A crack on your prized guitar might feel like the end of the world, but it can be remedied if you follow a few easy guidelines.
In my last column [“Humidity—Friend and Foe," March 2018], we defined the parameters of the “safe humidity zone." And its importance was stressed because humidity control is the single most crucial step a guitar owner can take to protect instruments. But wait! There is more sad news. Stuff is going to happen to your guitars, and discovering a crack can be absolutely heartbreaking. Fortunately, damage is often repairable to keep your instrument stable and ready for action, but understanding what you are dealing with is key to making the best decisions during the repair process.
Lack-of-humidity cracks and impact cracks are without a doubt the two most common types. Lack-of-humidity cracks typically run along the grain of the wood. As wood shrinks in low humidity environments, it eventually reaches a point where the wood can stretch no further and, well, it cracks. Guitars with lack-of-humidity cracks generally show up in my shop around mid-October, which is about the time people turn on the heat in their homes and the relative humidity drops below 40 percent. These cracks aren't hard to spot. Most often they're located just behind the bridge on the top, but they can show up in other places. Another defining factor of lack-of-humidity cracks is separation in the guitar's top—as much as 10 to 15 thousandths of an inch.
The fix is in. Impact cracks, which occur when a guitar takes a hit, are not open. They do, however, typically break the wood along the grain as well. (Photo 1). And most of the time, impact cracks go right back together with minimal effort (Photo 2). There's a scenario where the guitar has a lack-of-humidity crack that separated in the winter but closed back up in the summer, and has the appearance of an impact crack. Regardless, these cracks can be repaired the same way as impact cracks.
So what can you do if an unnerving crack shows up on your guitar? The first and most important thing to do is not freak out. Whether the crack is caused by humidity or by impact, there is no immediate danger to the guitar. Second, if you notice a crack, your first instinct may be to touch or rub it. Tip: Don't do this! By touching or rubbing the crack, you are working dirt and oils into the area, and this can make things much more difficult when gluing it back together. For lack-of-humidity cracks, you should take quick action and re-humidify your guitar with a soundhole humidifier as soon as possible. This will—more often than not—close the crack. If you ignore this scenario, however, the wood could take a memory over time and will be much more difficult to repair down the road.
Visit the doctor. The next step is to see the repairperson. Between the two of you, you should identify what type of crack you are dealing with and determine what the next best course of action will be. If it's an impact crack, a simple re-gluing usually does the trick with no need for further action.
A qualified repairperson can often fix impact cracks with minimal effort and no need for backers or cleats.
In the case of a lack-of-humidity crack, the technician will usually continue re-humidifying the guitar until the crack closes. Only then will the crack be ready to be re-glued. Again, most of the time, the glue will be enough to hold the wood together. But a qualified repairperson should advise you on how to better humidify your instrument to prevent the crack from returning in the future.
In either case, the glue seals the crack to protect the wood once it's repaired—at least from a structural and sealed standpoint. But now you are likely thinking about the finish and if the repaired crack needs inner support. Here's where I'm going to suggest that you relax and weigh your options. Both backers and finish touch-ups are what I consider to be phase two of the process, and are not always a necessary step in a repair.
When touch-up work on the finish is performed, it's done to try to make the crack look better. It does not make it more structurally sound, and unless the guitar is almost brand-new—when finishes are more easily re-bonded—a finish touch-up on an older instrument generally looks, well, terrible. As someone who has been around world-class acoustic guitars and guitarists for over 40 years, a cleanly repaired crack is what I'd prefer to look at. As for backers or cleats, they are often not necessary to further stabilize the already re-glued and stable crack. So be sure to discuss this with repairpersons to ensure they aren't making any moves that can't be undone once in place.
Hand-crafted in Petaluma, California, this amp features upgrades while maintaining the original's legendary tone.
The Mesa/Boogie Dual Rectifier Solo Head’s arrival in 1992 was a watershed moment for alternative rock and metal that changed everything; heavy music would never sound the same again, and the Dual Rectifier’s crushing, harmonically rich tone became the most sought-after guitar sound of the era. With a feel as empowering as its sound, the Rectifiers provided an ease of playing that supported and elevated proficiency and was inspirational, rewarding, and addictive.
Its sound and impact on the generation that used it to define what rock music would become were as sweeping as they have been lasting. And it remains arguably the most modeled in today’s digital amp landscape. Now, the 90s Dual Rectifier is back with a vengeance, built in Petaluma, California, by the same artisans who made the originals the most desirable high-gain guitar amplifier of all time.
For more information, please visit mesaboogie.com.
MESA/Boogie 90s Dual Rectifier full demo & tutorial ft. Doug West & Tommy Waugh - YouTube
Mesa/Boogie '90s Dual Rectifier 100-watt Tube Head - Black Diamond Faceplate
2 Channel HeadJohn Bohlinger gets the run-around from Keeley with their new, deep-and-watery chorus and Leslie-like modulator.
Rotary speaker cabinets impart a one-of-a-kind type of chorus effect. This pedal faithfully recreates the swirling textures and vintage warmth of those rotary cabinets. Tucked inside Keeley's laser cut aluminum case is a brand new set of circuit boards delivering the finest tone we've ever achieved.
KEY FEATURES:
- Sculpt your rotary tones with our finest sounds to date
- Updated circuits for maximum fidelity
- Simple and intuitive controls for live and studio use
- New LED speed indicator - Become one with the sound
- True Stereo for perfect integration in modern rigs
- True or Buffered Bypass - Switchable on the fly
Featuring Bluetooth input, XLR inputs, and advanced amplifier platform, the KC12 is designed to offer exceptional sound quality and versatility for a wide range of applications.
The KC12 is a first-of-its-kind, 3-way, 3000-watt active loudspeaker system encompassing the visual aesthetic of a column loudspeaker while surpassing the acoustic performance of conventional designs. Simple and easy to deploy, the elegant KC12, available in black and white, is ideal for a wide range of customers and applications from solo entertainers, musicians and bands, mobile entertainers and DJs to corporate AV, event production, and static installations.
Column-style portable loudspeaker systems are most often put into service due to their unobtrusive form factor. However, typical designs lack clarity and definition, particularly when pushed to high output levels, forcing the user into a form-over-function compromise. Solving this common dilemma, the KC12 cleverly utilizes a 3-way design featuring QSC’s patented LEAF™ waveguide (first introduced in L Class Active Line Array Loudspeakers) combined with a true 1-inch compression driver, two 4-inch midrange drivers, and a high output 12-inch subwoofer, while still maintaining the desired, elegant appearance of a “column” system. The KC12 produces an outstanding full-range horizontal coverage of 145 degrees and 35 degrees of audience-directed vertical coverage with clean and natural sound at all output levels.
The system features three inputs: a Bluetooth ® input combined with a 3.5 mm TRS stereo input, as well as two combo XLR inputs (Mic/Line/Hi-Z and Mic/Line/+48 V), with independent, assignableFactory Presets for each XLR input, making it ideal for small events where two microphones are needed for different uses. The rear panel incorporates a multi-function digital display, offering control and selection of several loudspeaker functions, including Global Parametric EQ, Subwoofer level, Presets and Scenes, Bluetooth configuration, Delay (maximum of 200 ms), or Reverb. Bluetooth functionality also provides True Wireless Stereo (TWS), which ensures low latency pairing between the music source and both left and right loudspeakers simultaneously.
Additionally, the KC12 can be deployed with or without its lower column pole, making the system ideally suited for utilization on a floor, riser or raised stage. The system is backed by a 6-year Extended Warranty (with product registration).
“The KC12 exquisitely resolves the form-over-function compromise that has frustrated users of this category of products since they made their market introduction over 20 years ago,” states David Fuller, VP of Product Development, QSC Audio. “With the benefit of time, experience, extensive customer research, and cutting-edge innovation, our talented design team has truly created something very different from the status quo – not simply a differentiated product, but an overall better solution for the customer.”
The feature set and performance characteristics of the KC12 are complemented by a new, advanced amplifier platform, first incorporated into the L Class LS118 subwoofer released this past October. Fuller adds, “Among the platform’s key attributes are layers of real-time telemetry and protection to ensure uninterrupted performance day after day, which is a foundational QSC brand attribute.”
“Just like our first K Series reset the bar for powered loudspeakers, elevating customers’ expectations for performance, quality, reliability, usability, and professional appearance, the K Column offers a compelling, new approach to a familiar category and is destined to redefine the whole notion of what a ‘column’ is for users of portable PA products,” states Ray van Straten, VPBrand, Marketing & amp; Training, QSC Audio. “The product is simply stunning in its sleek and elegant appearance, but with the marketing tagline, ‘Just Listen’, we’re confident that once again, QSC sound quality will ultimately be the reason customers will quickly embrace the K Column as the next ‘New Standard’ in its category.”
The QSC KC12 K Column carries a MAP price of $1,999.
For more information, please visit qsc.com.
This pedal is designed to offer both unique distortion qualities and a tonal palette of sonic possibilities.
At the heart of the Harvezi Hazze pedal is a waveshaper designed around a unijunction transistor - a relic from the early days of the semiconductor industry unearthed from the e-waste bins of flea markets in Tbilisi, Georgia, the Eastern European country's largest city.
The unijunction transistor offers unique properties allowing one simple component to replace a number of very complex devices. Therefore. depending on the operating mode, users can access a distortion, a limiter, a waveshaper and a generator - with smooth transitions among each of these.
The name "Harvezi Hazze" translates from Georgian as "a fault on the transmission line" or "signal jamming", and both the semantic and phonetic nature of these translations imply what users can expect: an impediment to the input signal, which can range from pleasant harmonic distortions to complete obliteration. The signal chain of Harvezi Hazze consists of an optical compressor with fixed parameters; a dual-mode distorting amplifier with either softer or harsher clipping; a waveshaper built around a unijunction transistor; and a tone stack section designed to tame these sonic building blocks.
Signal flow and controls
Following the input, the signal goes to the Compressor, Distorting Amplifier, Waveshaper, and then to the Tone Stack and output stages. Harvezi Hazze features six control knobs, a three-way switch and a footswitch.
- Gain Control: This controls the output amplitude of the signal in the distorting amplifier section. Depending on the position of the switch, the distortion introduced by this section is soft (with the switch in the left position) or more aggressive with an abundance of high harmonics (with the switch in the middle position).
- Spoil and Spread: This knob controls the operation of the unijunction transistor (waveshaper section). Spoil sets the point on the amplitude axis at which the wave will fold, and Spread sets the amplitude of the folding. The higher the Spread value, the more severe the distortion will be, while Spoil will change the timbre and response threshold. By adjusting Spoil, users can achieve various gating and cutoff effects; at low Spread values, distortion sounds are mixed into the clean sound.
- Tone: This knob adjusts the brightness of the sound. With higher values, higher harmonics become present in the signal.
- Three-way switch. This feature regulates either the distortion mode in the amplifier section (left and center positions), or turns on the total feedback mode (right position) when the values of all knobs begin to influence each other. In this position, effects occur such as resonance at certain frequencies and self-oscillation.
- Level knob: This controls the output volume of the signal.
- Footswitch: This routes the signal through the effect circuitry or from input to output directly (true bypass).
The array of switches on the side of the unit provides even further tonal options; the lower position of the switch enables the specific function:
- Tone Stack: Routes the signal through the tone stack section (Tone knob).
- Bass Boost: Enhances bass frequencies.
- Tone Mode: Changes the behavior of the Tone knob (tilt or lowpass).
- Notch Freq: Changes the central frequency of the filter.
- High Cut: Attenuates high frequencies.
- Compressor: Routes the signal through the compressor.
Harvezi Hazze is priced at €290. To learn more, please visit https://somasynths.com/harvezi-hazze/.