CategoryMusic

Dealer Occasion at F1 Audio Illinois

The following is a press release issued by F1 Audio.

February 22, 2017 – F1 Audio will be hosting an occasion Thursday, February 23rd (4:30 PM – eight:30 PM) featuring the new Dynaudio Contour 60 loudspeakers, Nordost cables, Octave tube electronics and Music from MoFi. Factory representatives will be on hand performing demonstrations and answering concerns. Guest will be in a position to register for a opportunity to win music from MoFi records, and F1 will offer unique pricing in the course of the event. Refreshments will be served.

F1 asks that you kindly get in touch with or email to register for the event.

F1 Audio, 311 E Dundee Rd., Palatine IL 60074.
Tel: 847.772.3140 
Email: jamie@f1audio.com

https://www.facebook.com/F1Audio/

The Absolute Sound Articles

1936 Gibson-created Kalamazoo KG-14 Flattop Guitar

Another KG-14! I guess they are greater in pairs, no? This one particular is loud, punchy-as-heck, has very good snap — and a lot of ring to it. It really is mainly-original, also, but has new frets and a new nut and saddle. The pins are, amazingly, all-original and the guitar has that look — with the firestripe guard and perfect bluesy sunburst.
This was practically-carried out final Saturday, but it took all week for me to locate the time necessary to finish it off. This is simply because it necessary far more operate than I expected. In the finish it got a neck reset, bridge reglue, new bone nut and saddle, brace reglues, crack cleats and repairs to the leading, and a board plane and refret (with new jumbo stock). The finish result is a top-notch player with a straight neck, modern-feeling frets, and spot-on three/32″ EA, 1/16″ DGBE action at the 12th fret. I have it strung with 52w, 40w, 30w, 22w, 16, 12 strings in a “slightly lighter than light” set.
The usual KG-14 specs apply, too — 1 3/4″ nut width, 12″ radius fretboard, medium-sized V-shaped neck profile, 24 three/4″ scale (practically 24 7/eight” in actuality), and 14 5/eight” width on the lower bout. The ladder bracing compared to an x-braced L-00 indicates a less-creamy best and bottom end and an emphasis on lots of snap and punch in the mids. This is perfect for a fingerpicker but will also suit a flatpicker who requirements a bit of reduce and definition like an archtop.

I also added side dots. The board is freshly leveled/planed and feels like a new, boutique providing.

There are a few challenging-to-see cracks on the leading that are all repaired. Two brief hairlines are above the soundhole and cleated and there are 3 smaller sized ones under the soundhole and terminating at the bridge — also cleated. Below the bridge the center-seam was a small open and that is been glued, cleated, and sealed for future stability.
I forgot to mention that I also reglued the pickguard a bit, too.

The bridge has its original pins — although the saddle is a new, compensated, bone one.

As you can see, there’s a fair amount of saddle left for action adjustments. The slot is also deep sufficient that conservative “shimming” can get you by for fine adjustments up without having the saddle tilt forward on you.

Woods, right? The best is strong spruce and the back, sides, and neck are solid mahogany. The back on this one appears to be one piece, too.

There is an typical quantity of use-wear on the guitar but, all round, it looks excellent compared to many KG-14s which have a tendency to get a lot of play over the years.

The tuners are mainly original but I’ve employed spare components from a donor set of the identical variety (only a handful of years prior) to replace missing bits.

The “fade” of the sunburst to the back/sides is quite neat right here at the neck.

The endpin is original, too.

T+A PDP 3000 HV CD/SACD Player and DAC

Theory + Application Elektroakustik (T+A) could be the biggest and most technically innovative high-end audio firm you have heard small or nothing at all about. The Germany business has been on a lengthy-term growth trajectory but has intentionally kept a low profile in the U.S. so that it could focus on the European and Asian markets. That is unfortunate for those of us in North America because T+A makes an extensive variety of technically innovative, beautifully built, forward-seeking, fantastic-sounding merchandise that are relatively priced.

Founded in 1978 by Siegfried Amft, T+A began life as a loudspeaker organization with just two workers. Amft still heads the company, which has grown to a staff of much more than a hundred. Fourteen of the employees are graduate-level engineers, several of them specialists in fields such as circuit-board layout, computer software improvement, and mechanical engineering. The company’s history is 1 of fundamental technical research driving item improvement. T+A is as far from a marketing-driven “me-too” organization as you will locate. For instance, the business styles and builds its own disc-transport mechanisms from metal rather than buying off-the-shelf plastic mass-market drives. T+A also writes its own application, like the filters in its digital products. I was astonished to uncover that T+A was creating its personal computer software-based digital filters way back in 1989, a time when I believed that only Wadia and Theta Digital possessed that capability.

The PDP 3000 HV CD/SACD player and DAC reviewed right here exemplifies T+A’s engineering-driven strategy. The company’s flagship digital item is packed with sophisticated design and style and lavish execution. I got an inside look at the PDP 3000 HV in the course of the Munich show exactly where I sat down with T+A’s lead designer, Lothar Wiemann. A physicist by education, Wiemann has been with T+A for far more than 30 years. The 57-pound player’s prime panel attributes a round see-through window that shows off the internals. The enormous chassis is produced from aluminum, with isolated compartments for the digital and analog power supplies, and separate compartments for the digital and analog circuits. The transport is housed in its own aluminum chamber. This construction isolates the subsections magnetically and mechanically, and prevents coupling through RF. The exterior metalwork, which is available in dark grey or silver, is exemplary, as is the feel of the controls and the sophistication of their operation. Press the drawer-open button and the tray glides out with a smoothness and solidity that is unmatched in my expertise. I would not have been shocked to understand that the PDP 3000 HV was priced at twice its U.S. retail of $ 22,500 (alas, up from $ 19,500 ahead of the Euro-Dollar valuation swing this summer).

The front panel is dominated by two huge knobs that select inputs and access the player’s in depth menu. These inputs consist of USB, AES/EBU, three SPDIF on RCA, two SPDIF on BNC jacks, and two TosLink optical. All these inputs can be named by way of the remote control’s keypad. The remote handle is a large, heavy unit machined from metal. The markings are a bit cryptic you have to refer to the table in the owner’s manual to decipher their meanings. The disc drawer sits beneath a big display that shows the chosen input, track number or time, and the set-up functions.

The rear panel has a couple of uncommon twists. Very first, the PDP 3000 HV needs two AC cords, 1 for the player’s digital power provide and one more for the analog provide. The second twist is two sets of analog outputs, 1 for PCM sources and the other for DSD sources. Dual outputs are presented due to the fact the PDP 3000 HV employs fully separate signal paths for PCM and DSD decoding, all the way through the analog output stages and output jacks. Most DSD-capable DACs basically convert DSD to PCM for conversion to analog. T+A wanted to build a statement item with out the compromise of designing a single DAC and analog output stage that would perform for each DSD and PCM. This arrangement, even so, requires two pairs of interconnects among the PDP 3000 HV and your preamplifier if you strategy on listening to DSD downloads or SACDs. If you are not that hardcore, a menu setting will route all signals by means of the PCM output stage with a little penalty in DSD sound good quality.

Significantly work went into optimizing the functionality with SACD and DSD sources. In addition to separate signal paths for PCM and DSD, the DSD DAC is a T+A custom design realized with discrete elements rather than an off-the-shelf chip. In addition, the PDP 3000 HV makes it possible for you to choose among two SACD and 3 DSD filters and noise-shaping algorithms to optimize the sound top quality for distinct systems and DSD sample rates (see sidebar). I’m not conscious of any other DSD DAC with either a discrete custom DSD DAC or selectable DSD filters.

I describe the PDP 3000 HV’s technical specifics in the sidebar, but here’s a synopsis: custom digital filters, completely separate signal paths for DSD and PCM, an all-discrete signal path which includes the present-to-voltage converter, dual-differential PCM DACs, custom discrete DSD DAC, isolated digital and analog energy supplies including dual power cords, custom metal transport mechanism, an elaborate power supply, massive aluminum chassis, no op-amps in the signal path, and substantial jitter reduction. That’s an impressive list of design functions.

I need to mention that if you uncover the PDP 3000 HV attractive but it’s beyond your price range, and you do not want disc playback, think about T+A’s $ 3995 DAC 8. It is primarily based on the same style concepts as the PDP 3000 HV but in a much less elaborate implementation. It nevertheless provides the discrete 1-bit DSD converter, selectable DSD filters, and many other T+A technologies. I haven’t heard the DAC 8 but primarily based on my knowledge with the PDP 3000 HV, I count on it to be outstanding.

The Absolute Sound Articles

2017 Editors’ Selection Awards: Cables and Interconnects beneath $1000

Transparent Audio The Link interconnect, The Wave speaker cable, PowerWave 8 AC conditioner
$ 100/1m pr., interconnect $ 220/8′ pr., speaker $ 125, Overall performance Energy Hyperlink $ 1195 PowerWave eight
The $ 100 The Link interconnect brings more than a taste of high-end interconnects to an entry-level value. Similarly, the $ 220 The Wave speaker cable is a bargain, offering superior tonality, wider dynamics, and a a lot more open soundstage. The PowerWave 8 conditioner is also an extremely price-efficient upgrade, rendering wider dynamic expression, smoother timbres, and higher musical involvement.

Wireworld Nano Eclipse
$ 175/1.5m
Nano Eclipse is about midway up Wireworld’s complete line of headphone cables, but it does not skimp in supplies or sonics. Eclipse is composed of OCC high-purity copper conductors in a DNA helix configuration surrounded by Wireworld’s Composilex 2 insulation. The result is so efficient that switching from a stock headphone cable to the Nano tends to make a distinction commensurate with significantly upgrading the headphones themselves. AT claims it’s not possible to overstate how much the Wireworld opens up, cleans up, and tightens up the sound. A no-brainer for any reasonably high-quality personal audio setup.

Audience Ohno
$ 199/1m (+$ 82/m) interconnect $ 209/1m (+$ 20/m) speaker
Audience’s new worth line of Ohno cables runs counter to the thought that fantastic wire usually demands heavy jacketing and complex conductor geometries. Sonically these featherweights were fast and extended with well-focused imaging and dimensionality. Most significantly they were not additive, nor did they crimp dynamics. They were also easy to position for desktop use, providing an unerring sense of musicality without having busting the budget.

Moon Audio Silver Dragon V1 IEM Cable
$ 195/48″
The Silver Dragon V1 IEM headphone cable is a drop-in replacement for use with in-ear monitors where light weight and flexibility are critical. The Silver Dragon IEM is a coaxial design utilizing a 99.99998% UP-OCC stranded silver 26AWG center-conductor for the positive leg. The center-conductor uses the identical Kevlar reinforcing as other Dragon cables. Accessible with numerous source connection alternatives as properly as terminations to match several brands.

Wireworld Equinox 7
$ 200/1m pr. unbalanced interconnect $ 225/1m pr. balanced $ 870/3m pr. speaker
Falling correct smack in the middle of Wireworld’s extensive new Series 7 line, the Equinox seems to be great value. The interconnect presented a pleasingly rounded and warm presentation not unlike that of Cardas Clear Light, even though the Equinox 7 speaker cable was quite related to the Cardas Clear Sky in sonics. Superb hum and noise rejection.

Kimber Kable Hero
$ 219/1m pr.
Yielding only a tiny bit in sheer handle, ultimate top-finish transparency, and inner detailing to PS’ reference Kimber Select KS-1021, Hero’s bass lives up to its name, prodigious in amplitude and definition (rather much better even than its pricier brother). This interconnect is either dead neutral or tilts a notch to the yang, with dynamics at after strong yet finely resolved in an basically grain-free presentation.

Nordost Purple Flare
$ 259/1m pr. interconnect ($ 26 per addl. half-meter pr.) $ 439/1m pr. speaker ($ 52 per addl. half-meter pr.)
Featuring Nordost’s classic flatline configuration the Purple Flare is a rung beneath the present incarnation of Blue Heaven, however it is a tiny trip to heaven on its personal. It genuinely shines in the midband with a driving, slightly forward energy that imparts dynamic liveliness to all genres of music.

The Absolute Sound Articles

Here’s a cool handheld drum machine you can create with Arduino

“I’m the operator with my pocket calculator…” — and now you’re the engineer/builder, too.

This excellent, copiously documented project by Hamood Nizwan / Gabriel Valencia packs a capable drum machine into a handheld, calculator-like format, complete with LCD display and pad triggers. Assembly above and — here’s the result:

It’s simple stuff, but genuinely cool. You can load samples onto an SD card reader, and then trigger them with touch sensors, with visible feedback on the show.

All of that is feasible thanks to the Arduino MEGA undertaking the heavy lifting.

handhelddrum

The mission:

The thought is to develop a Drum Machine employing Arduino that would simulate drum sounds in the 9 keys available in the panel. The Drum machine will also have a display where the user can see the sample name that is being played each time, and a set of menu buttons to go by means of the list of samples obtainable.

The Drum Machine will also use an SD Card Reader to make it achievable for the user to shop the audio samples, and have much more playfulness with the equipment.

https://physicalfinalproject.tumblr.com/

Verify out the complete project – and perhaps develop (or modify) this project your self!

Got a drum machine DIY of your personal? Let us know!

CDM Create Digital Music

1934 Gibson-created Kalamazoo KG-11 Flattop Guitar

I genuinely take pleasure in KG-11s and, contemplating that there’s 7 or 8 a lot more of them to be repaired about here, that’s great news for me! A customer chosen this from the bunch on-hand, and now that repairs are completed, it just requirements to settle-in and then will be cleared for shipping.
This one particular has a factory order number of 1171 on the neckblock which states that it is a 1934 construct — though the tiny sunburst and straight-reduce headstock sort-of call it out as a Kalamazoo made in the “very first batch” of 1933-34, anyway. It shares the usual KG-11 specs — a 1 three/4″ nut, usual Gibson 24 three/four” scale length, 14 five/eight” reduce bout, and a “squashed” body with a reduced-on-the-bout bridge as compared to the far more-iconic KG-14s. These design alterations compared to the KG-14 push the nut closer to the left hand, impart an overall woodier, warmer tone, and find the physique in a super-comfortable way in the lap. The sacrifice is a tiny bit of volume and punch, but for my playing style I tend to favor KG-11s most of the time as they’re a far more forgiving guitar — something a friend of mine also concluded soon after providing it a whirl proper after I’d finished work on it.
That perform included a neck reset, fret level/dress (thankfully on an already-straight neck), replacement rosewood bridge, a couple of crack repairs/cleats (a couple to the side at the bass waist and a single on the leading under the bridge), and replacement bridge pins. It’s playing spot-on with 1/16″ DGBE and 3/32″ EA action at the 12th fret. I tend to run “11s-comparable” strings on these, but with stiffer trebles — gauges 52w, 38w, 28w, 22w, 16, 12.

This has a 3-piece, solid spruce best. The back, sides, and neck are solid mahogany and the fretboard is Brazilian rosewood with a 12″ radius.

The tuners are replacements, but the ferrules are originals. Note the original ebony nut.

I add side dots standard, these days. The pearl dots and smallish Gibson frets are original, though.

I love the look of these pickguard-much less early models.

The original bridge would’ve been Brazilian rosewood with a via-cut saddle slot and “ebonized” black with a nitro finish sprayed more than it. My replacement is Indian rosewood and has a drop-in saddle slot. I re-employed the original bone saddle, however, when I match this a single.
The original bridge had split along the pins and the back edge would’ve sheared-off over time (probably 6 months after tuning-up) if I’d attempted to glue it back together and leave it. I don’t like getting to waste customers’ time with such items to preserve broken originality.

The pearl-dot ebony pins aren’t “to spec,” but I didn’t want to use the oversize pins that this came with as the holes are currently so far aft (like the original bridge).

Celluloid binding is only at the top edge and soundhole.

The tuners are 1950s units I’m utilized to seeing on Harmony guitars. I tend to have a few sets on hand and use them on guitars like this one particular, when I get the opportunity, as its original tuners were extended gone and the replacements had been terrible, super-cheap, Ping units. They operate as effectively or much better than the originals and have the very same vibe as 30s, openback machines.

The original endpin is extant, but has a small chip-out on its “bottom ring.”

There’s a new wave editor for Mac and Windows, and it appears promising

Most hardware and software program for music producing has usually gotten far better, but not the dedicated audio editor. This when-proud genre of music computer software has fallen on difficult times. Tools have been acquired, discontinued, received also-handful of updates. Some of the greater tools we’re left with appear like they came from one more decade.

And that is too negative. Since getting a tool devoted solely to day-to-day audio chores is a truly very good issue. Possibly you’ve got a set of samples you want to crop and clean up to load onto your drum machine or into a application sampler. Maybe you are sorting by way of a massive stack of field recordings. Possibly you have got a huge set of cues for a video game or app project. Odds are just about every person, no matter how basic, winds up with some grunt work converting and editing audio and applying effects and plug-ins.

I’m always up for some new entry to this industry, and so I was glad to see ReSample pop into my inbox. It’s a Windows and Mac tool for audio editing. And it at least looks modern: it is got a slick interface that appears at home on today’s higher-density Mac and Computer displays.

It is also, at final, ready for your new hardware. So on both Computer and Mac, you get multi-touch trackpad gestures and slick editing that makes browsing via waveforms straightforward. On the new MacBook Pro, you even get Touch Bar assistance – producing this a single of the very first third-party apps to assistance Apple’s new input device.

resample

There’s also a lot constructed-in: noise reduction, vocal removal, tons of effects, higher-top quality sample rate conversion, loads of file conversion alternatives, and rich spectral views of almost everything so there’s visual feedback on what you’re undertaking. As for your own plug-in collection, this app acts as a VST and AU host, too.

The most vital function to me is the 1 that’s missing in this extremely first release: there’s no batch conversion. But the developers do tell me this is a priority, and must be obtainable in the close to weeks.

A rapid play of the plan reveals it to be basic and efficient. I’ll attempt to do a full review quickly (I may wait for batch features to give it an in-depth go).

It’s US$ 89, and there’s a 25-day demo period.

Characteristics:
Sample rate/depth conversion
Amplitude
Fade
Compressor
Multiband Compressor
Equalizer
Engineering Filter
Chorus
Phaser
Delay
Easy Reverb
Reverb
Stereo Enhancer
Time and Pitch
Pitch Correction
Noise Reduction
De-Esser
Vocal Removal
Doppler Effect
Oscilloscope
Spectrum
Phase Scope
Loudness Meter

resample-all-processors-white

ReSample

Update: Lots of discussion in comments of which audio editors you do use these days – several of them free of charge. Love all the thoughts right here, and truly also shocked some tools didn’t come up – so this appears a great opportunity to do a comply with-up story soon!

CDM Generate Digital Music

MQA and Universal Music Group Collaborate on Advancing Hi-Res On-Demand Streaming

The following is a press release issued by MQA and Universal Music Group.

LONDON AND SANTA MONICA | FEBRUARY 16, 2017 – Music technology organization MQA and Universal Music Group (UMG), the world-leader in music-primarily based entertainment, announced these days that the companies have entered into a multi-year agreement that will encode UMG’s comprehensive catalogue of master recordings in MQA’s industry-leading technology, promising to make some of the world’s most celebrated recordings available for the initial time in Hi-Res Audio streaming

Today’s announcement comes shortly after the launch of the cross-business advertising campaign “Stream the Studio”, launched at the 2017 Customer Electronics Show in Las Vegas and spearheaded by The DEG: the Digital Entertainment Group, to raise awareness of the advantages of Hi-Res Audio streaming.

Mike Jbara, CEO of MQA, commented, “We’re really pleased to be operating with Universal Music to obtain our objective of moving studio-top quality sound into the mainstream.  Universal’s timeless catalogue and impressive artist roster will fuel music streaming solutions worldwide and enable the premium listening expertise for all music fans.”

Michael Nash, Executive Vice President of Digital Strategy at UMG, said, “The promise of Hi-Res Audio streaming is becoming a reality, with one particular service currently in the market place and several a lot more committed to launching this year. With MQA, we are functioning with a companion whose technologies is amongst the best solutions for streaming Hi-Res Audio, and one that does not ask music fans to compromise on sound high quality for convenience. We’re hunting forward to operating with Mike and his team at MQA to make our sector-leading roster of artists and recordings available to music fans in the highest good quality feasible.”

MQA – the award-winning technologies which delivers master high quality audio in a file little adequate to stream – debuted on international music and entertainment platform, TIDAL, at the starting of this year, and is also offered internationally on numerous music download services.

About MQA
Utilizing pioneering scientific investigation into how men and women hear, the MQA group has created a technology that captures the sound of the original studio efficiency. The master MQA file is fully authenticated in the studio and is modest enough to stream, whilst also being backward compatible, so you can play MQA music on any device. MQA’s award-winning technologies is licensed by labels, music services and hardware makers worldwide and is certified by the RIAA. MQA is a UK-primarily based private organization.

For far more details visit www.mqa.co.uk

About Universal Music Group
Universal Music Group (UMG) is the world leader in music-primarily based entertainment, with a broad array of businesses engaged in recorded music, music publishing, merchandising and audiovisual content in far more than 60 countries. Featuring the most extensive catalog of recordings and songs across each musical genre, UMG identifies and develops artists and produces and distributes the most critically acclaimed and commercially effective music in the globe. Committed to artistry, innovation and entrepreneurship, UMG fosters the development of services, platforms and company models in order to broaden artistic and industrial possibilities for our artists and produce new experiences for fans. Universal Music Group is a Vivendi business. Locate out far more at: http://www.universalmusic.com

The Absolute Sound Articles

Workshop: Pickguard Pickup Frustrations

Last year (I think?) I spruced this guitar up adequate for its owner to get it going once more. This year he came by with a Kent-branded 60s pre-loaded pickguard and had the intention of installing it.

As usual, for retrofit to an acoustic, placement of the pickup (despite its thinness) needed to be changed so it would clear the strings appropriately. It took a bunch of fuss to get this to mount with no needing a screw in the physique as well, but I finally got it worked-out.
The second element of the program involved replacing the mini-jack that came with the pickguard to a normal 1/4″ guitar jack on the face — which also necessitated moving the knobs about to get it to fit with the jack and cable-finish dropping into the widest element of the f-hole’s opening.
Right after that I wired-up a ground from the tailpiece to the jack from inside the body.
Whilst fussing with the pickguard’s mounting I kept noticing that the signal would drop more than and more than no matter how a lot of times I stripped and resoldered the end of the pickup’s leads. I ultimately yanked the complete lead from the pickup (see how rotted-out the interior of the cable is! — hence the issues of it grounding to itself) and had to go inside the cover of the pup and straight wire-up new leads from the +/- sides of the coil. I try not to do that on these old Japanese pickups simply because…

…beneath that cover the coil and magnet and its fragile leads are simply taped-up with what seems to be ancient masking tape. It is truly simple to harm these pickups with disassembly. Luckily, every little thing went nicely, and with almost everything back in place I was in a position to reinstall the whole assembly on the guitar and fire it up.

As expected, the tone is crisp, clear, and balanced — with that vaguely-acoustic tone that Danelectros frequently have — but leaning far more towards the DeArmond spectrum.

The old wiring harness also got all of its soldering-points re-heated but remained, otherwise, factory-original — including the “backwards” tone handle.

1970 Japan-produced Rose KF-10M 000-Size Flattop Guitar

I took this in trade yesterday and, while it’s undoubtedly not something fancy, it does have numerous exciting design and style quirks. It is clearly a Japanese guitar and sports the usual construct elements for the time, with all-ply construction in the physique and a multi-piece mahogany neck with a bound, rosewood fretboard, and Martin-aping appears. It’s also roughly 000 in size and specs with a tight waist, 24 5/eight” scale and 15 1/8″ reduced bout width.
The most significant weirdness is its tic-tac-toe bracing pattern (appears like a # sign) which is arranged in virtually exactly the identical way as one would locate on a 1920s L-1. I’m assuming this pattern was either utilized to cut expenses vs. x-bracing at the factory, but since of the sturdy tonebar-with-ladder elements of the design and style the pattern also has the advantage of maintaining the leading from deflecting like crazy (an situation with a lot of 70s laminate/ply guitars), rising sustain, and also maintaining the neck joint steady (as the elevated rigidity of the top signifies the block travels much less with tension over time — the principal reason guitars need neck resets).
In truth, the only true “dilemma” with the guitar given that it was built in 1970 is that the laminate layers were beginning to peel up from under the (fortunately bolted) bridge and it needed a great fret level/dress and setup. I also replaced a missing pickguard, lubed the tuners, and voila — it really is up and playing once more.

I did this guitar on the quick because I was curious about the sound. I adore the direct, basic, sustained, and fingerpicking-friendly tone of the old L-1s and this guitar does have a lot of the basics of that sound — such as a strange, punchy, crisp general feel to it that isn’t very vibrant or brittle, but something else. For an all-ply cheapie, it really is really pretty exciting.

The “crown” motif is lovably cheesy and the molded plastic nut speaks to the high quality-level of the factory construct. The neck is bang-straight and the truss operates perfectly, even so.

The adjustable saddle on the bridge is fascinating since it really is a 100% rip on the Gibson-style adjustable units, though the saddle is brass as opposed to ceramic (ew), rosewood (yum), or ebony (yum).

Just like on Gibson adjustable bridges, there are two “holders” for the adjuster screws which are themselves bolted into the bridge and bridge plate. This is a a lot far more secure and functional way of producing an adjustable saddle vs. the usual Japanese and Korean adjustable saddles noticed from the same time.

The back and sides are ply mahogany and in a handful of locations on the sides you can see some burn-by way of from more than-zealous sanding before the finish went on!

Right after a lube the tuners began functioning just fine, even though a set of inexpensive Kluson repros would be a excellent upgrade.

Anybody know about this brand? I am thankful for the apparent date-mark, though!

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