Classical guitar shed block chord1/5/2024 ![]() The Reamp HP is a mono reamp that allows use of the headphone output of any compact audio interface as the reamp output source. The Reamp Station is a combination active DI and reamp device in a single unit. Keep an open mind because your opinion can change if you spend time adjusting to-or maybe even living with-a different guitar neck for a while.īoth the all-in-one Reamp Station and compact Reamp HP expand the range of recording options and possibilities available to anyone wanting to reamp in a recording environment. Remember that your initial encounter with another guitar may be brief, so don't simply go with your first impression. When it comes to neck profiles, there's no right or wrong, so play around. Because these letters were stamped on the end of the necks, they are sometimes mistaken for neck-profile designations, but are actually unrelated. It's worth noting that for about a decade starting in the early '60s, Fender also used the letters A, B, C, and D to indicate neck width at the nut (1 1/2", 1 5/8", 1 3/4", and 1 7/8", respectively). Over the years, Fender's approach has been adopted by other manufacturers and evolved to include such colorful descriptions as "boat V" and "modern vintage." Though these profiles have many period-specific subdivisions, such as '50s V or '70s C, and variations in thicknesses ("deep U shape" or "modern C shape"), the idea is to convey the basic neck contour using familiar, easy-to-visualize symbols. Better yet: Perhaps the next time you have a chance encounter with a different neck, you'll have the basis for establishing a whole new and rewarding relationship.įender describes its neck profiles using the letters C, U, and V. But for now, if we've shed light on what caused you to become infatuated with your current guitar's neck in the first place, then mission accomplished. And we didn't get into tuners-obvious neck components that deserve an article of their own-nor did we explore how your string choice affects the neck because that would have taken us a bit off topic. We've covered a lot of ground in this overview of the obvious and not-so-obvious decisions that went into your guitar neck's design, and there's more to investigate within each topic. Kay Kraft was using this technique to affix necks to their acoustic guitars in the 1930s. Neck resets on these instruments can be done in mere minutes, and a luthier can employ accurately machined wood shims to tweak the neck angle. ![]() Super-precise computer numerical control (CNC) neck-cutting machinery assures a flawless fit. In 1999, Taylor Guitars bucked flattop tradition by introducing a bolt-on neck system for its guitars. This made Fenders much less expensive to manufacture-both in terms of labor and materials-and it also worked really well. 3).Īlthough not well-received at its 1951 introduction, Leo Fender's simple solution to this thorny problem was to forego either of these two traditional woodworking joints and bolt a heelless neck onto the body. This increases the glue area compared to a straight cut, and it looks better (Fig. But instead of using the more typical straight cut, they chose a subtle S-shaped cut. Taylor subsequently changed to a scarf joint-an angled cut in the neck. It was super strong, but due to staining differences, the crown shape that resulted was noticeable and odd. Taylor's separate headstocks were first fitted to the neck using a finger joint. While more aesthetically pleasing than a typical straight scarf joint, this "wave" cut also offers increased glue surface and thus provides a stronger connection.Īndy Powers, master guitar designer at Taylor Guitars, reports that since the company moved to headstocks with the grain aligned, the number of broken headstocks they see has been reduced to almost zero. Taylor Guitars uses an S-shaped cut to join the neck and headstock. 3 - A scarf joint adds the headstock as a separate piece, keeping the wood grain in line with the headstock for a stronger part.
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