Comparison Ibanez RGMS7 vs Cort X100

The number of strings provided in the design of the guitar. The meaning of this parameter depends on the type of instrument (see above).

The most common by far is the Spanish ( six-string) tuning; accordingly, most electric guitars and semi-acoustic instruments have exactly 6 strings. A smaller number is practically never found, but a larger one may well be used — models are produced for 7 and even 8 strings. Usually, they belong to the class of so-called baritone guitar, which is a transitional option between a conventional electric guitar and bass. The main 6 strings in "baritones" are tuned slightly lower than usual, and in addition to them, one or two more bass strings are installed. In combination with the increased length of the scale, this allows to achieve a richer and denser sound; it is especially appreciated by performers of heavy styles of music like death metal, although it can also be used in less "extreme" genres.

As for bass guitars, they have a standard number of strings — 4, and "extended" models have 5, occasionally — 6 strings. At the same time, unlike guitars, additional strings in basses are designed not to lower, but to increase the range. Using additional "raised" strings is often much more convenient than clamping the high frets.

The number of tone controls provided in the design of an electric guitar.

One tone control is responsible for the sound of the electric guitar as a whole; but if there are several such pens, they can have different formats of work. So, each knob can be responsible either for its own pickup, or for a separate frequency band. In the second case, a set of knobs plays the role of an equalizer that allows you to adjust the sound by changing the volume of low and high (sometimes even separately middle) frequencies.

Anyway, the presence of several tone controls expands the possibilities for changing the coloring of the sound by means of the guitar itself, without the use of additional equipment.

The material from which the body of an electric guitar is made. For models with cutouts (semi-acoustic, see "Type"), in this case, only the material of the back deck and sides can be taken into account, and data on the top deck is given separately (for more details, see "Deck Cover Material").

Now on the market there are cases of such trees: red, maple, agatis, ash, alder.

It makes no sense to dwell on each of the materials found in modern electric guitars. Their variety is very large, however, unlike acoustic guitars, the body in this case does not play such a significant role in shaping the sound, and its material has a relatively small effect on the acoustic properties of the instrument (although the exact degree of such influence is a moot point). If you wish, you can find detailed data on a particular material in special sources, but in fact it makes sense to look primarily at the appearance of the instrument and its price category.

The type of bridge provided in the construction of the guitar.

The bridge is often referred to as the part used to secure the strings to the body, but this is not entirely true. There are many models where the bridge plays only the role of a nut (limits the length of the scale), and the string is fixed in a separate device (stop bar) or even in the guitar body, through the method (see below).

All modern breeches can be divided into two main categories. The first is fixed, in which the strings are fixed, and the tightening during the game can only be performed with the left hand on the fretboard. They somewhat limit the set of techniques available to the musician, but they are inexpensive, compact and do not complicate the tuning of the guitar. The second variety is tremolo("machines"), which have a lever under the guitarist's right hand, allow you to change the tension of all the strings at once and achieve interesting effects that are not available with a conventional tightening. The disadvantages of "machines" are the opposite of the advantages of "fixes": tremolo bridges are more expensive, often cumbersome, with frequent use they can quickly detun the instrument, and tuning is often quite difficult, requiring specific skills and tools. Note that tremolo machines are used only in electric and semi-acoustic guitars, bass guitars are equipped only with fixed tailpieces.

The main...types of bridges found in modern electric guitars are as follows:

— Fixed. This designation is used for all fixed breeches other than the popular varieties described below.

— Hardtail (fixed). A distinctive feature of "hardtails" is a metal plate that plays the role of the basis for other mechanics. Such a plate is installed on the top deck; it is bent up from the far side (from the fretboard), and the saddles for the strings are attached simultaneously to the base and to the bent part. The fastening of the strings is often done through. This type of bridge allows you to individually adjust for each string not only the length of the scale, but also the height above the fretboard.

— Tune-o-Matic (fixed). Bridge in the form of a plank, on which saddles for strings are fixed. In this case, the strings can be attached to the body of the guitar (through method), to a separate stop bar or in the holes on the bridge itself (however, the latter is rare). Tune-o-Matic allows you to individually adjust the scale for each string, however, the height above the neck is changed only by changing the height and inclination of the bar (for this, an adjustment screw is provided at each end of the bar).

— Tremolo. Tremolo machines that do not belong to any of the varieties described below; this option is also indicated in cases where the manufacturer, for some reason, did not specify the specific type of "car". This category includes mechanisms that are quite diverse in design and functionality, so the features of such a bridge in each case should be specified separately.

— Vintage Tremolo. One of the first varieties of tremolo machines, developed by Fender. Externally, such a device looks like the Hardtail described above, supplemented by a movable (swivel) mount and a lever for adjusting the tension; fastening strings — most often through. Keep in mind that Vintage Tremolo's are designed primarily for downtuning; it is possible to raise the system with the help of such a machine only slightly, and then this will require certain tricks. Another drawback is that heavy use of the tremolo arm detunes the guitar quite quickly — especially if the player has neglected the tuning rules, which, although not difficult for Vintage Tremolo, are quite specific. On the other hand, “vintages” are inexpensive, and you can compensate for the mentioned drawback, for example, by using a top lock. The classic "vintage" is attached to the body with six screws, but there are also twin-screw versions — they are simpler and at the same time keep the system longer with active use.

— Wilkinson (tremolo). A further development of the design of the Vintage Tremolo described above. One of the key differences of the "Wilkinson" is that the strings in it are held on the bridge itself, and not on the body of the guitar. Because of this, this type of breeches stay in tune much better than the original "vintage" breeches. In addition, the lever in such "machines" is attached without thread, so that the likelihood of backlash is reduced to zero. On the other hand, Wilkinson bridges are noticeably more expensive, and their main function is to lower the tuning (although, again, with some tricks, a slight increase is possible).

— Bigsby (tremolo). Another representative of the "timeless classic", perhaps the first tremolo system in the world. Today it is used mainly on vintage-style guitars; particularly well suited for semi-acoustic instruments, as attached to the end of the guitar, not to the thin top, and does not place heavy loads on the soundboard. A distinctive feature of the Bigsby is that as a stop bar to which the strings are attached, such machines use a round rod that rotates from the movement of the lever and thus changes the tension of the strings. Due to this, such bridges have a number of advantages: they can work both down and up, they are easy to tune and keep the system well and respond to the slightest movement of the lever, allowing the musician to control the sound very precisely. In addition, Bigsby systems have a stylish appearance. On the other hand, they are quite massive and bulky, expensive, and the adjustment range is relatively small (smaller than that of the same Floyd Rose).

— Floyd Rose (tremolo). One of the most popular tremolo systems used by professional musicians. It is similar in design to the Vintage Tremolo, in particular, it is also mounted on two bolts and has a spring that compensates for the tension of the strings. However, the design of the Floyd Rose allows the action to be changed both downwards and upwards (increasing the tension), providing possibilities that are not available with "vintage" and similar systems; and similar machines differ from Bigsby in a wider range of adjustment. Note that the design of instruments with such bridges usually includes a top-lock — a device that clamps the strings on the fingerboard at the nut. Thanks to this, the “floyd roses” perfectly keep the system when actively working with the lever. All this led to the popularity of these systems among guitarists. On the other hand, setting up and caring for such breeches is a very difficult, painstaking and delicate matter. So, for setting strings and tuning, a whole set of keys may be required; when a string breaks, the system “floats”, and replacing a damaged string is inevitably associated with retuning the entire guitar; moreover, the system can go astray even from inaccurate movement of the instrument or a strong blow with the palm when muting the strings. Therefore, Floyd Rose type machines are mainly recommended for advanced guitarists with experience in handling electric guitars. And even professional musicians sometimes prefer to go to the master, rather than messing around with the service themselves.

— Kahler (tremolo). A system similar to Floyd Rose, but without springs and fixed directly to the body, usually with 4 screws. This allows you to slightly increase the sustain (due to improved contact of the strings with the body). The rest of the advantages and disadvantages are in most cases the same as Floyd Rose. However, high-quality solutions are also produced under the Kahler brand, which are not cheap, but have an improved design and are devoid of a number of disadvantages — in particular, such models are insensitive to changes in the position of the instrument and sharp muting of the strings with the palm of your hand.

— Zero Resistance (tremolo). Another improved version of the Floyd Rose described above, which is distinguished by the presence of a blocker — a device that rigidly fixes the bridge. Thanks to this, the system does not “float” when the string breaks, and the tuning of the guitar is noticeably simplified compared to the original Floyd Rose. The disadvantage of ZR is traditional — a high price.

It is worth noting that the above list does not include specific brands of bridges, but only their general types; within the same type, there may be models that differ somewhat in design and functionality.

The width of the fretboard of an electric guitar at the nut. Closer to the body, the neck may expand somewhat, but this is not necessary, and the expansion angle may be different. Therefore, the main size is considered to be the width in the region of the nut.

This parameter has two meanings. On the one hand, a wide neck is inconvenient for musicians with small hands and short fingers — it can be difficult to reach the far strings in such cases. On the other hand, a larger width means a greater distance between the individual strings, which reduces the likelihood of hitting an adjacent string when pressed incorrectly and can make playing easier (especially if the guitarist has large fat fingers). However, these moments are not absolute, and the convenience of playing is a very subjective matter, depending on many features of the musician and the technique he uses. Also, don't forget that necks can have different profiles (see above), and instruments with different neck profiles will feel differently in the hands even with the same width at the nut. Therefore, the most reliable method of selection is to try out the necks of different sizes and profiles “live”, decide on the best option and choose based on this.

The smallest neck width at the nut in modern electric guitars is about 39 mm. This size is found mainly in bass guitars (see “Type”), which have 4 strings and a neck that widens noticeably towards the body (due to which it can be made rather narr...ow from above, especially since when playing bass, notes are rarely clamped near the neck itself) . Electric guitars (including semi-acoustic) are somewhat wider — from 41 mm, an indicator of 43 – 48 mm is considered average, and in the largest instruments, the neck can be up to 55 mm wide (however, such dimensions are typical mainly for instruments with more than 6 strings) .

The scale is the distance from the nut to the bridge; in other words, this is the working length of the open (not pressed with a finger) string. The greater this distance, the more tightly the strings must be stretched to achieve the desired pitch and the greater the force required to press them against the fingerboard. However, some guitarists argue that even a small difference in length - less than an inch - already makes a significant difference in the feel when playing.

In addition, this parameter also affects the color of the sound. A longer length allows you to get a brighter, louder and more expressive sound, while a shorter length allows you to get a denser, “warmer” and smoother sound. Thus, all other things being equal, a relatively short scale length is better for playing chords, while a longer instrument may be needed to achieve the desired sound in a solo.

The most popular scale length options in electric guitars (not basses) are 24.75" (Gibson) and 25.5" (Fender). Indicators less than 22" are extremely rare, mainly in instruments with miniature 3/4" bodies (see "Size"), and the maximum value is about 28", longer instruments are practically not produced. But basses have a noticeably longer length ( otherwise the strings for them would have to be made too thick or tensioned too loosely): the shortest models provide a scale length of 30", but the classic value is 34".

Note that the design of the bridge often allows you to change the actual scale length (including for each string separately); This is done to ensure that the instrument plays accurately along the frets. Therefore, in the characteristics it is customary to indicate the default scale length, without additional adjustments.

In guitars with fan frets, the size of the sounding part of the string (scale) is not the same for all strings, but variable. In particular, a large scale is used for bass strings, and a small scale for treble strings. In this case, the frets are not placed perpendicular to the neck, but obliquely, resembling an open fan - hence the name. The bass strings of multi-scale guitars sound more powerful, have better resonance, and the thin strings give a fuller and brighter sound without pronounced nasality than those of conventional instruments.

The material from which the neck of an electric guitar is made.

The most commonly used in the manufacture of the neck is mahogany. and maple. Theoretically, the acoustic properties of an instrument are determined by all its details, and even more so, these properties are affected by the quality of the fretboard. At the same time, we note that this influence is not so strong compared to other characteristics of the guitar (type and number of pickups, scale size, body type, etc.). So in this case, it makes no sense to describe in detail each type of material found in modern instruments — especially since the same term (for example, “mahogany”) can denote different types of wood that differ markedly in working properties and overall quality. When evaluating the material of the neck, it is quite possible to proceed from the fact that the manufacturer selects it in accordance with the price category and the general specialization of the guitar.