Cracked finishes? Buzzy frets? Don’t let it happen to you!
Wherever you live and whatever the climate, don’t forget to keep your humidity levels in check. Your guitars will thank you!
For guitarists, things get a little crazy twice each year. I’m not talking about the NAMM convention—it’s bigger than that. Both summer and winter bring temperature and humidity extremes to bear on wooden instruments, and if you’re not prepared, things can get ugly. Dry air shrinks wood and splits guitar parts. Humid air swells tops and fretboards, wreaking havoc on setups and finishes. It’s important to know that damage caused by failure to anticipate this natural occurrence is not a defect in the instrument. Many times, trips to the repair shop can be avoided by simple climate control.
It’s a full-time job for guitar builders, but what we do to cope with nature’s swings has lessons for guitar owners as well. Modern indoor climate control means most people live and work in a fairly narrow range of temperatures, regardless of where they reside. We all know not to leave a guitar in the car trunk when temperatures soar or plummet, but inside of your home, the culprit is humidity.
The yearly average humidity in North America (and around the world) provides an incredibly wide range of numbers. Nevada’s 38.30 percent yearly average is a world apart from Alaska’s surprising 77.10 percent, and that’s just the average. But even these numbers don’t tell the whole story. When you factor in temperature, things can get better, or they can get much worse. What we’re interested in is relative humidity (RH), which is the percentage of water vapor in the air at a given temperature.
Different regions require different approaches. Both Arizona and Louisiana can be crazy hot in the summer, but their humidity levels couldn’t be more different. In the Southwest, air conditioning that’s working overtime to cool is also stripping moisture from the air. Whereas in New Orleans, getting things dried out is a constant battle. It’s safe to say that most places need both temperature and humidity control to avoid problems.
Manufacturers can’t afford the damage that humidity (or lack of it) can bring. When RH drops too quickly, expensive stockpiles of tonewoods can crack, reducing them to firewood. At the very least, swings in humidity can make wooden parts hard to fit, especially when they’re machined to tight tolerances by CNC. In a guitarist’s home, low humidity can split tops and shrink bodies resulting in delamination of bindings or bridges. Fretboards not protected with finish are the first things to react to changing humidity, bowing or warping enough to render an instrument unplayable. High humidity expands the fretboard, forcing the neck into a backwards bow, whereas low humidity shrinkage creates an opposite, forward bow. Shrinking fretboards also reveal fret ends which can be uncomfortable at best. In some cases, expansion and shrinking may cause finish to flake off, especially at sharp corners or fretboard edges. Needless to say, this isn’t what you want happening to your collection.
The good news is that if you keep most of your instruments in a single room, it won’t be too hard to control the humidity. The first step is to get an accurate hygrometer to determine what the current RH is in your space. Most times, the problem is low humidity. In that case, calculate the room size and begin your search for a room humidifier to match your needs. If humidity is high, you’ll need a dehumidifier, and you can use the same method to determine the size. Keep the RH between 35 and 45 percent to be safe. Your room needs to be sealed off. Otherwise your efforts will literally go out the window. I like the type of unit that senses the humidity, and you can just set it and forget it—until it’s time to fill (or empty) the tank. The trick is not to have them both on at once. They’ll just get into a never-ending battle with each other. You’ll have to monitor things to know when to switch over as the seasons change.
At home or in a small studio, you can control your instrument’s environment for a relatively small outlay. A few hundred bucks is way more affordable than crack repairs. It also keeps things comfy, which is a nice bonus. Think of it as a large pedal whose effect is keeping your guitars playing right and protecting your investment.
Made in Canada, this two-voice guitar features a chambered Mahogany body, carved Swamp Ash top, 25.5” scale Mahogany neck and Rosewood Fingerboard.
Godin Guitars launches the Radium-X as part of its high-quality guitar lineup. After over 30 years of hand-crafting award-winning multi-voice guitars, celebrated by players worldwide, we are proud to introduce the Godin Radium-X! Designed to be ultra-versatile, the Godin Radium-X delivers both electric and acoustic tones.
With a Seymour Duncan Jazz SH-2 at the neck and a Bare Knuckle Boot Camp True Grit Zebra at the bridge, the Radium-X is designed to be a powerhouse of tone. This diverse magnetic pickup combo is capable of delivering powerful, warm distortion to clear, glassy tones, appealing to a wide range of players and musical styles. The Radium-X’s stunning acoustic voice comes courtesy of a custom-designed LR-Baggs X-Bridge tremolo with six built-in “HEX” saddle transducers.
Welcome to Recording Dojo—PG’s new monthly column pertaining to recording and engineering, with guitarists in mind. Think of this column as your place to develop better audio-recording skills, experiment with new techniques and gear and, most importantly, mindsets. So bring your best self forward and your willingness to learn … the dojo is now open.
Let’s begin our training with compression: a confusing topic for guitarists as players and as engineers wanting to make their recordings more professional. Compression has five core parameters: threshold, knee, attack, ratio, and release—or TKARR. I’m going to explain this metaphorically, as if you are at a major event, say, the Grammys, and you’ve just won. You’ve condensed a lifetime of “I’d like to thank” into 15 seconds, and you’ve been regally whisked offstage by an anonymous beauty in a ball gown.
The next thing you’re instructed to do is leave backstage, go through the giant ballroom (where a band is playing and people are partying), and go to the press room for photo ops and post-win interviews. You walk down the long hallway towards the ballroom door, where a burly 6'8" doorman stands behind velvet ropes. The doorman is the threshold and the velvet ropes are the knee.
In order for you to get into the ballroom, the doorman has to let you in. As you arrive at the door, he takes his hands off the ropes (hard knee), crosses his arms, coldly stares at you, and says, “What are doing here? This is for Grammy winners only.” Ouch! He doesn’t recognize you. He only listens to Siberian reggae bands. High threshold. So high that you can’t pass though. Conversely, if, as you approach, he gently unfastens the ropes (soft knee), says “I’m a huge fan,” and moves aside without you having to break stride, you have crossed the threshold and are now inside the ballroom. This is a well-set threshold, only allowing in those who are authorized. Or perhaps, as you arrive at the ballroom entrance, you notice that the doorman has passed out, the ropes have long been knocked over (no knee), and anyone can enter. Low threshold.
As soon as you enter the ballroom, within a millisecond, a waiter comes up to you: “Champagne? The press room is on the other side of the ballroom.” That’s quick attack. You notice there’s a string quartet playing Haydn’s Op. 76, and the volume is comfortably loud (low ratio, somewhere between 1.5:1 to 4:1). Almost as soon as you enter the ballroom, you’ve got your libation and move directly to the press room—quick release. You arrive at the press room with your wits about you, ready to talk about your big win.
Or, upon entering the ballroom, you mill around in the crowded room looking for directions and you’re in the middle of the ballroom before a waiter comes up to you and shouts: “Drink? Press room is over there.” That’s medium attack. The band is an ’80s cover band and the volume is rather loud for the room (medium ratio, 5:1 to 9.5:1). You eventually find your way to the press room and arrive slightly stunned, but ready.
Another version: Upon entering the ballroom, you’re immediately lost in a sea of people, shouting for directions and hopelessly trying to be heard above the Mötorhead tribute band. Your ears are ringing. Time passes, and you somehow find the press room door and a waiter shoves a drink in your hand just before you leave the ballroom. Slow attack. You arrive, dazed and confused, in the press room (high ratio, 10:1 and above).
These simple scenarios should help you understand the parameters of compression. It’s very important you know that all of these scenarios are equally and musically valid, and by no means exhaustive. Want that “When the Levee Breaks” drum sound? Low threshold, high ratio, quick attack/release. Want your acoustic to sound natural and dynamic? High to medium threshold, medium attack/release, medium to low ratio. Remember, the focus of this article is to explain the five parameters of compression (TKARR). Based on their highly varied and different designs, not all compressors give you access to every parameter. So, this will be our subject next month!
A collaboration honoring Grammy-award winner and guitar virtuoso Christone "Kingfish" Ingram featuring his signature humbucking pickups.
"The Kingfish Telecaster Deluxe guitar gives me a sense of comfort when I’m playing across genres; everything from blues to smooth rock, it’s all about versatility. For me, it is important for people to play other genres,” said Christone “Kingfish” Ingram. “One of my favorite features on the Tele are my signature pickups because they’re a solid option for players in all genres. Being a blues player is a beautiful thing, but it’s about more than that. I’ve always been into heavy tones from my influences like Gary Moore and various blues players like Freddy King. I hope this Tele inspires players of all genres to dig in and rock out.”
The Kingfish Telecaster Deluxe guitar has been designed to the artist’s specifications with an emphasis on power and personal flourish. The heart of the instrument is the Kingfish Signature Humbucking Pickups, custom wound for velvety lows, punchy mids and a snarling high end. The custom pickups will also be sold separately, making it that much easier for players everywhere to achieve Christone’s signature tone. Finished in mesmerizing Mississippi Night, the guitar looks as stunning as it sounds and the custom color is more than meets the eye. This mystifying shade of purple harkens back to the deep night skies Kingfish would often marvel at while growing up in Clarksdale, Mississippi. The Kingfish Telecaster Deluxe features an alder body. The “V”-shaped roasted maple neck gives the instrument a distinctly vintage feel and the comfortable 12” radius rosewood fretboard allows for huge bends and scorching riffs up and down the neck. A custom “K & Crown” logo on the pickup covers and Kingfish’s signature autograph on the headstock rounds out the instrument’s personalized touch.