1978 - After 10 years of playing the 6-string guitar and attending school at Ohio State Univ. (Composition and Theory Major studied under Burdett Green) and the Univ. of Colorado at Denver (Recording and Reinforcement Major studied under Roy Pritts), bought a used 10-string Chapman Stick directly from Stick Enterprises. The shop was being run by Paul Edwards at that time, later to gain wide recognition with the band Kittyhawk. Mr. Chapman was not there the day Jim arrived to purchase the used instrument 194, but his wife Yuta was. She had Paul conduct the demo and sale.

1980-84 - Co-founder of Intuition, a Denver-based fusion band with Chris Hewitt (keyboards, composer) and Clay Bielman (drums).
This band played the most prestigious venues in Colorado including, The Rainbow, The Boulder Theater, The Bombay Club, the Mercury Cafe, The Governors Mansion, and many others, including venues in Colorado Springs, Santa Fe, Albuquerque, Gunnison, Vail, Aspen, and Boulder. The band opened for name acts such as Allan Holdsworth, Kellis Etheridge, and Firefall, and appeared on the local NBC news affiliate with Jim demonstrating the Stick. A 1981 concert at the Guild Theater was taped and an excerpt can be found here:
http://youtube.com/watch?v=3Rj7ahqHg-Y
Two live cuts from this band can be heard on the "How Did I Get Here?" CD. They are from a digital recording made in 1984 of the bands' last concert.

1984 - Jim bought a used Stick from a student, and had it modified by Harry Fleishman, and John Starrett. An adjustable bridge was added (a feature not available on production Sticks for many years afterward), and the pickup pocket was deepened to allow commercially-made guitar-sized pickups. Mr. Starrett built the first pickup, but Jim later designed and built his own which were interchangeable, and could be switched within minutes. This was long before Stick Enterprises introduced The Block, a very similar pickup modification.

1985-89 - Played solo, and with many different bands in the Denver/Boulder area, working as a studio musician, and founding the band Rhythm Under Fire with Carlton Bacon ( a very talented composer, vocalist, guitarist, bassist). Released the solo album "Another Wrench in the Monkeyworks", which can be heard on the "How Did I Get Here?" CD as well as two cuts from Rhythm Under Fire.

1989-95 - Moved to Los Angeles. Began playing the Stick with a series of bar bands starting with the Debbie Dee Blues Band, and ending with the Wade Preston Band. Venues played included the Lighthouse Cafe in Hermosa Beach, where Wade Preston had a very popular Tuesday night performance, due to his incredible keyboard talents, and fantastic voice. Also played the Strand, At My Place, Hollywood Park, Blind Melons (San Diego), Patricks II (San Diego), and opened for such acts as John Mayall, Dave, Mason, Woody Harrelson, Herbie Hancock, and many others. Wade and drummer Christopher Pellani taught Jim a lot about being on stage and entertaining an audience. The band was very facile and could change tempos, rhythms, and feels based on hand signals given by Wade, who eventually returned to his home of NYC to play in the Billy Joel/Twyla Tharp production "Movin' Out".
During this time, Jim developed the interchangeable pickups for the Stick, with much help from his girlfriend of that time Valerie Walker, who had become a talented luthier/musician in a very short time, and contributed some very valuable input about building materials and construction, as well as re-fretting Jims' Stick with high-crown fretwire, making it play better than any Stick Jim has played before or since.
Jim was also involved as a recording/mix engineer, musician, and composer on Chris Pellani's CD "Soundscape Pyramids", and made his last recording with the Stick on an album by the group Blithering Heights, on which he also acted as recording/mix engineer.

1995 - Began to play the Warr Guitar. Jim had met Mark Warr and given him a lesson when he first moved to LA (1989), after meeting Randy Strom and (once again!) Paul Edwards. At that time, Mark was playing the newest MIDI-equipped Sticks and was an avid follower of tapped playing styles. One day in 1994, he re-introduced himself to Jim after a show in North Hollywood, and asked if he would like to try his new instrument. At that time, Jim and Valerie and one of Jim's students were in the early stages of designing their own tap-guitars, as they were unsatisfied with the lack of development of the Stick. All three of them visited Marks' house and tried one of the very early 3-pickup Warr Guitars. There was much internet talk at that time about how the wood body and neck had no effect on the tone of touch-guitars, and Mark had three demo instruments that were exactly the same, except for the woods used. The difference in tone was obvious, and all three were struck by the fantastic sound of Marks' instruments, and his many improvements on the design of the touch-guitar. The plans for building their own touch-guitar were scrapped, and the focus now became saving up to buy a Warr Guitar. Jim acquired Blackie in 1995, a 12-string Warr Artist which he still owns, though it has been through quite a few changes. He sold his modified Stick within six months of acquiring this guitar, thereby losing the title "Stickist", and gladly becoming a guitarist once again.

1996 - Jim had never been completely comfortable with the inverted 5ths tuning that most tap-guitarists had used for the bass strings. He felt that it backed one into a musical corner, and forced one to play the bass in a certain style, which was not conducive to the fusion, rock, and jazz styles that he played. For this reason, Jim switched Blackie to inverted 4ths bass in 1996. This way, the patterns viewed on the neck were now in mirror image from the guitar side, and pentatonic scales were much easier to play. The next two years were spent re-learning this tuning, but also playing at Universal Citywalk, and many other venues with the Wade Preston Band, and at the Baked Potato and other venues with Jim's own jazz groups.
A lesson by Jim appears in Frank Jolliffes' TouchStyle Quarterly (July 1996) about bass cliches under the "Secrets of Technique" column.

1998 - Developed and began playing the "uncrossed 4ths tuning", which allows a tap-guitarist to use the entire fretboard (since the musician is no longer reaching over one set of strings to play the other, with hands crossed, hence the name) and makes touch-guitar tunings more accessible to players of bass and guitar. This tuning is used exclusively on the Warr Guitars Phalanx models, but is available on any 12-string Warr Guitar.
Also released "Jazz Heretics", his first CD with the Warr Guitar, which featured many of Jims' favorite LA area musicians. Tunes on the CD include all 3 tunings that Jim had played to this time, and some of the last recordings made with the modded Stick.

1999 - Article and transcription in Frank Jolliffes' TouchStyle Quarterly magazine regarding the tune "Frankly Speaking" from the Jazz Heretics CD.

2000 - Compiled and Released "How Did I Get Here" a retrospective of Jim's years playing the Stick. Began working for Warr Guitars in September as Customer Service, Sales Rep, inspection, intonation, set up, and shipping.

2001 - Co-founded The Fuzzy Logic Boptet, an LA-based jazz group. Also performed on and mixed the improvised LA Abstract CD with drummer/recording engineer David Haddad and Hungarian musician/artist/crazy-person Andras Wahorn.

2002 - Featured Artist at the New Music Festival at the University of Wisconsin, La Crosse November 2002
Developed the 12-string nylon-strung touch-guitar using a Warr Artisan. This guitar can be heard on the Fuzzy Logic Boptet CD, "Playing Favorites".
Wrote article for Tappistry.org, "Nylon Strings and Touchstyle Instruments" which can be viewed here:
http://tappistry.org/articles/index.php?itemid=13
In January 2002 Jim performed at a special NAMM event with drummer Kris Berry, sharing the stage with Trey Gunn, Brian Kenney Fresno, Randy Strom, and others. Performances included pieces by Frank Zappa, King Crimson, and originals.
This duo also performed at the SWR booth (makers of fine bass amplifiers), and at the Knitting Factory that same weekend. As an employee of Warr Guitars, Jim helped to plan these shows, and also played at the Warr booth.

2003 - This is the year Jim became a Feiten Intonation technician.
In October, hosted Fusion Night 2003 in La Canada, CA.

2004 - Taught E-tap in Neufchateau, Belgium July. Subject - Cliches Are Your Friends.
This wonderful seminar was created by Daniel Schell, and anybody who considers themselves a touch-guitarist should attend at least once in their lifetime.

2006 - Taught at E-tap in Neufchateau Belgium, July. Subject - The Music of Frank Zappa
On September 29th of this year, played an all-Zappa show at Cafe 322 in Sierra Madre, CA.

2007 - Head Instructor at B-Tap, the Baltimore Tap-Guitar Seminar October 2007. Other instructors were, Randy Strom, Brian Kenney Fresno, and Teed Rockwell. Players of all makes and models of tap-guitars were invited to this seminar created by Daniel Minoza.
The Fuzzy Logic Boptet also released the "Playing Favorites" CD this year, which was completely recorded and mixed by Jim.

2008- Jim now does only set up and intonation work for Warr Guitars and is working on several CDs at once, including a project with guitarist Chuck D'Aloia. He continues to perform in the LA area with the Fuzzy Logic Boptet, and several other bands, including occasional shows featuring the music of composer Frank Zappa.

The Studiomaster Mixdown 16x8x16, Op Amps, and Analog Warmth.

Having recently been suffering from Craigslist syndrome, I can't stop looking at used musical gear on the Southern California Craigslist pages, and naturally, there is a bargain every once in a while that simply can't be refused.
After hearing Dave Haddads" new Allen & Heath mixer in his (very nice) home studio, I started keeping my eyes open for any slightly older British mixing boards. Dave had previously used a Mackie 24 channel- 8-bus console, which sounded good, but the A&H made the music jump out of his monitors, and I was really impressed. Finally, one day I found a Studiomaster Mixdown 16x8x16 mixer for $250.
Didn't really know a damn thing about these mixers at the time, but when I visited the seller, and saw this beast, I knew I had to have it. It came complete with the manual, but had seen better years, and was missing some of the fader knobs, but had all of it's knobs for the EQ's, aux sends, etc.. The faceplate of the unit was not held down by any screws, and one had to be careful when moving it.
A quick internet search found a few very good descriptions of the mixers and some tips about dismantling and cleaning them (http://www.dancetech.com/aa_dt_new/hardware/ITEM.CFM?threadid=449&lang=0), so the next few days after my purchase were spent carefully removing each channel strip, and cleaning the pots, and sliders. This took about 15 hours of solid work, but solved some problems with channels cutting out, and scratchy pots and faders. In retrospect, the mixer is well-designed for this, and can be easily serviced by a relative idiot-savant such as myself. It cleaned up nicely, and all of the markings on the solid metal front panel were well attached and didn't come off during a gentle cleaning with alcohol.
Fortunately, the padded, vinyl-covered armrest at the bottom of the board proved to be in excellent condition once I removed all the old masking tape, and a bit of Armor-All has made it look brand new.
Replacing the slider knobs proved to be difficult, but I finally found a place online that carries a nice selection at a reasonable price, and it just so happens they run a good business.
www.AshbySolutions.com
Even before dismantling and cleaning, I placed the mixer in my own studio, and was amazed at the difference from my older Mackie CR1604. The mids were clear and had better definition, and the lows were powerful and big. Suddenly, I was hearing things I could not previously hear in mixes and CDs. The EQ on the board was very nice, with a parametric mid and low, and the high shelving EQ was very musical and not in the least scratchy or brash. In addition to the 16 input channels with XLR/mic inputs, there are 8 bus channels, which can also serve as inputs for 1/4-inch jacks, and even another 8 channels of similar inputs, with a more limited EQ section. Essentially, this can be used as a 32 input board, if all the inputs do not require XLR jacks. It also has some other cool features such as a 1K slate (very old school, but completely useable), a talkback mic input, and separate phantom power switches for each of the 16 input channels.
Within days of the restoration of the board, I used it for a weekend of live sound at the first Limmud LA, mixing Jill Sobule, Peter Himmelman, a group called Moshav, and several other bands and artists. This was a bit risky with an unproven piece of gear, but the mixer worked flawlessly, and sounded great, with the stereo XLR outputs going direct into some JBL powered speakers in a Hilton hotel ballroom. This event essentially paid for the mixer in one weekend, besides being a lot of fun, and educational as well. In addition, I took direct outs from the 16 input channels, and recorded the show onto my portable recording rig. Coming through the board, the recording sounds great, and I made some mixes for the Limmud folks to use in videos of the shows.
Now here's where it really gets fun for me. I found lots of info online from gear geeks swapping out op amp ICs in their musical gear to take advantage of newer, faster chips that have a smoother frequency response and better specs. I had experimented a little bit with this in some of my low-budget microphone preamps to some degree of success, and remembered all the ICs I had seen in the Studiomaster as I dismantled and cleaned it. Mainly TL072s and NE5532s for all you geeks out there. There are many issues that have to be taken into account when doing this, most importantly making sure that the chips you install do not exceed the voltage requirements of the old chips, as this can stress the power supply to the device you are modifying, with possibly disastrous results.
There is a very good article about this here:
http://www.tangible-technology.com/audiobasics/upgrades/upgrade1_opamp_cap.htm
Without going into too much detail, I replaced some of the ICs in the mixer to see what would happen, and was pleased with the more open high end of the board, and smoother sound. It seems that there is a speed rating for op amps (called slew rate), which is essentially the speed at which the IC pushes electrical current though its circuits. As you might imagine, newer chips are showing faster and faster slew rates, which can be heard in the details of sounds with very strong transients, or sharp attacks, such as percussion and plucked instruments. The old chips had slew rates around 8-13 volts per millisecond, and the replacements had rates from 20 to 350. Replacing the chips in the master channels alone made a large difference in the overall sound of the mixer, as it now could easily deal with the signals from all the other input channels that were being merged together at this point in the circuit. In addition to the high frequency response mentioned above, there was more transparency in the sound, better stereo imaging, and a more focused bass response. The board is slightly more quiet also.
Since then I have replaced the ICs in all the master channels, bus channels, and 8 of the input channels. The board sounds great, and works well as a way to compare the differing sounds of ICs from various manufacturers and varying slew rates. It has caused me to go back to mixing through a board, and using the computer like a very versatile 2-inch tape machine. I have the best of both worlds: the flexibility of the digital realm, and the warm melange that you get when you run clean digital recordings through some fat analog gear. I've even started using a patch bay again, and got a lot of compressors and reverb units out of the closet, which still sound better to me than any plug-ins I own.
BTW, my Warr Guitars plugged directly into the inputs on this mixer sound great, with very full lows and fast response.
It's a big deal in the pro audio world to spend thousands on what's called a "summing mixer" to use on the final stages of home DAW productions, which is essentially what I am doing here in my typical guerilla-low-budget fashion. Maybe it can work for you.
OK, the only minus I've found is that this board is big compared to the Mackie, and it's been hard to find a way to fit it onto my computer desk. It's only 2 feet deep and 3 wide, but that's big compared to todays mixers, but I do enjoy the large working area when I am mixing and the easy access to EQ, sliders, buttons and inserts for FX. I can still use the computer for editing plug-ins, automation, and grouping things together to save output channels, so the entire set up is quite versatile, and I am running at pro quality +4 levels on the inputs and outputs.
As an added note, I recently acquired a similar-sized and aged Allen and Heath mixer (for $100!!!!) from a CL contact, and it is slightly more quiet, and sounds even better than the Studiomaster, but unfortunately does not have the +4 outputs that the Mixdown has, so it will be relegated to live performance duty, and serves as a sub mixer in my practice room. To me, it's interesting that it uses essentially the same ICs as the Studiomaster, but performs a bit better, which is a testimony to the circuit design, and possibly the advantages of an external power supply. However, I still prefer the EQ and layout of the Studiomaster, and it has huge low-end, though it is not as transparent as the A&H.
I have since been through almost all of my guitar processors and changed out some ICs with good results. Also, I recently managed to dismantle an 8-channel microphone preamp ($180 on CL!) and replaced all the soldered-in ICs (16 in all) with sockets, installed new ICs and put it all back together, and it still works! I think it sounds better but need to do some more recording and evaluating. Next I need to conquer techniques to replace what are called SOIC or surface-mount op amps, and will go after the chips in a Behringer stereo mic pre that I recently purchased for only $75 on CL, and this has also led me to modding some of my stompboxes. There is LOTS of info about this online.
I try to control my gear lust by having a spending cap of only $100, and after some time you get a feel for the sellers on Craigslist depending on the way they communicate. If the seller is patient and willing to demo the item to show me that it works, I never try to talk them down in price, and only look at items which are priced to my satisfaction. I have met so many very nice people who are often thrilled to be getting rid of something for which they simply have no more use, and many times they throw in other items for free like cable snakes, mic stands and so on.
It reaffirms my faith in humans.
Perhaps this is something you can try. I'm a firm believer that great recordings can be made on old gear, and experience is still the biggest factor in creating a top-notch recording and mix down. You don't need the newest gear to make a good version of your song.

PLAYING FAVORITES- The Fuzzy Logic Boptet
Robin Rader-Sax
Polly Klemmer-Keys
Jim Wright-Warr Guitar
Dave Sanford, Craig Aschoff-Drums
Special Guests:
Charles Lowery-Percussion, crickets
Dave Erwin- Trumpet

The Fuzzy Logic Boptet pays tribute to their favorite jazz composers with 3 original tunes, and 7 favorites from 5 years of live gigs in the Los Angeles area. The Boptet loves the great jazz composers like Monk, Shorter, Hubbard, Brubeck, and Wes Montgomery, and the CD was recorded both in the studio, and on live gigs, though we dare you to tell us which songs are live, and which are studio recorded, thanks to the great sound and portability of digital recording gear.
This CD also shows how well the Warr Guitar fits into a jazz combo, without 'sticking out' like a sore thumb, due to the lush tone of my Warr Phalanx 12. One tune was recorded with a nylon-strung Warr Artisan 12, but you'd never know, as it sounds just like nylon-string guitar, and fretted acoustic bass.
Robin Rader and Polly Klemmer show that girls can bop out just as well as the guys, and their compositions shine on this CD. Robins' "Midnight" is a breezy bossa feel that will get you in the mood, and Pollys' "Gate Array" takes the band to new heights in modality and groove.
My ballad, "I Wish Wayne Was Here" (a tribute to saxophonist Wayne Shorter), debuted on the JAZZ HERETICS CD, but appears here in true jazz combo format with the wonderful sounds of Dave Erwin added to the Boptet on trumpet. You'll be lookin' for your shades...

TO ORDER send a check (made out to Polly Klemmer) for $15 to:
qiBop Music
PO box 1244
Sierra Madre, CA 91025

OR:
The CD is also available at CD Baby, AbstractLogix.com, and Amazon.com RIGHT NOW!.

(Please do not reprint this page without express permission of Mr. Wright)

ABOUT THIS BLOG

For the last 7 years, I have set up and played every guitar created in the Warr Guitars shop. This page is where I have decided to share with you some of the set up and intonation tips I have learned during this time, as a service to those of you who have purchased these fine instruments, and helped me to make a living.
First of all, there is no substitute for experience, and if you have none in the field of guitar set up and intonation, I suggest that you first do a bit of reading, and then experiment on some of your less valuable instruments. There are many good books about guitar repair and servicing, and I won't get into a review of them here. You're on your own. Just know that it is for the most part a simple task, and quite satisfying to maintain your own guitars in peak playing condition.
I also would like to excuse myself from any liability if YOU damage YOUR guitar while using the information contained on this page. Never force something that is tight, and make sure any Allen wrenches or screwdrivers are properly seated before applying a great amount of pressure. Also, make sure your tools are in good condition, and you will save a lot of time. Take your time if you reach an impasse, and take a break.
Read Zen and the Art of Motorcycle Maintenance, and get a better education about philosophy and fixing things than you can get in an entire college course. Don't skip over the parts you don't understand. Just read it a 2nd time after you have digested the 1st. Maybe a 3rd. It will sink in. Support your local library. Read a friggin' book!
For those of you who DO have some experience with standard guitar and bass set up, you will find that Warrs are pretty much the same.
The fact that Marks' designs have always been true to guitar/bass construction is one of the many things that have made me a die-hard Warr player from the beginning, years before I became directly involved with the company. This allows the use of innovations available to standard instrument makers, like piezo bridge saddles, locking tuners, and the effects of differing woods, materials, and construction on tone and sustain, making for a much more versatile, better-sounding touch-guitar.
This page will be fluid, and might change often, or not much, we'll see...

A WORD ABOUT SAFETY
Do I need to tell you about safety glasses when working with strings? Putting a high D guitar string on a 34-inch scale length is really pushing the limits of what the metal can handle. I have broken more than I care to mention, though I will say that I break fewer .010 gauge strings at that pitch than .009s. If you use .008s, don't talk to me, you tree-hugging pansy.
Get some safety glasses at the 99 cents store. Wear them. While you are there, get some rubber gloves for when you oil the guitar. You'll thank me later.

TOOLS

All Warr Guitars are shippped with 3 Allen wrenches to adjust the bridge saddles, and truss rods. Bridge saddles on newer guitars require .050 inch and 5/64 inch wrenches, and older guitars (identified by a washer under the screw that holds the saddles in place) used 1/16 for all saddle adjustments.
Truss rod wrenches have varying sizes, and I will attempt to get more accurate info later.
Hopefully, you still have the wrenches that came with your guitar.
I'd also recommend finding some powdered graphite, which your local hardware store should stock. It's used as a lubricant in locks, and works great in the slots in the guitars' nut, so that the string slides through easily as you tune. It's really only needed on the wire strings, but can be tried if you have a wound string that won't stay in tune. Loosen the string a bit, and pull it out of the nut slot before you dust it with the graphite. A pinch should do. This will also work well on any standard 6-string guitars that go out of tune soon after you tune them, or when you bend a lot of notes. This is tension getting caught behind the nut, and getting relieved as you play.
All you should need otherwise for set up is a good Phillips screwdriver.

THE BFTS

Since 2002, all Warr Guitars have been made using the Buzz Feiten Tuning System.
It is important that the guitar be intonated properly by a BFTS tech, so it is advised to leave the bridge saddles alone, and only adjust them for string height, if you find that the factory set up (that would be ME) is not satisfactory. You should also use the same, or similar, string gauges as were first provided with the instrument. Minor tuning changes of a whole step or so up or down are no problem.
If you have bought a new Warr, I suggest that you take a clear photo of the bridge when the guitar arrives, and keep it in a safe place.
When ordering your Warr Guitar, it is possible to have it built without the BFTS at no extra charge, but my advice is to have it set up with the Feiten System, as it goes a long way to help correct the intonation issues one gets when putting guitar tunings on long scales. Chords will ring more true, without the wavering harmonics found on instruments that don't use it, and the lower strings of the guitar side in particular are much better intonated over the whole fretboard. Tuning the guitar is actually easier with the BFTS, and you will find that your guitar plays well in tune with other instruments, especially other harmonic instruments. A professor of the La Crosse Wisconsin Music Dept., a pianist, once told me my Warr was the most in tune guitar he had ever heard, after we played a jazz gig together. He meant of all guitars, not just touch-guitars.

A FEW NOTES ABOUT BUYING USED INSTRUMENTS

If you have bought a used guitar GOOD LUCK! Warr Guitars have no serial numbers, and are usually named (at the factory) by the last name of the person ordering the instrument. It is very difficult to tell if an instrument has been Feitenized, especially if the owner has removed the sticker from the back of the headstock.
Also, if you plan on buying a Warr used, it is best to find one with a tuning the same as the tuning you desire, or very close. The pickups on a Warr are made for each of the many differing tunings found on tap guitar, and changing strings by inverting or un-inverting them can have dire consequences on the volume balance from string to string. There are other changes that will need to be made, such as nut replacement, and changing some of the bass and guitar tuners around. Trust me, it's more trouble than you want. You will also most likely completely screw up the intonation, and have no one to blame for your misfortune but yourself, and whatever deity to whom you pay obeisance.
If the guitar has side-mount, 1/4-inch output jacks, do yourself a favor and plan on replacing them. They are most likely worn out.

ASSESSING THE SETUP ON YOUR WARR

The first thing you want to do is see how the truss rods are adjusted, and get the neck in proper tension. It is a mistake to raise and lower bridge saddles first if the guitar is not playing properly.
Do the String Test (see below), and then follow the instructions about truss rod adjustment until you feel the results are satisfactory. If the truss seems adjusted properly, and strings are still buzzing, THEN is the time to adjust the height of the saddles.

THE STRING TEST: USING THE STRINGS AS A STRAIGHT-EDGE

By fretting the outer strings at the 2nd fret, and at the 20th (or around where the neck meets the body), you can use the strings as a straight-edge, and see what kind of truss rod adjustment your guitar needs.
The amount of clearance between the string, and the top of the 12th fret, is a clear indication of what adjustment one should make to the truss rods. A look at both outer strings is best.
About 1 mm of clearance or less is ideal, as long as there is no buzzing when strings are fretted in any position. The idea is to get the string as close to the 12th fret as possible, using this test, without any string buzz. If all the strings but one seem to play well, try raising the saddle on the one string a bit, to see if that stops the buzzing.
Essentially, the idea is to get the neck almost completely flat, with a slight bow, and then adjust the bridge saddles from this point.

ADJUSTING THE TRUSS RODS

Tune the instrument to the desired tuning.
Lay the instrument flat, on a soft surface with the headstock pointing to the left, and a pillow or folded towel under the neck, around the 2nd fret for support.
Remove the truss rod cover, if the instrument has one.
Insert the truss rod wrench FULLY into one of the truss rods, and gently turn. If it feels tight, try the other direction. Clockwise turning will usually counter-act the pull of the strings, and tighten the rod, however, the truss rods are double-action and will bend the neck up or down, depending on which direction the rod is adjusted.
The idea is to get the neck as flat as possible with a very slight bow. Small adjustments are usually all that is needed, but it should be OK to take off all the truss rod tension, and re-tension it.
It's a matter of preference exactly where to set it, based on how hard the player taps, and the string gauges used. Some players prefer a higher action, some want it as low as possible. It all happens within that 1mm of clearance between the 12th fret and the string (usng the String Test above), and tiny adjustments can make the whole guitar play differently.
Generally, both rods (on instruments with two rods) should be adjusted with the same tension, but it is desirable to have a flatter neck on the guitar side than the bass, and the rods can have slightly differing tensions.
Once the rod is adjusted, you will most likely need to check your tuning again.
If you cannot adjust the rod far enough to flatten the neck, try taking the tension off all the strings, and tightening the truss rod first, then re-tuning the guitar. If you have over-compensated at this point, ease off the tension on the rods, until you reach the proper adjustment.
If you still can't get enough tension on the rod, you might have an older guitar that wants some lighter string gauges. (see Used Guitars, above)

ADJUSTING BRIDGE SADDLES

There is a screw on top of all of our bridges saddles that lock them in place after adjustment is made. This has many benefits to the intonation and the tone of the guitar. Before you loosen this screw, look at the intonation adjustment screw on the bottom of the saddle, that pushes the saddle along the length of the guitar for intonation. Make sure it is gently snugged against the locking screw, to keep your current intonation position, as these screws may loosen over time.
The locking screw must be loosened to make any adjustments to the saddle, other than lowering it. If this screw is tight, and you are not comfortable with the tension you are applying to loosen it, try lowering the saddle a bit, and the screw should turn more easily.
Once you feel that the truss rod is adjusted, buzzing strings (check every fret on each string) should be raised until the buzzing stops, and strings that are not buzzing may be lowered until buzzing begins, and then raised slightly.
Once again, if you think the guitar has the BFTS (see above), it is best to adjust ONLY the height of the saddles. Do not move them along the length of the guitar.
Once you are finished, snug up the screw that holds down the saddle.
If you have the black, graphite, non-piezo bridge saddles, take a bit of care not to tighten them too much, as you might break a saddle. I insert the long end of the Allen wrench into them to tighten, so that I can't get enough torque to break them, with my fingers on the short end of the wrench. It hurts my fingers before I have applied too much pressure.
The metal, piezo-equipped saddles are sturdier, and can take a bit more pressure.
If your guitar is one of the older Warrs (with the washer on the bridge saddles, as mentioned above), it is most likely not a Feiten instrument.
In any event, once you feel the saddles are at the proper height, be sure that both screws holding the saddle off the bridge plate have an even contact pressure with the plate. This can make a big difference in the tone of each string.
All Warr Guitars over 8-strings have a flat fingerboard, and saddle height is a way of giving the neck the feel of having a curved (or radiused) fingerboard, as found on most guitars and basses. Thinner strings are slightly closer to the body than thicker ones, giving the feel of a radius to the player. This should happen naturally once you have adjusted to get rid of buzzing.

ADJUSTING THE PICKUPS

The most important thing to know about pickup adjustment is to get the height correct on the highest guitar string.
Fret the highest guitar string at the 24th fret, and adjust the pickups so that it is immediately under the string. The 24th fret should tap and ring clearly. Small differences can change the sound drastically, so you might lower the pickup a bit if you feel you have hit a bad spot in the magnetic field of the pickup. Turn the adjustment screw 1/4 turn at a time and listen to the results.
Adjust the low side of the guitar pickup to get the most even volume balance. It will need to be farther from the string than the high side of the pickup, as the heavier strings create a stronger magnetic field, and sound louder.
Bass side pickups don't need to be so close to the strings, but circumstances change if you have a 5ths tuned bass (with wire strings on the high end) or 4ths tuned (with all wound strings). The heavier strings may need to be slightly farther away from the pickup, though the difference will probably not be as great as on the guitar side. Once again, you can fret any string at the 24th fret to get an idea of where to adjust the pickup.
10-string instruments have the bass and guitar pickups in the same shell, so get the highest string close, as above, and adjust the other side of the pickup for the best volume balance on all strings.
Adjust any 8-string instruments using the instructions for the guitar side of the stereo set up, as given above.

CARE AND FEEDING OF YOUR WARR GUITAR

Generally, all you need is a soft cotton cloth (like an old flannel shirt or T-shirt) to wipe off the strings and fingerboard after you play. Do not rub with any of the seams. They may have synthetic fibers that can scratch. Any dirt should be easily rubbed off the guitar with the cloth, and maybe a bit of breath moisture for the tougher spots. Once an area of the cloth has picked up some dirt, you will need to move to a clean section.
It is best to keep the guitar in it's case when not using it, but if you like to keep it ready and waiting on a stand to encourage practice every day (as I do), keep it away from sources of extreme heat or cold, like windows or heating vents, and invest in a really good stand. The dust that gathers around the pickups and headstock in this scenario is easily brushed off with a new, soft-bristled paint brush. This works nice for mixers, too, if you have a home studio.
If you live in a dry climate, and the guitar is starting to get dry, you can oil it with a product that is made for natural finish furniture, unless you have a painted Warr, like The Cow, or Blackie.
I use one that is basically orange oil and beeswax. The guitar smells really good when it gets oiled. If you want to try this, put a little of the product on the back of the guitar first, to make sure you like it, and it gets along with your skin. After a trial period, you should know whether it's OK to proceed. Just follow the directions on the product.

INTONATION

Don't even bother to intonate a guitar with old strings. It is a waste of time.
As mentioned before, if you have one of the newer, BFTS instruments, leave it alone, and replace with similar gauge strings. The locking screws on the bridge saddles should hold everything in place.
If you have an older, non-BFTS instrument, intonate to your hearts' content. I would suggest a good Peterson tuner, and using the 2nd and 14th frets. Never use harmonics to intonate.
Tune the guitar using notes at or around the 2nd fret.
While intonating and tuning, err on the flat side. Many players tend to tap hard and make some notes a bit sharp.
On strings with a lot of tension, it is best to loosen the string tension before making adjustments to the saddle. Since the high D is likely to break if you tune and detune too many times, intonate it at the open pitch of C, and tune up after you are in adjustment. It should be just fine.
Wear your glasses, and lock the saddles down when you are done.

SPERZEL TUNERS

Don't loosen the screw on the back unless you have taken the tension off the strings. I've seen them come loose, and nothing happens, but they should have a slight pressure on them to work properly. Just finger tight. They don't need to be cranked down hard.
To change strings, relieve the tension, and loosen the screw on the back of the tuner. Leave a little bit of slack in the string so that you still get a wrap or two around the shaft of the tuner. Gently tighten up the screw to lock the string in place, and then bring the string up to pitch.

Here is a good example of the kind of bass lines one has to play when gigging with a rock and blues band at local bars (or pubs, if you prefer).
This was originally posted on Taptalk (taptalk@yahoogroups.com)
Naturally, I ask you not to reprint or use this without my permission.
JW

First of all, we'll talk about straight 8th note grooves. This means that the notes fall exactly on the beats with no syncopation.
Since people out there are in different tunings, we'll use note names and let you all figure out fret positioning, though I'll give some suggestions.
We'll base all these lines around an E major triad, which we will arpeggiate, playing each note by itself. The basic triad is E, G#, and B. These are referred to as the 1st, 3rd, and 5th of an E major triad.
On your bass strings, find the low E, consistent with the low open E on a 4-string bass. If you want to have a "walking" feel (common in jazz swing), you simply play each note in sequence, ascending in pitch through the arpeggio, and then descending once the 5th is reached. E, G#, B, G#. This gives you the 4 quarter-notes in 1 measure of music, and everything is repeated, as long as the song structure stays on the chord of E. Once again, I'll leave it up to you to decide on which string you will tap the 3rd and the 5th, but if you're like me, you will find that one way is preferable to the other, as what we play gets more complicated and the lesson proceeds, and tempos increase.
If you are note-illiterate, but can find your low E, the G# will be 4 frets above it on the same string. If you are using 5ths tuning for bass, the B will be at the same fret as the low E, but on the next highest string. Your task will be to find the G# on that next highest string, and see if you prefer that fingering to the one using the lower string.
To play the same idea as a straight 8th note rock groove, we need to play repeated notes to imitate the double-stroke picking that a bassist might play. This means tapping each note in succession with two different fingers. DO NOT fall into the temptation to tap each note twice with the same finger, as it will become impossible to play quickly, when you attempt faster tempos.
A good general rule with repeated notes is to always have the index finger on the downbeat. In this case, we will strike the first of the two Es with the index, and the second with the middle finger, and then repeat the process for the 3rd, 5th, and 3rd degrees of the scale, always on the beat with the index finger. E-E, G#-G#,B-B,G#-G#.
Just to be clear, in the first "swing" example, we were playing four quarter notes in a measure. Now, with the straight 8ths example, we are playing two notes, in the space where we were playing one. Eighth-notes, instead of quarter-notes. Use a metronome (always), and make the notes as even as possible. It's also good to practice to make the notes as stacatto as possible.
I'm sure you have all heard this bass line. It's what I would call a "cliche". You can extend this, playing the 6th, and 7th degrees of our E scale ( a mixolydian, I believe, like a major scale, but with a flatted 7th), and then descending.
E-G#-B-C#-D-C#-B-G#, would be the "swing" version over two measures. Start descending after you play the D. Just double the notes to get the straight 8ths version.
OK, so far, so good. Now let's turn it into a shuffle, using the same technique, but syncopating the notes. The index finger is still on the downbeat, but the middle finger plays in the third beat of a triplet, which is contained inside each quarter-note of the measure. Think of counting it like this:
ONE (2, 3) TWO (2,3) THREE (2,3) FOUR (2, 3) With even spaces between each word and number. This makes 1 measure.
Your index finger will play on the written words (ONE, TWO, etc.), and the middle finger will play on the 3 of the numbers. It feels almost like a grace note leading to each index finger note.
The index finger tap should be a bit louder in volume than the middle finger tap, to define that it is on the beat. It's really great if you can get the index finger taps on ONE, and THREE to be the loudest of all, as these are the beats on which the drummer will most likely play his kick drum, and snare. These accents are what give definition to our groove, and this is why we want the stronger index finger playing on the beat, so it will be naturally louder.
Also. the more stacatto you can play each note, the sharper the groove will feel.
OK. SO... do this using the 1,3,5,3 and 1,3,5,6,7,6,5,3 cliches we used above. It should be easy to translate these into whatever key you need them to be in, I am just using E as an example, since it is a common key for guitar players.
You can also use an octave instead of repeating the same note. On most tunings, and octave can easily be played in the bass hand between the index, and ring finger. In 4ths bass, the index can be on the lower note, but in 5ths, it's easier if the index is on the upper octave.
Another variation is to play all three notes of the triplet tapping index, middle, ring finger at each fret position.
All of these cliches require a loose grip on the neck, as your arm must move quite a bit to place your index finger on each of these notes, especially if you are in 5ths on your bass.
These grooves are the basis for so many songs, and variations on these ideas appear in almost all rock, blues and pop arrangements. "Mess Around" by Ray Charles comes to mind, as well as "Wild One" by Jerry Lee Lewis, "House is Rockin" by Stevie Ray Vaughn, and many others including more modern pop songs.
Imagine playing some of these at blinding tempos for 4 sets a night on inverted 5ths, and you'll see why I was driven to uncrossed 4ths.
It was a lot of fun, as the audience gets crazier, the faster you play, multiplied by the amount of alcohol they have consumed. I was lucky to play with such talented musicians on a nightly basis, but wish they had banned smoking in CA, before I did this. In some bars, it was hard to see from one end to the other. I also should have used more ear protection, as we were loud, and stages were usually small.
Now I must be happy with relatively sedate jazz audiences, but at least I get to play more odd meters, and the drummers are more quiet, and less drunk.
NOW, if this lesson seems to go over well, and encourages more participation in Taptalk, then I'll post one talking about what your right hand should be doing during all this, assuming that you are playing bass with your left hand.

Jim Wright

Uncrossed Fourths Tuning and Two-Handed Tapping

After 18 years of playing a standard 4ths/inverted 5ths tuning, I began experimenting with my bass side tuning. I was playing in a fun cover band at the time, and was playing a lot of parts that were originally played on basses tuned in 4ths. Sometimes they were very difficult to play in inverted 5ths tuning.
I started by tuning my 5ths string set down to 4ths, just to see how the patterns were different, and found that I liked the ease of playing scales with three fingers per string, and pentatonic scales were suddenly VERY easy to play. All the bass side patterns were just mirror images of the melody side, and unison lines between guitar and bass were much easier to execute. I liked it enough to switch my tuning, and really liked the fact that all the bass strings were now wound, and sounded much more like a standard bass.
Following this was a tortuous year relearning all of my two-handed technique. Even though all of the parts were now physically much easier to play, my 5ths technique was very ingrained after so many years, and I had to constantly concentrate on my left hand, to play my parts correctly. Nevertheless, I ended up recording three of the tunes for my Jazz Heretics CD with this setup.
Occasionally, curious bass players would ask me questions about the instrument, and I would offer that they could try it, because it was in 4ths. They never liked the inverted 4ths, and it occurred to me that maybe someone should make an instrument with the bass right-side-up on the OTHER side, so that bassists would immediately feel at home.
My left wrist had been quite painful at the time due to playing a lot of 4 hour gigs of intense rock and R&B tunes, and it occurred to me that if I wasn't reaching over the guitar strings to play the bass, my wrist wouldn't be at such an angle. I started playing the guitar side with my left hand to see how the bass might feel over on that side, and it was immediately obvious that playing that way would open up both sides completely to play any note at any time.
Now I was hooked, and asked Mark Warr to build me an instrument that was tuned this way. After I got it, it took about three months for me to give him my other instrument and ask him to switch it over, too. I felt like I had finally found my tuning. Once again, I had to readjust to a new tuning, but within a year I had 90% of my old repertoire back, and a bunch of new material that playing in 4ths made so simple. The good part was that there is a whole world of already existing bass and guitar techniques and chords, of which I could now take full advantage. My bass side is now tuned just like a 6-string bass, and I can even use over-the-counter contact-core bass string sets.
I was pleased at how quickly Mark saw the possibilities of this tuning, of which his Phalanx instruments take full advantage, but can be had on any 12-string Warr. Mark recommended a matched tuning, with both guitar and bass side lowest strings being a B, an octave apart. However, I didn't want to change my guitar side tuning (I never have!), so I kept my lowest (guitar side) string tuned to a C sharp, concerned with being able to play a D as my highest note on the guitar side. I have played the matched tuning, though, and I think it is a great idea. All the notes and the patterns are the same for both sides, making it easy to learn the instrument, and play unison lines. It's also easy to tune the guitar side to a standard guitar tuning (one whole step below), and play six-note bar chords!
( A NOTE: Now about 6 years after this was originally written, I have gone to a matched uncrossed 4ths tuning, with low B, and high C strings on both sides. It makes everything so incredibly simple, and I rarely miss my high D and Db.)
Here are some examples of the same patterns in the inverted 5ths, and upright 4ths bass systems.

(Ex.1) This is how a root-fifth-third triad looks on both systems. Notice how the 4ths example would be the same as a commonly used right hand open-voiced chord.
All diagrams are made as though you were looking at the fingerboards from the front. Numbers indicate frets. The minor thirds are in parentheses.
_________________________ hi
_________________________
__________5_(4)__________ INV. 5ths
________________3________
________________3________
_________________________ lo



_________________________ lo
________________3________
_________5_______________
_________________________ Upright 4ths
_____________4_(3)_______
_________________________ hi







(Ex.2) This is how a pentatonic scale looks on both systems. Roots are in bold type.

_________6_________3____1 hi
____________5______3____1
____________5______3_____ INV. 5ths
______7_____5______3_____
______7_____5________2___
______7_____5________2___ lo



____________5________2___ lo
_______________4_____2___
_______________4_____2___
_______________4_____2___ Upright 4ths
_______________4________1
_______________4________1 hi


(Ex.3) This is how a major scale looks both ways.
_______7____5____3__2____ hi
_______7____5____3__2___
_______7____5_4_____2____ INV. 5ths
_______7____5_4_____2____
_______7_6____4_____2____
_______7_6____4_____2____ lo



_________6_____4_____2___ lo
_________6_____4_____2___
_________6_____4__3______
_________6_____4__3______ Upright 4ths
_________6__5_____3______
_________6__5_____3______ hi











(Ex. 4) These are the same Dom. 7th chord voicings.
_________________________ hi
________________2________
____________3____________ INV. 5ths
_________________________
_________________________
________________2________ lo

_________________________ lo
________________2________
_________________________
_________________________ Upright 4ths
_____________3___________
_________4_______________ hi

Twenty years ago, running a recording studio was a big operation. There was a lot of maintenance for the large format analog tape recorders, which were incredibly expensive to buy, as was the recording medium, two-inch wide strips of oxide-coated tape costing around $180 per 15 minutes of recording time. Heads had to be cleaned and aligned, involving the use of test tones, and adjustments for each channel of the tape recorder at the beginning of every day. The tape itself had dramatic effects on the sounds recorded onto it, considerably changing the EQ curve and adding distortion, wow, flutter, and constant pink noise in the upper audio range. Even so, some people still consider this to be a superior recording medium, and it is used in high-end studios to this day.
Now just about anybody with a powerful computer and some audio gear can start making recordings in their homes or studios that rival high-end audio recordings of any era, due to PCM digital recording and computer-based mixing.
Pulse Code Modulation digital recording uses a hard drive as a storage medium, instead of incredibly expensive oxide covered tape, and several different ways to back this up for storage, once music has been recorded to the hard drive. The PCM recording process colors the sound less than analog tape recording, which many people found unnatural when the change was first made from analog to digital recording. It was said that the analog distortion inherent in the recording process was more pleasing to the ear than the sterile sound of digital recording.
In fact, the digital recording process was returning a more exact replica of the sound recorded into it, and engineers started paying closer attention to the chain from microphone (or a sound producing device like a synthesizer or drum machine) to the recorder. This includes the preamp, which is bringing the sound source up to a line level, and any EQ or compression circuits used before the signal arrives at the recording medium. The higher the quality of this chain, the better the sound when it reaches the recorder. The better the quality of the recorded sound, the easier it will be to mix when the time comes to make a two-channel (or 5.1 or 7.1 channel) rendering of a multi-track recording.
Microphone choice and placement is one step of the recording process that is essentially the same as it has always been, and still requires knowledge of equipment and expertise. If the sound was recorded poorly, it will take up much time during mixing to make it sound better. A kick drum recorded with the wrong microphone, for example, or the microphone in the wrong position, may need to be EQd or compressed to get it to be heard above the bass, and still might not be satisfactory, in the final mix.
This is the reason that large-diaphragm condenser mics, and tube preamps have become so popular in recent years, as people try to record professional quality vocal and instrumental tracks at home on the many types of digital recording devices available today.
Large-diaphragm condensers mics are particularly well suited for recording vocals and other more naturally produced sound sources like stringed instruments and quieter percussion and woodwinds. They range in price from around $100 to several thousand, and each microphone has a distinctive sound that must be taken into account when choosing a mic for a specific task. A mic that sounds good in a wide range of applications is most likely very expensive and highly sought after. A good example would be a Neuman U-47, which costs several thousand dollars. There are many low-priced condensers on the market these days, and the only way to find out if one will work with your voice, or sound source, is to record it and hear it on playback.
Condenser mics are powered, usually by a 48-volt signal from the preamp known as phantom power, though they may be powered by a tube or solid-state preamp circuit made specifically for the microphone. A good analogy is the difference between passive and active guitar pickups. An active pickup is capable of sending a stronger output to the amplifier, and has more sensitivity than a passive pickup. It also has a different tonal quality. The same is true of the difference between condenser mics and dynamic microphones. Due to their construction, condenser microphones of all types are somewhat fragile and great care should be taken not to drop them, or to allow moisture or dust to collect on them.
Dynamic mics are passive, and use a less pliable diaphragm, which can take more abuse, in terms of the volume level of the sound source. A good example of a widely used dynamic mic is the Shure SM 57. These mics are very rugged, and cost only about $80 brand new. Even so, they are used under a wide variety of situations, and serve many purposes. The SM 57 is considered THE snare drum mic of choice by most engineers, and also gives a good sound from tom-toms, percussion instruments, guitar speakers, and some brass instruments. Those three microphones you see in front of the President when he speaks are SM 57s. There are many different makes and qualities of dynamic microphones, and again, they all have their own distinctive sound. Some have larger diaphragms than others, and give a better bass response as a result. The Electro-Voice RE-20 is a good example, and is often used as a radio voice microphone, as it gives the very deep vocal sound that is associated with FM announcers. It makes a great mic for recording bass amp speakers, or kick drums, and even gives decent sound on vocals, though without the high-end detail of a condenser mic.
The preamp that amplifies the mic up to a line level for recording is as important as the microphone, and each preamp also has its own coloration that it adds to the signal. Some mic pres (like Neve) are prized for their lack of coloration, and others (like Joe Meek gear) are prized for the distinctive color they add to a sound source. Good mic pres are very expensive and can cost more than $1000 per channel, but many low-cost mic preamps are available on the market these days and many of these can actually give a decent sound. It is possible to use a mixing board as mic preamp when you record to a digital recorder and some companies are trying to put high-quality preamps in their mixers for just this purpose, but generally, you can get a better sound out of a preamp made for recording. If you buy a stereo mic pre for $400, it means the manufacturer spent less than $200 for each channel. If you use a $300 10-channel mixing board as a mic preamp, it means each channel cost less than $30 to the manufacturer. Using this yardstick, its a good idea to buy a decent stereo mic pre to record all of your tracks to hard disk, providing you dont want to record more than two tracks at a time. The more quality mic preamps you have, the more quality tracks you can record at once.
A good mic preamp will also add life to sounds from synthesizers, samplers, drum machines , and guitars and basses. Most mic pres will have a 1/4 inch jack that allows you to plug a guitar, bass, or electronic keyboard directly in, so you dont have to use a direct box to match the impedance. All of these sources will sound better when recorded through a good preamp.
Many preamps made today use tubes to give a more analog sound to the recording, in place of the distortion and compression inherent with analog tape. Some preamps will even allow you to distort the tube to more noticeable levels, to add color to the sound. However, many non-tube, solid-state preamps, like Neves are prized for their sound above tube preamps, especially when pristine vocal tracks are desired, and high-quality mics are used.
When tracking vocals, its a good idea to add compression after the mic and preamp, so that better levels can be recorded to disk, giving a stronger vocal sound. Good (and yes, expensive) compressors are highly prized on vocals for the lack of coloration they give while keeping widely varying signal levels under control. Some mic preamps (like the Avalon 737) have quality compression and EQ included, usually at the expense of the second preamp channel. These are expensive, but if youre after quality vocal tracks, the expense is worth it. ART and other companies offer a similar device of lower (but still good) quality for around $400.
The placement of the microphone around drums or in front of speakers can radically affect the recorded sound, and pains should be taken to listen to several positions over speakers that are isolated from the sound source. If you cant isolate the speakers, you must record some and listen back so that you are not hearing bleed from the sound source as you judge the mic placement. Mics in front of amplifier speakers should never be placed perpendicular to the center of the speaker cone, but at an angle to avoid any interference patterns that might cause a weak sound. Put the mic slightly off to the side, but still aimed at the center of the cone. The same is true of mics on drum heads. Angle the mic so that it sees a large area of the surface of the head. I find it a good idea to think of the mic as a flashlight, and imagine what the beam would look like on the drum head. Most engineers recommend miking a snare with the above-mentioned SM 57 one inch above the rim of the drum, at an angle so that it is hearing a large cross-section of the drum head, giving a good sample of the different frequencies the head is producing.
The more time you can spend listening to your mic placements, the better your recordings will sound.
Its also sometimes desirable to place the mic (or a second microphone) farther from the source to get the sound of the room the source is in, for a more ambient recording. Just be sure the room has a sound you want, if you are only using one microphone when you do this, as once its on the hard drive, there is not much you can do to mask the tonal quality, if you dont like it. This technique is used often on guitar speakers, and helps to give a fuller sound.
Direct outputs from guitar or bass effects preamps will sound better when recorded using a studio mic preamp to get the sound to disk. The same is true of keyboards, drum machines, and samplers. Demeter makes a stereo tube direct box that gives great character to these devices. Its also a good idea to get a direct and miked sound on these types of sources if you can spare the tracks. A bass recorded with both direct and miked speaker inputs will always sound better than using only one of these sources. Since so much hip-hop and loop-based popular music is recorded without using any live instruments these days, its important to use preamps to get the best sound out of the kinds of sources used, like samplers and synths.
This is not to say that low budget microphones and preamps cannot make good recordings, especially in the more experimental climate of certain musical styles that are popular today. Having a studio in your home allows you more time to try different combinations of equipment to see what works best for the task at hand, and experimentation is key to getting unique sounds. For example, I have an SWR bass amplifier that I have used in a pinch as a mic preamp for drums, due to the high-quality preamp found in it. I wouldnt suggest this for a kick or snare track, but it may sound better than anything you have on hand, especially for a tom-tom microphone, or a guitar speaker mic. Sometimes, the lowliest mic in your collection might give that gritty vocal sound you want for a nasty track, and save you the trouble of having to EQ during the mixing process.
Experience with equipment is the only way for you to know what gear will give you the sound you want, so see what your friends or your favorite artists are using, and start there. Many recording magazines and websites are available if you want more information about the amazing amount of gear available to help you make your tracks unique. Good luck!



In addition to being a Touchstyle musician and teacher since 1978, Jim Wright has worked in Los Angeles, CA, and Denver, CO as a producer, and professional recording and mix engineer.