The Acme Guitar Works ToneShaper gives you every possible switching option you need and want!

Acme Guitar Works, Inc. started as a hobby shop back in 1993 for George Ellison and his friends to work on their guitars. This “hobby” turned into a full time career as George took on all the repair work for Veneman’s, a major music chain in the Washington, DC area. George eventually moved away from repairs to pursue optimized pre-wired pickguards and innovative solutions like the ToneShaper.

THE GOODS

I’ve been restoring a ’76 Telecaster and initially contacted Acme for complete replacement hardware: knobs, switches, tuners, ferrules… the works (I guess that’s why they’re called Acme Guitar “Works”). Noticing the ToneShaper on their site, I inquired about it and found the concept fascinating enough to install their 4-switch version for review.

The ToneShaper is a network of electronic connections built into a compact circuit board that resides in the control cavity of your guitar and interacts with existing pots and switches. After assembling the components, including connecting your pickups to a custom terminal block (no soldering required!), you’re ready to roll.

Tone shaping is as simple as flipping DIP switches which are contained within three switch blocks. The first two blocks are used to configure the ToneShaper based on your pickup switch (3-way, 4-way, or 5-way). One of the blocks includes an option to turn the volume kit on or off. This addresses the issue of treble loss when turning down the volume on your guitar by incorporating a resistor/capacitor set. It also includes a “Billy Mod” which solves the same problem but in a different way by sending the signal from the volume’s output to the tone pot. The third wiring block toggles four tone capacitors on or off and can be set in any combination. Finally, the 4-way switch activates the neck pickup, bridge, and neck/bridge in series or parallel.

TONE SHAPING

I started my shaping with the tone capacitors which are available in .015, .022, .033, and .047 microfarad measurements. Each flick of a DIP switch engages a corresponding capacitor which results in a heavier, muted sound. This effect is more noticeable as tone is dialed down. I tried numerous combinations from all off (tone control disabled = tone pot fully open) to all four on (murky and muffled) and found my happy place with the .033 microfarad capacitor by itself. Next, I experimented with turning the volume kit on and off. Treble roll-off is something that may or may not catch your attention, but it’s a significant issue that plagues a lot of players. As expected, with the volume kit off, treble frequencies faded away the more I turned down the volume. With the volume kit on, tone maintained consistency throughout volume adjustments. I approached this issue with the Billy Mod as well. It was difficult to discern a difference as the two options effectively solve the same issue, but for those who prefer this method, it’s available.

The 4-way switch is great in that it opens up another possibility for fueling your tone quest by outputting combined pickups in series or parallel. This alone makes the ToneShaper worth considering as I found both voicings very useful for different situations.

THE FINAL WRAP

The ToneShaper is an affordable solution allowing you to easily solve the issue of treble roll-off as well as dial in capacitor values to taste. If you go with a 4-way switch (3-way also available for Telecasters), you can take full advantage of pickup configuration possibilities. No soldering is required which makes using the ToneShaper practically hassle-free and is a tremendous aid in doing A/B comparisons.

PROS: Simple installation. No soldering. Easy manipulation of features. 4-way switch allows an additional configuration for your pickups.

CONS: None

MSRP: $109.99

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Dan Coplan is senior staff writer at SMG. Dan is a Los Angeles based cinematographer and self-admitting guitar junkie. Email: dancoplan@sharemyguitar.com

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Photos by Dan Coplan.

A little over seven years ago, guitarist Jeff Shepherd faced a dilemma common to many of us. No matter how many guitars he tried, he just couldn’t find that elusive “TONE”! This need to solve a problem resulted in the founding of Sheptone, a boutique pickup company based in Port Orchard, WA. Through extensive research and analysis, Jeff built his company on the principle of “reasonably priced substitutes for over-priced vintage pickups.” His product line includes a variety of humbuckers, soapbar and dogeared P-90′s, Stratocaster and Telecaster sets, and 4- and 5-string P- and J-bass pickups*. I’ve been working on restoring a ’76 Tele, so Jeff sent over a compatible set for review.

THE PICKUPS

Sheptone’s pickups are vintage-style construction. The bridge pickup for the standard Tele set is potted to reduce feedback and has staggered pole pieces reminiscent of the mid 50′s (flat pole Blackguard style also available). The neck pickup, also potted, came with a protective chrome cover (nickel is also an option). These pickups are potted upside down with the cover on to eliminate squeal by filling air gaps with wax. Both pickups use #42 enamel wire and Alnico 5 magnets. As a matched set, Jeff winds the neck pickup reverse wound/reverse polarity (RW/RP) to eliminate noise when the pickups are used in combination. Included with the pickups was a stamped certificate noting details including materials used, measured resistance, and “Guitar Tested” affirmation.

THE SOUND

I’ve never been a huge fan of the Tele sound. The bridge pickups tend to be too thin and bright for me and while I like the sound coming from the neck, it’s always felt a bit mild. This was the perfect test for running Sheptone’s pickups through the wringer.

Plugging my newly restored Tele into an Egnater Tweaker, I challenged the bridge pickup to restore my confidence in its usefulness. Thin, fragile tone be banished! Not only did the sound coming forth sound rich and full of harmonic content, I can honestly say I never thought my guitar could sound this good! The twang was still there, but rather than the bright, limited frequencies I’m used to, this twang had depth and life and a punchiness that hinted at Strat-like characteristics. Dynamics play a major role as softer attacks result in a smoother sound while harder picking brings out the clucking in your chicken pickin’ or the snap in your funky rhythms. Next stop: the neck pickup.

Give me some Mr. Bubble. I bathed in the warm, round, lushness provided by these windings. The sound was so big and full, I couldn’t believe I was playing a Tele. Lower register notes and chords vibrated in sympathy with my body as I literally felt the music. High registers rang out like finely tuned chimes. The two together…let’s just say I’m ordering food delivery for the next week because I ain’t leaving the house!

THE FINAL WRAP

It’s not often I gush about gear, even when I’m excited about it. Sheptone’s pickups, however, have to be the most significant contribution to quality tone that I’ve come across, possibly ever. Granted, when shopping for pickups it’s difficult to know how they’re going to sound without prior experience, but trust me, you owe it to yourself to check out a set (if not two, or three, or more) of Sheptone’s vintage-style pickups for your favorite axe.

PROS: Phenomenal sounding pickups. Your social life will blossom as fans will be mesmerized by your tone.

CONS: Your social life will vanish as you find it impossible to tear yourself away from jamming.

* Sheptone is currently working on updating and improving their website. There are more pickups available than what is presented on their site currently. You’re encouraged to contact Sheptone directly regarding their full product line and custom orders.

Retail – $169

Sheptone’s website: http://www.sheptone.com

Follow Sheptone on Twitter: https://twitter.com/sheptone

Sheptone on Myspace: http://www.myspace.com/sheptone

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Dan Coplan is senior staff writer at SMG. Dan is a Los Angeles based cinematographer and self-admitting guitar junkie. Email: dancoplan@sharemyguitar.com

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Photo by by Gérard Farenc

Whether you are a musician on the move or have sold an old guitar on eBay, it is important to know how to ship a guitar properly. These delicate devices need to be properly packed for shipping so that they are not damaged.

For proper shipping of a guitar, it is obviously necessary to pack it properly.

The first and foremost step is to loosen the strings of the guitar by at least one step. While shipping, the strings might experience high tension and this can cause them to snap and cause unnecessary tension on the neck.

The next step is adding proper padding to the guitar in its case. Each section of the guitar’s main body requires a separate amount of padding. The lower portion is usually padded with one layer of bubble wrap or something similar. If you can fit it, I would even say to go for two layers. Rule of thumb here is that if the guitar can move around in its case, it can probably get broken during shipping.

The guitar’s neck is quite delicate and needs to be packed the most carefully. The padding of an electric guitar neck should be very thorough. The materials used for padding can be cotton cloths, folded newspaper, packing peanuts or anything else you see fit. Again, the guitar should not be able to move inside the case.

After packing the guitar neatly and snugly in its case, it is placed inside another cardboard box for shipping which is also filled with packing material. This is important as it prevents the guitar from all the bumps and jerks that it will be exposed to during shipping. In many cases, air bags can also be used, but they do not provide complete protection.

That’s about all there is to it. Make sure your strings are loose and that everything is properly padded. Taking a little extra time will make sure that your guitar makes it to its final destination in one piece. Oh, and get the insurance!

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Corey Palmer is a guitarist from Woodstock, NB Canada who has been playing for the past 20 years. During this time, he has been a member of many different bands ranging from rock, metal and even a little country. He currently jams with a band called gNosh. Email: coreypalmer@sharemyguitar.com

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The 1960s type rough-and-tumble Squier CLASSIC VIBE Electric Guitar!

After Fender’s decision to switch Squier’s production from guitar strings to guitars, the Stratocaster was one of the first models to be put under the Squier production line, then located in Japan. Originally, the headstock had a “Fender” name written in large script, followed by “Squier Series” in smaller script. This was later changed to the current late ’60s large headstock featuring “Squier” in larger script, followed by “by Fender” in smaller script.

Out Of The Box

I normally lump all Fenders in one category when it comes to feel. I came across this Squier by accident when I was testing out a reissue Telecaster. I played one song with this guitar and was hooked. This Squier has a super thick tone much like the early 60’s and 70’s Strats. Although the neck is thick, it’s not really meant for shredding. I found it to have a very slow neck but great string grip. The bridge pickup is loud and warm and kind of lingering. The alder body has decent sustain, more so with 10 gauge strings.

The Fender Squier Classic Vibe Available in Three Cool Colors!

The Specs

• Body: Alder
• Finish: Polyester
• Neck: 1-Piece Maple, Modern “C” Shape
• Fingerboard: Rosewood, 9.5″ (241 mm)
• Frets: 21, Medium Jumbo
• Scale Length: 25.5″ (648 mm)
• Nut Width: 1.65″ (42 mm)
• Vintage style tuning heads
• Bridge: Vintage style, 6-saddle tremolo
• Neck pickup: Custom Stratocaster pickup (AlNiCo V)
• Middle pickup: Custom Stratocaster pickup (AlNiCo V)
• Bridge pickup: Custom Stratocaster pickup (AlNiCo V)
• Pickup switching: 5-Position Blade: Position 1. Bridge Pickup, Position 2. Bridge and Middle Pickups, Position 3. Neck Pickup, Position 4. Middle and Neck Pickup, Position 5. Neck Pickup
• Controls: Master Volume, Tone, Tone

The Low Down

All in all, the Squier CLASSIC VIBE is a great guitar, better then other Stratocaster’s in my opinion. It has a nice thick tone with a classic feel, yet has a modern sound. I am seriously considering adding this baby to my collection. Any Fender fan would have a ball with this guitar. However, this guitar would not make a good first guitar because the neck is not very forgiving. I would recommend this axe to any intermediate to advanced player who has flexible fingers. Check one out for yourself. You may be surprised to find that you might take this over another model Strat!

Pros: Great tone, decent price, comes in three cool finishes, vintage look.

Cons: Only 21 frets, slow neck.

MSRP $349.99

Till next week, thanks for reading and keep on shredding!

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Nick Arrietta is a staff writer at SMG. Nick is a professional Music teacher from California and has been playing the Guitar for 24 years. Along with teaching music he is a touring guitarist, studio musician and songwriter. Email: nick@sharemyguitar.com

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There is no question that good vintage guitars often make great investments. For instance, depending on the model, Les Paul guitars have been known to sell for over a quarter of a million dollars, while some Fender Telecasters command close to $100,000 in today’s market place. In fact, some of the most popular vintage guitars from the 1960’s can go for more than $20,000.

Photo by Dan Coplan

But just what is it about these guitars that make them so special? Vintage (also called collectible) guitars are basically instruments that are at least twenty-five years old and elicit a sense of “romance” in the hearts and minds of people. It doesn’t necessarily matter if they are acoustic, electric, hollow body or solid, as much as just how popular the type is with famous musicians past and present. In other words, if Eric Clapton, Jimmy Page or even Steve Vai is known to play one, then collectors are sure to want the same one too.

Next comes the manufacturer’s name, i.e., Di Giorgio, Gibson, Fender, etc. Some collectors only want guitars from specific makers. In addition, value increases depending on their rarity. Workmanship and sound quality, as well as whether it looks “cool” are factors that go into determining the value of anything “vintage” including the public’s basic love for an item, and thus its actual value. To connoisseurs, the very design, finish and color of many vintage guitars make them true “works of art” to be cherished. Without that special “romanticism” it is just an old or used axe with little worth in the resale market.

However, it is interesting to note that electric guitars currently seem to be commanding the biggest share of the vintage guitar market, although that is not to say that acoustics aren’t commanding a lot of attention as well.  It will be interesting to see how things go over the next few years to see what comes out on top in the vintage market.

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Corey Palmer is a guitarist from Woodstock, NB Canada who has been playing for the past 20 years.  During this time, he has been a member of many different bands ranging from rock, metal and even a little country.  He currently jams with a band called gNosh. Email: coreypalmer@sharemyguitar.com

Great tone is a very subjective thing that is unique and personal to every person. Let me begin this article by saying that. Let me also say that tone is caused by many things which all go into a blender so to speak and as a result you have a “tone.” While I freely admit to being a guitar geek when it comes to gear, this article is not going to dive into whether Seymour Duncan or EMG makes better pickups or whether you ought to use Ernie Ball or GHS strings. We have harmony central message boards for that, but what I am hoping to accomplish is more so a broad or general how to, on how to get a great tone for you and your needs.

The Guitar: Between your hands and the guitar are three vital things. The pick, the strings and the guitar’s pickups. Each item is worth looking at.

Do you use a thin, medium or heavy pick? Each pick is excellent at causing a certain tone and vibe. If you’re playing hard rock, I would suggest you use a heavy pick. If strumming chords on an acoustic, it’s preference, but lighter picks often sound beautiful in that application. Also for finger picking you can buy finger picks.

What gauge strings are you using? This should depend on what you tune to, and what your style is. Light gauge strings are brighter and give more when played. With 8 or 9 gauge strings player can do 2 whole step bends and playing and vibrato are very easy. With heavy strings, 10s or 11s, the player can dig in more and the guitar plays heavier with more resistance like an acoustic guitar. Also, if you drop tune think of this equation. If you use 9s in standard tuning and want to tune down to Eb use a higher gauge string like a 10. The resistance will feel similar and strings wont be too easily bent or feel loose.

What pickups are in the guitar? Are they the stock pickups that came with your guitar, or are they higher grade makes from companies that only are know for making pickups. I would tell you to go for pickups made from manufactures who only make pickups. In general they are just better and often time great pickups in an inexpensive guitar can sound just as good as average or stock pickups in an expensive guitar. Also, are your pickups passive and use magnets, or are they active and use a battery? Again this difference is enormous. Passive pickups allow the guitar’s tonal character from the wood and glue to be heard more so than active pickups. Please remember that pickups are a key in getting certain tones from your guitar.

The Amp: If I had to have a great guitar and a so so amp, or a so so guitar and a great amp I would take the latter. An amp has so much to do with your tone. If you plug into a Fender Twin and expect high gain rock sound you won’t like what you find. You really need to search for what it is that you are looking for tonally from an amp. Do you want a beautiful clean channel? A searing metal lead sound? Think of what sound you are really going for, and then do your research. In general I think of amps in families for lack of a better idea. If I want a nice clean channel for blues, or jazz, or some pop I would go with a Fender-type amp. These amps typically stay clean even when very loud and do not distort very easily. If I want a rock or hard rock sound I would go with a Marshall-type of amp. These amps distort and have a vocal mid-range that lets you cut through a rock-type rhythm section. If I want a more metal sound, I would go for a Mesa Boogie-type of amp. These amps sound punishing and very aggressive with a heavy low end sound.

When looking at an amp you need to know a few other things as well. Are they tube or solid state? Tube amps are know to “sound better,” and are often preferred over solid state. That being said, solid state amps such as Randall have amazing metal sounds and Roland Jazz chorus amps have amazing clean tones. If you decide to buy a tube amp, know what tubes they use. Marshall-type amps usually use EL34 tubes which break up and distort right away. On the other hand, Fender-type amps use 6L6 tubes which do not break up much even at high volumes preserving their clean tone. There are many tubes on the market so again do your research.

Do you want an effects loop? Often times people run certain effects into an effects loop so that the effect(s) perform at their best. An effects loop comes between an amp’s preamp and power amp section. Think of it as a cup holder between the front seat and passenger seat in a car. Here people place effects like delay or effects that they do not want before their amp’s preamp if they run it with a lot of gain.

Lastly with amps, do you want a combo or a head and cabinet? Combo amps are usually seen in amps like a Fender Twin while Marshall stacks are a head and cabinet. Remember to look into what speakers are in your combo amp or cabinet. Changing the speakers or using different speakers can cause very different tones. For example low watt speakers like Celestion Greenbacks distort at lower volumes than say Celestion vintage 30s which break up or distort at higher volumes. Often times blending speakers in your cab (using multiple different speakers) can cause cool results since you can get a wide array of tones in one cab or combo.

I hope that this helps anyone out there trying to get a basic idea of your tonal options in guitars and amps. Of course I could go into more detail but this is an excellent starting point for anyone who isn’t a guitar geek like me. One last tip though, play your guitar!