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STRING INSTRUMENT
Guitar Woods Guide - Acoustic Guitar - Electric/Bass Guitar - Violin/Viola & Cello/Bass
Take extra care to prevent exposure to sudden changes in temperature and humidity. Avoid direct, extended exposure to:
* Sunlight
* Rain
* Heaters
* Air Conditioners
Guitar Woods Guide
Wood is one of the largest determining factors of a guitar’s sound and longevity. Specific woods used to build guitars, acoustic and electric, are called tone woods. Tone woods have resonant properties that other woods do not. For example, oak is a beautiful and strong wood, but it has no resonant properties, which would not be best for guitar building.
Alder We find that alder has the richest tone, characterized by lots of fat low-end, well defined mid ranges and a lot of sustain. Alder is a light wood, which makes it more comfortable for lengthy gigs. It is one of the original woods used for solid body guitars. Although other manufacturers use woods like poplar and basswood, they are considered alder substitutes.
Solid Alder Alder is a fairly light and incredibly resilient wood that is a favorite amongst electric guitar makers. It is a close-grained wood with a naturally light tan color. Alder is mostly used for electric guitar bodybuilding because of its full sound, great sustain and density. It is a porous wood that takes quite well to a variety of finishes. This gives the guitar a richer sound because the solid wood soundboard can vibrate more freely and thoroughly.
Spruce Spruce is the most commonly used wood on acoustic guitar soundboards. The soundboards on acoustics are generally made of tightly grained spruce. Naturally yellow in color, spruce is a lightwood that has a very high degree of resonance, so it is a perfect match for acoustic guitars.
Solid Spruce Solid spruce refers less to a difference in the wood than to how it is actually cut for the guitar. Laminate spruce soundboards are built as layers of cross-grained wood glued to each other. Solid spruce soundboards consist of one piece of wood running all the way through. This gives the guitar a richer sound because the solid wood soundboard can vibrate more freely and thoroughly.
Canadian Sitka Spruce Canadian Sitka Spruce is a harder to find, more expensive variety of spruce. It has a light yellow color and is also used for acoustic guitar soundboards. It gives guitars a bigger more resonant sound, flush with crisp highs. It also improves with age more than other types of spruce.
Mahogany Mahogany is a moderately dense and very durable wood. It is commonly used for the backs, sides and necks of acoustic guitars. It is sometimes used on electric guitar bodies and necks. Because it is very sonorous and durable, mahogany is also used in banjos, resonators, ukuleles and acoustic guitar soundboards. It is lighter than maple and specifically provides acoustic guitars with great sustain. Mahogany also provides great weight balance between the neck and the body of an acoustic. It is reddish-brown in color and is incredibly strong and resonant, giving the guitar big, beautiful tones.
Maple Maple is a strong and extremely dense, heavy wood. It is excellent for guitar necks and bodies because it can handle an inordinate amount of string tension. Maple has a bright and crisp tone and is used on flamenco guitars as well as some electrics. It has a wide variety of exotic grains that show up quite well when finished. Flamed maple is a very popular and brilliant looking exotic type of maple. “Flamed” refers to the rippling, or curls of the grain of wood that run across the body. Flamed maple in generally “book matched,” which means that the body is made of two half pieces of a single cut piece of maple. This gives the guitar even weight, look and tone throughout the body.
Nato Nato wood, also known as Eastern Mahogany, is a reliable, strong wood used on guitar necks. It is a value-priced wood used more for beginner instruments. However, it still embodies all of the properties of more commonly used mahogany.
Roundneck vs. Squareneck
Don’t
be a square, unless you are a slide player! Many of our resonator
guitars come with a roundneck or squareneck option. The roundneck is
the most common style found on most guitars. The squareneck is used
for slide playing, since the nut sits higher and the strings set a
greater distance from the fingerboard.
What is a resonator guitar?
The
history of the resonator dates back to the early 1920’s. This was an
era when the resonator was a favorite among blues musicians. Resonators
are also known as resophonic guitars and are characterized by a shaped
cone for amplification, instead of a soundboard like on an acoustic
guitar. The shaped cone is nestled underneath the bridge of the guitar.
The bridge is connected to the cone so that when the strings are hit,
the vibrations run through the saddle and then into the bridge, which
resonates the cone. The cone acts like a built-in speaker and the body
acts as a speaker cabinet. This made the resonator, a pre-cursor to the
electric amplifier, one of the loudest stringed instruments available
in its time. The sound produced by these specially shaped cones and
bodies is very bright and snappy with great sustain and a slight
attack. Resonators are still favored today by blues and country
musicians as well as a new generation of players. All of our resonators
feature excellent construction, design and plating and are known for
their distinct projection and ethereal tone.
How To: Changing Resonator StringsThe
strings on a Resonator Guitar help hold the cone in place and prevent
it from slipping. Adjusting all the strings at the same time will
misplace the cone, which will cause a buzzing sound when played. When
you do change your Resonator strings, it is best to only change one
string at a time, paying particular attention to not upsetting the cone.ACOUSTIC GUITAR
First
and foremost, make sure to have your guitar on a stand or inside of a
case when not in use. This protects your guitar from damage from as
little as scratches to cracks and dents in your guitar. Make sure to
play with clean hands because anything on your fingers will transfer to
the fingerboard and strings. Also wiping down the strings and body
after each session with a soft cloth will remove oils and dirt. When
changing your strings, make sure to clean off the fingerboard to remove
such oils and dirt.
Temperature can affect
your guitar. Make sure not to keep it in extreme temperature, this
could lead to cracking in the wood. Humidity is another thing to watch
out for. When it is really dry, the top of a guitar could move inward
and also cause the neck to move forward. Likewise under humid
conditions the opposite could occur. Your string height will change on
your instrument.
ELECTRIC/BASS GUITAR
First and foremost, make sure to have your guitar on a stand or inside of a case when not in use. This protects your guitar from damage from as little as scratches to cracks and dents in your guitar. Make sure to play with clean hands because anything on your fingers will transfer to the fingerboard and strings. Also wiping down the strings and body after each session with a soft cloth will remove oils and dirt.When changing your strings, make sure to clean off the fingerboard to remove such oils and dirt.
Temperature can affect your guitar. Make sure not to keep it in extreme temperature, this could lead to cracking in the wood. Humidity is another thing to watch out for. When it is really dry, the top of a guitar could move inward and also cause the neck to move forward. Likewise under humid conditions the opposite could occur. Your string height will change on your instrument.
It is very important you check all the hardware on your guitar regularly. Make sure switches swing back and forth with ease. Pick ups should be dust free. Check screws to make sure nothing is loose.
GUITARS
Humidity & How It Affects Your Instrument.
It is important to note that your solid top acoustic guitar- like all acoustic guitars – is made of wood and this has certain implications with regard to environmental factors, particularily in the case of solid wood instruments. A minimum of care and due attention to these factors should ensure that your guitar will last a lifetime. Wood changes according to its environment. In high humidity conditions, wood will absorb moisture and expand, while in dry conditions it will shed moisture and contract. Solid wood is especially vulnerable to changes in humidity as it gains and loses moisture more quickly than laminated wood and thus expands or contracts to a greater degree. Acoustic guitars are typically manufactured in an environment with a neutral humidity level of 45 to 55% relative humidity. Relative humidity or RH refers to the amount of moisture present in the air relative to the maximum amount of moisture the air can hold before saturation. The air’s maximum threshold for holding moisture will increase with the temperature. This is why when a room is artificially heated in winter time, the RH will drop dramatically as the air’s capacity for moisture retention is increased without an additional source of moisture being provided. In general terms, a guitar is at it’s most stable when in an environment that is most comfortable for humans, in other words where the RH is between 45 and 60%.
Low Humidity
If your guitar is exposed to an RH level of below 40%, the wood in your guitar will lose moisture, contract and become brittle. This can cause the top to become concave, the fret ends to feel sharp and the action to lower, causing buzzing when the guitar is played. If the guitar is stored for an extended period in a low RH environment, particularily if this is lower than 30%, glue joints may fail, notably causing the bridge to become unstuck from the guitar due to the top contracting. The top itself may develop cracks in the finish and in the wood itself. If you live in a dry area with low humidity levels, we would recommend that you keep your guitar in its case as much as possible whenever it is not in use. A case will insulate the instrument against changes in temperature and humidity. If you prefer to keep the guitar out of its case, we would recommend that you invest in a hygrometer to measure the RH level of the room where your guitar is kept. A humidifier is another useful tool to ensure that this RH level is kept at a safe reading of 47%. If you are subject to travelling/touring a lot with your guitar, a hygrometer and humidifier can be installed in the case with the guitar to keep the RH inside the case at an acceptable level. In such an instance, the hygrometer must be placed on the outside of the case’s inner accessories compartment on the side closest to the guitar’s body. The humidifier should be placed inside the accessories compartment itself.
High Humidity
Conditions of high humidity will have a less potentially devastating effect on your guitar, but are harder to effectively guard against. The maximum safe RH is 65%. Beyond this level, the guitar will expand as the wood absorbs moisture. This will manifest itself in the top and back becoming bloated and convex. With more prolonged or extreme exposure, the bloating will expand to the fretboard, further raising the action and drastically diminishing both playability and sound quality. The expansion of the wood can eventually cause the loosening of glue joints and the undoing of back braces and the bridge. However, glue joints are reparable and unlike with low humidity, there is little or no danger of structural damage. If you live in a humid climate, we would recommend that you keep your guitar in an air conditioned room during the summer months when the RH is naturally increased. In lowering the temperature, air conditioning also lowers the moisture saturation point of the air and the RH with it. Avoid using a swamp cooler in an already high humidity environment. This will only further increase the RH and will spell problems for your guitar.
Avoid any rapid and immediate changes in humidity level, as this will cause the most damage to your instrument. Gradual changes, undergone with the guitar being kept in its case as much as possible, will greatly reduce the potential for damage being sustained by your guitar.
By sticking to these safety guidelines, you will ensure that your guitar provides you with a lifetime of joy and
inspiration!
VIOLIN/VIOLA & CELLO/BASS
Basics:
Stringed instruments are made of wood, which expands with humidity contracts with dry weather. Expansion and contraction can cause minor problems such as buzzing or open seams or major problems such as cracks. You can minimize humidity related problems by maintaining a relatively constant humidity year-round. Ideal humidity for instruments is 30-40% in most areas. Most homes require supplementary humidification from a cool mist, steam humidifier, or evaporative wick humidifier. Dehumidification or A/C helps in the summer. You can use an instrument or case humidifier when humidity drops below the normal range. These can be purchased at your violin shop. Please do not ever subject your instrument to extreme temperatures. Never leave your instrument in your car.
Pegs:
Stiff or slipping pegs are common problems. Slipping pegs are common during the winter because pegs shrink when conditions are dry. In most cases, rewinding a string in the correct manner is all that is required. Stiff pegs are often caused by expansion due to high humidity or a lack of peg lubricant. Lubricating the peg and/or re-positioning the peg further from the peg box wall will help.
Bridge:
The bridge holds the strings at the correct height and distance from each other. Every bridge should be precisely carved by a professional luthier and custom fit to the belly of each instrument. The bridge is held to the belly of the instrument by the strings. The bridge will gradually lean forward or back in the direction of the pegs or fine-tuners due to constant tuning. If the bridge is left in this position it will eventually warp under string tension. A bridge that is slightly warped can be straightened at your violin shop but a severely warped bridge will need replacement. To extend the life of a bridge, regularly inspect its position and straighten it when necessary. To do this, one must grip the bridge firmly with both hands and carefully ease it back into an upright position. If you are not comfortable moving the bridge yourself, most teachers will be able to assist you.
Strings:
Replace your strings regularly to ensure your instrument always plays and sounds to its full potential. Strings gradually lose their warmth and brilliance even if an instrument is not played frequently. Active players change their strings as often as every six months for optimum sound and performance. Students should generally replace the strings on their instruments yearly. When changing strings, always replace them one at a time and make sure your bridge does not begin to lean forward or backwards. Most strings have a “break-in” period of a few days before they settle, stay in tune and sound their very best.
To wind on a new string, maintain some tension on the string at all times. Overlap the string once before you continue to wrap it around the peg. Always take care to wind the string close to the pegbox on the same side as the peg you are adjusting. A gentle fit against the wall of the pegbox will prevent most pegs from slipping and strings from unwinding.
Cleaning:
Regularly wipe excess rosin dust away from the body and strings of your instrument with a dry cloth. Rosin build-up can mar some varnishes and can make strings sound poor. If a bow is overrosined, a grainy sound will result and rosin dust will be visible. It is not necessary to rosin your bow every time you play. For more extensive cleaning on the body of your instrument, use a mild violin polish available from your stringed instrument shop.
Instrument Adjustment and Repair:
It is recommended that a qualified bowed or stringed-instrument repair person of luthier be consulted for the following repairs and adjustments.
Bow Maintenance and Repair:
Before playing for the first time you will need to apply rosin on the bow. When applied to the bow hair, rosin creates friction with the string, which in turn generates the sound. You will need to use a knife or sand paper to scrape the top of the rosin in several places so that the powder appears. Then run the bow hair over it until you see the hair getting whiter.
Do not over-tighten the bow, after tightening, the bow stick should still be slightly curved. It is vital that the bow be slackened after use. If this is not done, the bow stick will straighten making it impossible to tighten the bow properly and the metal ferrule holding the hair may break as you attempt to tension it more. If the bow has been left tensioned, loosen the adjuster and leave it for a day or two. The stick may then resume its natural shape. Should a bow require straightening or cambering, a qualified repair person of luthier can restore a bow to correct playing.
Bows require regular rehairing. Hair stretches and wears with use, becoming brittle with age. Active string players require frequent bow rehairing, typically every three to six months, to maintain the best quality of sound and responsiveness. Student bows may be rehaired less frequently, depending on usage. We recommend taking your bow to a qualified bow specialist for rehair. If the hair stretches a lot, the screw may eventually cease to tighten. If you encounter serious resistance when tightening the bow, do not force the screw any further. Continuing to tighten the screw could crack the stick. Since hair shrinks in dry conditions and lengthens in humid environments, rehairing must be done with local climates in mind. Lastly, avoid touching the hair so it does not become soiled and ineffective.
Basses and some cellos have mechanical tuners and a drop of light machine oil should be applied to all bearing surfaces about every 6 months.
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