String Tips… No Strings Attached

The strings on any guitar are a vital element to the sound and overall tone quality of the instrument. We can often overlook the strings as simply an accessory and opt for a cheaper set, but this might not be such a wise decision depending on what you’re looking for. As you’ll find out from this article, there are several things to consider when choosing the right string for your guitar and sound.

 

Just as there are several types of guitars to choose from (steel string acoustic, electric, classical) there are different types of strings that are designed for these specific guitars. The common steel-string acoustic guitar uses, you guessed it, steel strings. These differ from electric steel strings in that they are a heavier gauge. This means the strings are thicker, and they need to be in order to make the top of the guitar resonate adequately and “drive” the sound. Electric strings are generally lighter gauge (thinner) because their vibrations are being picked up directly from a magnet to create the sound, and so its generally easier to push down the strings on an electric guitar. Classical guitars use nylon strings that tie on at the bridge instead of using ball-ends as steel-strings do. These strings are much softer on the fingers and produce a warmer, more romantic tone. Instead of gauge, nylon strings are made in different tensions: moderate or light, normal or medium, hard or high. Low tension strings are easier to play but can cause buzzing, whereas higher tension produces more consistency in tone.

 

When choosing between acoustic steel-strings, the first thing to consider is the gauge. Lighter strings will be easier to play and produce a brighter sound but are more prone to breaking. Heavier strings will produce a fuller, louder sound and will allow the player to dig in more. String gauges (inches) range from extra light (.010″ – .047″), custom light (.011 – .052) light (.012 – .054) medium (.013 – .056) and heavy (.014 – .059). Smaller bodied OM and parlour size guitars will typically respond better with lighter strings while dreadnought and jumbo sizes can better handle the medium or heavy gauges. The tension in the neck of a guitar can (and should) be adjusted to suit lighter or heavier gauge strings depending on a player’s preference. Fingerstyle players tend to lean towards lighter gauges and those who like to use a pick for strumming might prefer something heavier. Its important to try a few different options to find what works for you.

 

The next thing to think about is string material. Most acoustic steel-strings are made with Bronze which is typically constructed of 80 percent copper and 20 percent zinc. These strings are very bright and clear but have a shorter life span due to bronze’s tendency to oxidize. A slightly more expensive option is Phosphor Bronze which is bronze with phosphorous added to increase longevity. These strings have a bit darker and more mellow tone than bronze only but still have plenty of brightness. Other string types use nickel/copper wrap wire which is how steel-strings were made in the pre-war days. These strings offer a uniquely mellow, yet crisp sound which allows the guitar’s natural resonance be heard. The more expensive strings on the market use coating technology to protect the string from corrosion and significantly increasing the life span, while also maintaining the brilliance of plain Bronze or Phosphor Bronze.

 

The most important thing is to make sure you’re using the right string to suit the style of guitar. For example, it would be unwise to put steel-strings on a classical guitar as the tension could damage the instrument. Also, its good to try several different types / gauges of strings to find out what is the right choice for your sound, or to make sure you’re getting the longevity you desire from the string. Think of the strings as the vocal cords of your guitar. They should be as invaluable an asset to your sound as the guitar itself.

Acoustic Amplification

Getting a great sounding acoustic guitar is always a wonderful feeling. Knowing that you’ve got a trusted partner helping create your distinctive sound is very important to most acoustic players. But how do you make sure it still sounds great onstage or in a room too large for natural amplification? Two things: a high quality pickup system and the right amplifier for your needs.

 

There are many choices these days when it comes to selecting a pickup system. Some guitars already have one built-in, for instance many of our entry-level Norman and Breedlove models have a Fishman Presys system factory installed. This is a basic under-saddle design that captures the vibrations from the guitar’s top via piezoelectric transducers placed beneath the saddle. In this inexpensive option, the volume and tone controls are conveniently positioned on the guitars top shoulder for easy access. It features a built-in tuner as well which is quite handy. The sound quality produced by this system is very strong, consistent and reliable across the strings with plenty of warmth as well as brightness balanced in the tone. The limitation of this design is that it lacks the natural woody, airiness that many people love about acoustic instruments. It also doesn’t do any favours for those who employ lots of percussive techniques and artificial harmonics in their playing as these sounds are not easily captured by this kind of pickup.

 

 

A similar option to the Fishman Presys is the L.R. Baggs Element. This is another under-saddle design that offers fantastic tonal quality with outstanding dynamic sensitivity to the player’s attack. The volume and tone controls can be discreetly positioned inside the sound hole, the battery pack sits inside the body, and the input jack is installed through the end pin where one would normally find the strap peg. The end result is that the guitar appears essentially untouched and none of the electronic components are visible from the outside. I’ve personally used the L.R. Baggs Element in one of my guitars for many years and I’ve always been very happy with it. Mi-Si also offers the same pickup with battery-free technology for their Acoustic Trio system in which the pickup can be fully recharged in a minute for up to 16 hours playing time. Amazing!

 

 

The ultimate pickup solution we currently offer at Brickhouse is the K&K Trinity Pro Mini. This is a dual-source system meaning that in addition to the under-saddle pickup, there is a small condenser microphone positioned a few inches behind the strings inside the sound hole. This allows the player to blend between the two sources to create a more natural acoustic sound as the microphone picks up the harmonics, overtones and percussive influences. The pickup includes a small preamp that functions externally from the guitar through a stereo cable, whereby the two pickup sources can be blended and additional EQ can be balanced. This is a truly remarkable design that many of the top acoustic guitarists in the world are currently using in their live format.

 

 

When it comes to amplification, there are a few things to consider. What kind of setting is the amp being used for? How much volume is required? How portable does it need to be? How many channels are necessary? Are built-in effects important? The answers to these questions will make it much easier to decide what kind of amplifier is right for you.

 

The Roland Acoustic Chorus is a very dependable series of stereo amplifiers built for acoustic guitars that comes in a range of sizes and wattage capabilities. Starting with the AC-33, we discover a highly capable amp that offers the most portable option available at our store. This 30-watt amp can be battery powered (8 AA batteries) in addition to running on AC power, which makes it great for street performance, impromptu live settings, or just bringing along on weekend camping trips. It features guitar and mic/line channels, custom-tailored effects, anti feedback, and a 40-second phrase looper. This is definitely a fantastic choice if you’re looking for something economical to take your sound with you wherever you go but not necessarily needing tons of volume. If this sounds great, but you would like to have a bit more volume, you might like to check out the Roland Cube Street EX which we also have available.

 

 

The Roland AC series continues with the AC-40, AC-60 and AC-90 which all offer similar features but with increasing wattage levels. All models employ a stereo 2-way speaker system that delivers transparent highs while also providing incredibly powerful low-frequency performance. The 90-watt model is essentially a PA system that would be suitable for smaller live settings playing to audiences between 50 and 100 people. With built-in effects like Roland’s famous stereo multi-band chorus, plus reverb/delay, along with the dual channel inputs for guitar and XLR, these are all highly capable amplifiers that are designed for use with acoustic guitars. They’re also light-weight and very portable.

 

 

The newest members of our amplifier family are the Acoustic Solutions ASG-75TW and ASG-150 by Godin Guitars. These are both exceptional amplifiers that produce incredible clarity, warmth and richness in tonal quality. They are true to your guitar’s natural sound. The 75-watt model features 2 channels for guitar, XLR input and line out with phantom power, 3 band EQ and internal digital reverb. The 150-watt version includes 3 1/4″ inputs, 2 balanced XLR inputs with phantom power, line out, direct out, 3 band EQ across all channels and internal effects. It packs plenty of volume and could support the use of multiple musicians at once. These are both arguably the best acoustic amps money can buy for small to medium sized venues.

 

 

Whether you need a guitar with a built in pickup, or would like to have your favourite guitar installed with a quality pickup system, or if you’re looking for the latest in acoustic amps — we’ve got you covered. Check out our range of products here on the site or come stop by and we can show you everything that we offer!

What’s New?

As we head into the New Year, some of you may be wondering what new and exciting things are happening here at Brickhouse Guitars.  One of the cool things about our store is the very close relationship we have with Stonebridge Guitars International, the North American distributor of Furch Guitars. This means that we often get the latest editions of various models from the Furch factory in Czech Republic which have been updated or introduce new features. Effective immediately, all new guitars coming out of the factory are going to display the Furch logo at the top of the headstock. The Stonebridge upper headstock logo has been discontinued.  However, Stonebridge and Furch are going to be working together to produce guitars as part of an SGI Collection. These guitars will display the Furch logo on top and an “SGI” logo on the lower part of the headstock just above the nut. In addition, many of these guitars will feature aged or torrefied tops, cutting edge pickup systems, unique appointments, and exotic selections of tone woods. After being unveiled at NAMM in January 2017, the SGI Collection will be available exclusively through Stonebridge Guitars International and its dealers across North America. If you’re like us and absolutely love these guitars, then you’ll be very interested to see what’s in store here throughout the year!

 

This D22TSR is one of the first members of the SGI Collection. It features a torrefied Sitka Spruce top, Indian Rosewood back & sides, with Ebony tuning buttons, and the new SGI logo on the headstock.

 

 

 

 

 

 

 

 

 

 

 

We will also be making available the “Little Jane” from Furch Guitars. This awesome new addition is quite likely the best sounding travel guitar you will ever encounter. With a scale length of 61.5 cm and a nut width of 45 mm, its roughly the same measurements as a 3/4 size guitar but with a full size nut width, string spacing and neck profile. It features a detachable neck that unhinges at the neck joint and slides inside the body through a hole in the upper shoulder. The headstock detaches at the nut and is placed inside a compartment in the case which is the size of a backpack. With the help of locking tuners to hold the strings in place, you’ll be astonished to find the guitar perfectly in tune and ready to play when reassembled.  Its all solid wood, with Western Red Cedar for the top, African Mahogany back, sides & neck, and Ebony fingerboard. Overall, its a very well-built instrument with lovely tone, that packs a surprising punch and plays phenomenally.  Definitely worth a look if you’re on the hunt for high-quality travel instrument.

 

 

Brickhouse Guitars will continue to host and sponsor our monthly open mic at Smile Tiger Coffee Roasters in Kitchener on the first Friday of every month. This is an event thats been a lot of fun to put together and a great way to be involved with our musical community.  We’re seeing a bigger and bigger turn out each time so its a no brainer for us to keep on going. The next events will be on January 6th, February 3rd and March 3rd at 7 p.m. Come on out, bring your instrument and share your music with us!

 

We’re looking forward to another great year here at the store and hope that you’re as excited as we are to see what’s ahead.

 

Happy New Year to all!

 

Parlours for Vintage Taste

Once upon a time, in the mid to late 19th-century, all guitars were built smaller.  In fact, so small that our smallest full-scale model that we offer at Brickhouse would still be larger than just about any guitar you could find around at that time.  There simply wasn’t a need for these instruments to be particularly loud.  The guitar was not yet a “concert” instrument in that it was rarely featured in any kind of larger performance atmosphere.  Guitars were intended for private use or small social gatherings, often in the confines of what would today constitute one’s living room… or for the wealthy elite in those days: a parlour.

 

As the guitar matured and gained an increasing prominence in the music world, they began to be built with larger and wider bodies to necessitate greater amplification.  X-bracing began to replace traditional fan-bracing and so the guitars were stronger.  This meant they were more capable of supporting the increasingly popular steel-string as opposed the weaker cat-gut material and as a result much louder.  C.F. Martin & Co. developed the “dreadnought” body shape and quickly became the definitive standard of guitar building as other makers followed suit.  Before long, the traditional small-bodied guitar became relatively obsolete in favour of these burgeoning larger, louder designs.

 

As the years have passed, tastes as well as guitar craftsmanship has continued to evolve.  Acoustic guitar amplification has also come a long, long way and some players are finding less of a need for these bulky, often cumbersome body shapes.  There has recently been a revival of sorts for the vintage appeal of the smaller, narrower guitar shapes of centuries passed.  Guitar makers are able to build physically diminutive instruments with fuller, more robust sonic qualities that serve many purposes of the common day player.  They’re compact, they look classy and they often sound incredible.  In the age of old-is-cool, the parlour guitar seems to be a perfect fit.

 

At Brickhouse Guitars, we have a healthy collection of parlour guitars.  Check out some of these fantastic options:

 

Stonebridge OOM34ASR-DB #64571

– Adirondack Spruce Top, Indian Rosewood B&S, Honduran Mahogany Neck, Ebony Fingerboard & Bridge

 

Furch OOM33LR-DB #68309

– Alpine Spruce Top, Indian Rosewood B&S, Honduran Mahogany Neck, Ebony Fingerboard & Bridge, Slotted Headstock

 

Furch OOM31SR-DB #68307

– Sitka Spruce Top, Indian Rosewood B&S, Honduran Mahogany Neck, Ebony Fingerboard & Bridge

 

Furch OOM30SM-DB #68494

– Sitka Spruce Top, Sapele Mahogany B&S, Honduran Mahogany Neck, Ebony Fingerboard & Bridge, Open Pore Satin Finish

 

Norman ST40 Parlour Burnt Umber HG A/E

– Solid Cedar Top + B&S, Silverleaf Maple Neck, Rosewood Fingerboard & Bridge, Hi-Gloss Finish

 

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