The wood is selected first and has to meet certain size and grain characteristics to assure all bodies are glued in the same manner; with an offset glue joint at the bottom bout of the guitar. This maintains consistency from one guitar to the next. The upper bout is contoured for a very comfortable feel. The species of wood used for this guitar is Alder.
The neck is a lap sawn, Maple neck with an Indian Rosewood fingerboard; traditional clay marking dots, and custom side dots. The neck has a nitro finish.
The fretting process is done through epoxy fretting. This process is used for multiple reasons. One of the advantages to this type of fretting is that you lose the hollow gaps under the fret that you find with the traditional way of fretting. In traditional fretting, with each fret you put on, it is like driving a wedge into the fingerboard, which causes back tension on the neck. With epoxy fretting, all of these issues are eliminated. The epoxy under the frets helps to transfer string vibration throughout the neck to the body, and relieves all stress and tension on the neck that occurs with traditional fretting. This results in a stress-free neck, which allows the truss rod to work properly and to adjust the neck accurately.
The pickups are custom wound to Peter's specifications. They are very similar to Gibson's P-90's from the mid to late 1950's, with alnico magnets. These pickups are wound on a Jazzmaster bobbin, which creates a really neat sound. The wiring of the pickups is different from that of a Jazzmaster. There is a 500k volume pot, a 300k tone pot, and a vitamin Q capacitor. This allows more tone dimension than a typical Jazzmaster.
Half-hard brass bridge plate with 3 compensated brass barrel saddles
Urethane Finishes with pin-striping: Black, Electric Blue, Filthy Rich Gold, Midnight Rainbow, Lake Placid Blue, Pale Surf Green, Ruby Red Slipper, Sonic Blue, and Vanilla Shake
Starting with the Ultimate Speaker Demo, an ever-increasing number of the GearTunes audio clips are being tracked using the Radial JCR Reamp. The Reamp was invented by my good friend and colleague John Cuniberti who engineered/co-produced many of Joe Satriani's most infamous recordings.
For GearTunes, reamping allows me to record a track where the guitar "hears" the amp in the room, but initially only the guitar or guitar and effects signal is recorded. This allows me to spend additional time perfecting amp tones and mic placement once I have the performance I'm looking for. One of the byproducts of this process is the creation of GearTunes DI Clips which enable you to play select guitars and effects through your amp by using your mobile device or computer as a reamp device.
For GearTunes DI Clips - and Gear Tune DI Clips ONLY (always found under the DI clips tab for gear that has one), you can play our guitar and effects through your amp. Simply use an unbalanced cable that terminates with an 1/8th inch jack on one end and a 1/4 inch jack on the other. Connect the 1/8th jack to the output of your mobile device or computer and the 1/4 inch jack into the front of your amp. Start off with your amp volume at zero and your mobile device (or computer) volume all the way up to ensure you hit the front end of the amp with enough signal, and then gradually increase the volume of the clean channel on your amp until you reach a level that is not capable of causing damage to your ears or equipment. GearTunes accepts no liability for the use, abuse or misuse of these clips, and playing them into your amp is done exclusively at your own risk.
I am tremendously excited about being able to share GearTunes DI Clips with you as you journey on your quest to find right gear for the music you play! Cheers ~ Doug:)
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