it. All you need to do would be to get specially designed electric acoustic guitars, plug in and hit “record” and you have a great acoustic sound for real. Unlike many acoustic electric, the Yamaha LLX-500C sides are solid instead of laminated.

Although it takes more than a great guitar to play well, having an acoustic electric guitar represents a big
step in that direction. An electric acoustic guitar is just like a normal acoustic except for one
very important difference: right, the amplification. With electric acoustic guitars, you can get
the best of acoustic guitar sound onto your recording without understanding even the most basic laws of
sound waves.

The acoustic electric guitar represents a new era in my playing. Do you buy an electric,
acoustic, classical and acoustic electric. Acoustic electric guitars – Some steel-string
acoustic guitars are fitted with pickups as an alternative to using a different microphone.

Acoustic electric guitars have the sound of an acoustic, but are amplified electronically. In
addition, acoustic electric guitars are likely to include superior quality pickups, and these pickups will be
well mounted. Because the unamplified sound of a guitar is not loud enough to compete
with a full range of other stringed instruments, the development of acoustic electric guitars filled a
need.

When I played for fun I didn’t need an acoustic electric guitar. These are called electric
acoustic guitars and are regarded as acoustic guitar rather then electric guitars. The
majority of acoustic guitars you see on stage are acoustic electric guitars.

An electric acoustic guitar is made up of wood and has six strings which produce a rhythmic, sweet,
musical, yet loud sound. Their Aj60SC acoustic electric and the 12 string are two of the
most popular. An acoustic electric guitar does have several advantages over a normal
acoustic with an added pickup.

When you are just playing by yourself, you have no need for an acoustic electric guitar.

Guitar Electric

Besides, learning the basics from an acoustic guitar teaches one to use a holistic guitar
playing approach rather than relying on the effects and features of an electric guitar.

Additional personnel includes: Craig Chaquica (acoustic guitar); Grant Geissman (electric guitar, sitar); Brian Hughes (electric guitar, oud); Miles Gilderdale (steel guitar); Greg Carmichael (nylon string guitar); Douglas Spotted Eagle (Native American flute); Tom Scott, Jimmy Sommers, Bryan Savage (saxophone). OK, now that we”ve briefly gone over the different types of Acoustic and
Electric guitars, we can now move on to the criteria for choosing a guitar.

Ibanez JEM is an electric guitar, which was first produced in the year 1987. It can be a little
harder to test electric guitars. This feature is especially useful for people who have no
money to buy an effects box since a distortion feature is the most essential for any electric
guitar.

As a beginner, one of these electric guitar brands may satisfy a person’s craving for rock
music. The Nearness Of You – Personnel: Norah Jones (vocals, piano, Wurlitzer piano);
Jesse Harris, Kevin Breit (acoustic & electric guitars); Tony Scherr (acoustic guitar, slide guitar); Adam
Levy, Bill Frisell (electric guitar); Adam Rogers (guitar); Jenny Scheinman (violin); Sam Yahel (Hammond
B-3 organ); Rob Burger (organ); Lee Alexander (bass); Brian Blade (drums, percussion); Dan Reiser,
Kenny Wollesen (drums). You will likely need to purchase an amplifier if you choose an
electric guitar.

There are generally two basic types of electric guitar: hollow-bodied and solid-bodied.
What you do next will vary depending on the type of electric guitar you have. Electric Guitars:
these types of guitars made out of a solid piece of wood and rely exclusively on their electronic pickup
systems and amplifiers for their volume.

You will definitely experience a strong Lennon quality here in its electric guitar theme and echoed
vocals. Phasing effects in modern music are typically used in conjunction with electric
guitar, and it is also used to “sweeten” the sound of electric keyboards. If you”re going to
play music that is relatively soft such as folk music, you probably don”t want to get yourself a
Rickenbacker electric guitar.

The Mixolydian Mode is a great guitar scale to use against dominant types of chords. In essence, the Mixolydian Mode is a major scale that contains a minor 7th interval between the root note of the scale and it’s 7th degree. This minor 7th interval gives the Mixolydian Mode it’s dominant flavor. In a traditional major scale, the 7th degree interval is a major 7th not a minor 7th degree. Hence, dominant.

In order for a true Mixolydian tonality to emerge, the tonic note must be established, the major 3rd scale tone must be voiced, and the lowered 7th scale tone must be used. Otherwise, Mixolydian tonality is not authentic.

There are some general rules applicable to Mixolydian chords and progressions. For example, one must always use the I major chord (this establishes the tonic home-base for the listener), and the V minor or the bVII major chord(s) must be used so that the b7th scale tone is actually sounded. For this particular article, we will be analyzing the C Mixolydian Mode (scale) and it’s corresponding tonality (chords and scale tones).

The following chord progressions are strong Mixolydian progressions. It’s best to think in terms of triads when using the specific chords necessary to portray Mixolydian tonality. However, when these chords are extended to their diatonic 7th’s, 9th’s, and 13th’s, a very contemporary flavor and sound will emerge.

1) I major (C major) progressing to the bVII major (Bb major), progressing back to the I major (C major).

2) I major (C major) progressing to the bVII major (Bb major), progressing to the V minor (G minor), progressing to the IV major (F major), progressing back to the I major (C major).

3) I major (C major) progressing to the IV major (F major), progressing to the bVII major (Bb major), progressing to the I major (C major).

4) I major (C major) progressing to the V minor (G minor), progressing to the I major (C major).

5) I major (C major) progressing to the V minor (G minor), progressing to the VI minor (A minor), progressing to the IV major (F major), progressing to the I major (C major).

6) I major (C major) progressing to the V minor (G minor), progressing to the IV major (F major), progressing to the V minor (G minor), progressing to the I major (C major).

7) I major (C major) progressing to the V minor (G minor), progressing to the bVII major (Bb major), progressing to the V minor (G minor), progressing to the I major (C major).

Note that in all of the above referenced chord progressions, the tonic was always established. In other words, the listener was given a strong starting point for tonality and a strong return to the tonality. Always remember to define a strong tonality for the audience. Subconsciously, a listener doesn’t enjoy being left up-in-the-air musically. Give them something to hold on to.

The Mixolydian Mode, as with all other modes, has it’s own unique characteristics. It is beneficial for all guitar players to learn (or remember) these characteristics. The small details can, sometimes, make the difference between a great guitar solo (or chord progression) vs. a mediocre guitar solo or performance. But this is just the beginning. We’re barely scraping the surface here. As any of my students would testify, the rabbit hole gets deeper and deeper. However, their actual education gets easier and easier. The application becomes automatic for them.

It’s absolutely refreshing and empowering to approach an authentic playing situation with confidence. How is this achieved? Education and practice. There’s mental and there’s physical. One without the other is incomplete.

There are many guitarists who play extremely well. However, the truth be known, there are, most likely, giant gaps in their understanding of key signatures, key changes, chord construction, scale application, intervals, substitution principles, and much, much more. Does this make them any less of a musician (in their own realm) than anyone else? Of course not. Could they become better as a result of a pro-end education? Absolutely yes.

Something as simple as the Mixolydian Mode, it’s analysis and understanding, has the potential to launch an entire new desire to progress as a guitarist. It’s amazing how much music can result from simple concentration and practice. As a player, there’s good and there’s great. The difference is the decision to progress.

For those of you contemplating guitar lessons, make sure that you are well matched with your guitar instructor. Define your goals and don’t waste time. If your goal is to play a few songs and strum a few chords, then almost anyone can help you with that goal. If your goal is to progress beyond your favorite artist, then you should aim for the best-of-the-best for instruction and educational material (theory and application).

Until next time, practice, practice, practice.