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What Are Electric Guitar Pickups & How Do They Work?
By its appearance, the guitar doesn't look like a complex instrument. You strum the strings and get the sound. But, there are a lot of things at play that gives guitars their unique sound. A guitar's pickups are one of the most critical parts of the instrument. But, do you know what they do or even know where on the guitar they are? Read on to learn more about how the pickups affect the tone of your guitar. What Are the Pickups on an Electric Guitar? If you're just starting to learn the electric guitar, there may be some parts of the instrument you're not familiar with. The pickups are one part of the guitar that not every musician understands. The pickups are the bar-shaped mechanism under the strings of an electric guitar. Along with the tonewood used to make your guitar and its build, the pickups are one of the most critical parts of the guitar when it comes to its tone. There are two main types of pickups: Single Coil Pickups: This type is simply a single magnet wrapped with a copper wire. Single coil pickups give your guitar a brighter tone. Humbucker Pickups: Humbucker pickups have two magnets wrapped with copper wire, positioned right next to each other. This type gives a more powerful sound by removing some of the humming sounds, giving it its name. In addition to these two types, pickups can be either passive or active. Passive pickups are the more common of the two, but the main difference is the number of coils. Active pickups will use fewer coils around the magnet. Active pickups also rely on a preamp, powered by a battery, to work. You can also change the pickups — the ones that are on your guitar when you buy it aren't permanent. Now that you know where the pickups are and what their basic structure is, we'll discuss what the pickups do on an electric guitar. How Does an Electric Guitar Pickup Work? Like we mentioned above, pickups are made from magnets and a wire coil. They work because of magnetism, which creates a field around the pickup. When the strings are plucked or strummed, the field around the pickup moves. The pickup hears that vibration — or picks it up, which gave the piece its name — and turns it into an electric signal. That signal moves through an amplifier and is pushed out of a speaker. Then, the speaker and amplifier translate those electrical signals to us as music. Basically, the pickups act as receivers and transmitters on your guitar. They pick up the vibrations from the strings and change those vibrations into something we can understand. Understanding the science behind your pickups won't make you a better player right off the bat, but they help you better understand your instrument overall. When you know what affects your tone, it gives you the power to make adjustments to make the exact sound that you're looking for. Shop our large selection of Supro Electric Amps and Electric Guitars online. To learn more about pickups on an electric guitar, stop by one of our two locations in the San Francisco Bay Area.
History of the Yamaha Synthesizer
The Yamaha Corporation has been at the forefront of innovation in the music industry ever since it was established in 1897. The Yamaha brand is trusted by musicians around the world to produce high-quality musical instruments with exceptional sound, and they continue to create innovative new instruments and musical technology. Yamaha synthesizers are no exception, as hundreds of models and designs have been released over the last four decades to respond to and shape the changing face of the music industry. Since the first Yamaha synthesizer was released in 1974, the synthesizer has been redesigned and upgraded over and over to produce the modern synthesizers we know today. In the early decades, Yamaha developers focused on technical advancements to perfect the foundations of keyboard mechanisms and tone generation. Synthesizers boomed in the 1980s and played a significant role in creating the classic 80s sound. Synthesizers of the modern era have reached new levels of excellence in sound quality and innovation in music production. In this history of the Yamaha synthesizer, we will explore several important Yamaha synthesizer models and trace the evolution of the Yamaha synthesizer from its beginnings in the 1900s to the latest model on the market today. Early Beginnings The history of the Yamaha synthesizer began in 1887 when Torakusu Yamaha built his first reed organ. The Yamaha Corporation, initially named Nippon Gakki Co., Ltd. was formed in 1897 and quickly began producing upright acoustic pianos in the 1900s. In 1959, Yamaha created the first electronic keyboard instrument, the D-1 Electone. This revolutionary electronic organ used transistors alone to produce sound, instead of the vacuum-tube technology that was available at the time. The Yamaha Electone would pave the way for later synthesizers — however, it had a long way to go first. While the D-1 Electone featured unique technology for the time, it still lacked greatly in expressivity and sound quality when compared to other acoustic instruments. The Electone produced notes with an immediate and strong attack that ceased abruptly when the key was released. This mechanic sound did not resemble the way a tone naturally changes over time when produced on instruments like pianos. Developers at Yamaha knew that it was essential for their electronic keyboards to produce sound variation over time if they were going to be accepted as musical instruments. This motivation to create more interesting and natural sound with their Electone is what led to the development of Yamaha's first synthesizer 15 years later. Yamaha's First Synthesizer Before the release of Yamaha's first commercially available synthesizer, the company produced a prototype eight-note polyphonic synthesizer named the GX-707. This model had highly expressive tone generators that showed great advancement toward the natural tone Yamaha was striving for. However, the GX-707 was a massive instrument and weighed over 660 pounds. It also required a separate control board to edit sounds. For these reasons, the GX-707 was not marketable to the general public and was considered a niche instrument for concert use. The technology used to produce expressive tones in the GX-707 was then used to develop their first synthesizer released on the market, the Yamaha SY-1. The Yamaha SY-1 was released to the public in 1974 and quickly became an enormous success. This monophonic analog synthesizer used an ADSR envelope generator to produce tones that changed over time by altering the sound in four stages: Attack: How quickly a note reaches its peak volume after being struck Decay: How fast it drops back to the sustain level Sustain: The volume that the note is held at while the key is pressed Release: Determines how quickly the sound fades A pair of sliders on the SY-1, labeledAttack and Sustain, were used to adjust how the tone changed when notes were played. The SY-1 also featured preset envelopes making it even simpler for users to recreate the sounds of a variety of instruments. The musician could activate a preset envelope, such a flute or guitar envelope, by moving a tone lever. While synthesizer presets are common today, this functionality was innovative when the SY-1 was released. Several other features made the SY-1 a groundbreaking instrument. The SY-1 featured velocity sensitivity and aftertouch, making it extremely expressive to play. Velocity sensitivity allowed the SY-1 synthesizer to respond to the different pressure when a key is struck, just as an acoustic piano would. Aftertouch allows players to apply more pressure to a key after it is held down to create crescendos or vibrato. The user-friendly controls of the SY-1 allowed players to alter sounds directly from the keyboard without using an additional control board. Due to the popularity of the SY-1, Yamaha also released an organ with a built-in SY-1 synthesizer, called the CSY-1. In 1975, the SY-2 was released with added envelope and filter controls for even more expressiveness. The SY-2 even earned a spot on the silver screen in 1977 when it is used to communicate with aliens in Close Encounters of the Third Kind. Improved Tone, Memory and Polyphony With the CS Series Showing Yamaha's continued focus on high-quality sound, their next series of synthesizers featured a new type of envelope generator for more natural sound variation. Released in 1977, the CS Series synthesizers used an IL-AL envelope generator, which allows players to create Initial Level and Attack Level settings. Users can set the tones at the start and peak of the attack stage, creating greater freedom for altering tones. Compared to the ADSR envelopes, IL-AL envelope generators make it easier to produce a natural sound. Another significant advancement of the Yamaha CS series synthesizers was their ability to store programmed sounds. Created before the invention of RAM or ROM, these early synthesizers relied on analog technology to save sounds. The CS-80, the flagship model of this series, contained four sets of memory elements that each corresponded to a specific instrument controller, allowing players to switch instantly between four programmed sounds. Other popular features of the CS-80 were its ability to smoothly bend pitch using a ribbon controller and its aftertouch sensitivity. The aftertouch functionality of the CS series was polyphonic, meaning aftertouch effects could be applied differently to each note depending on the pressure applied to them. Previous synthesizers used channel aftertouch, meaning the pressure applied to one key was channeled across the entire instrument to affect all the keys equally. The CS-80 polyphonic synthesizer also used new integrated circuitry that allowed Yamaha to produce lighter and more portable models. Throughout the 1970s, three generations of CS Series Yamaha synthesizers were produced, but the flagship CS-80 remained the most popular and is still sought after today. The CS-80 has been featured in famous songs, such as the Blade Runner Theme by Vangelis and Africa by Toto. Other notable artists who used the Yamaha CS-80 include Stevie Wonder, Daft Punk, Giorgio Moroder and ELO. FM Tone Generators Change the Playing Field The start of the 1980s brought with it rapid advances in technology that enabled the commercial production of the digital frequency-modulation tone generator. This sound generator, also known as an FM tone generator, would yet again dramatically alter the capabilities of digital sound production. The FM tone generator was first created by researchers at Stanford University in the 1970s. Recognizing the potential of this new technology, Yamaha quickly signed an exclusive contract with the university in 1973. The Yamaha Corporation began working toward a new digital synthesizer — and at the same time that the SY-1 analog synthesizer was released in 1974, developers had already created a prototype synthesizer with a digital FM tone generator. However, the prototype instrument involved a large number of integrated circuits that made it impractical for public use. As semiconductor-based technology continued to advance, Yamaha was finally able to release a synthesizer with an FM tone generator in 1981. The F-70 was a classic Electone model with an FM tone generator at its core. Soon after, the company released the GS-1 keyboard with FM technology that was intended for stage use. The frequency-modulation technology in these synthesizers creates sound using digital oscillators or Operators. These Operators generate audible Carriers and Modulators that change the timbre of the Carrier and modulate the music to create harmonics. Different arrangements of Operators produce different types of sounds. FM synthesizers provided a significant advancement in sound quality and expressiveness. FM tone generators could produce kinds of voice that had not previously been possible, such as metallic and bell-like sounds. They also produced rich harmonies that allowed for intense realism when recreating the sounds of other instruments. While the GS-1 utilized FM technology, it was not actually marketed as a synthesizer. The GS-1 could produce 16 unique voices that could be changed via voice cards, but the instrument did not allow direct editing of sounds. Instead, a special programming device was used to alter the sounds on the voice cards. To produce a more user-friendly FM synthesizer, Yamaha focused on developing a clear user interface that allowed both editing and programming of sounds to be done directly on the instrument. Their solution was a built-in programmer that used lamps and buttons to confirm the parameter settings when making edits. This simplified user interface paved the way for the creation of the massively popular DX7. The Revolutionary DX7 Released in 1983, the DX7 Yamaha Synthesizer took the music world by storm. Featuring a multitude of innovative features, the DX7 quickly became the best-selling synthesizer of its time. Compared to the GS-1, the DX7 featured two additional operators that allowed the production of more elaborate tones. It also provided functionality for creating and editing of sounds directly, as well as storing programmed sounds through memory cartridges. Below are some of the essential advancements of the DX7 Yamaha synthesizer: LCD Screen: The new DX7 featured a small LCD screen that could display parameter settings. This allowed a new level of accuracy that was not possible with previous synthesizers. Older models required programmers to check the positions of knobs and sliders on the control panel, while the new LCD screen clearly confirmed sound programmings. Because the LCD screen reduced the need for dials and controllers, the DX7 also sported a clean and sleek control panel. Cartridge-Style Memory: The DX7 was capable of storing 32 voices internally, with the option of accessing an additional 64 voices by inserting a ROM cartridge. Programmers could also use a RAM cartridge to write 32 original voices, significantly expanding the sounds available with the DX7. If players wanted to recreate the sounds of famous musicians, they could now purchase memory cartridges containing the voices of professional synth players. In the past, players of older synthesizer models had to attempt to copy the slider and dial positions of famous players to recreate their sound. Expressiveness and Polyphony: The DX7 produced a unique sound and featured dramatic velocity sensitivity. This created a more expressive sound, similar to an acoustic piano. The DX7 also allowed for 16-voice polyphony, which was unprecedented in previous models. Affordability: Despite its advanced specifications and features, the DX7 cost about one-tenth of the price of the GS-1, making it shockingly affordable for public use. However, perhaps the greatest development of the DX7 was its was compatibility with MIDI. In 1982, just one year before the release of the DX7 synthesizer, MIDI was introduced as a new technical standard. MIDI altered the entire music industry by providing a means for the digital exchange of information between musical instruments. Because the DX7 supported MIDI, new technological possibilities became available. Players of the DX7 could use a MIDI sequencer alongside their synthesizer to create high-speed phrases or robotic sounds that would be very difficult to play manually. MIDI sequencers also allowed performances of other musicians to be recreated accurately. MIDI support also allowed the DX Series synthesizers to play musical parts automatically, which further expanded the instrument's capabilities. Musicians could program two synthesizers to play the same part at slightly different pitches to create a rich sound. Yamaha also developed the TX Series of synthesizers to enable players to perform this function more easily. The TX Series synthesizers did not have a keyboard, and we used them to expand the capabilities of keyboard synths. Synthesizers in the 1980s The combination of MIDI performances and the distinctive sound of FM synthesizers produced innovative music that would truly define the 1980s sound. Dance and techno music relied heavily on the robotic and metallic sounds of FM synthesizers, and the DX7 sound became a driving force of pop music of that era. You can hear the Yamaha DX7 Synthesizer in famous songs such as Whitney Houston's "The Greatest Love of All," Berlin's “Take My Breath Away" and Kenny Loggins's "Danger Zone." Throughout the 1980s, Yamaha would release 55 different models of synthesizers, showing a rapid evolution of synthesizer technology. Home recording was made possible in this era from the development of the multitrack recorder (MTR), which allowed users to record up to four individual tracks on a standard cassette. The original practice was to layer each musical part individually, however, Yamaha created a multi-part tone generator called the TX81Z that could play multiple voices at the same time on different channels. This synthesizer produced a rich, dense sound and streamlined the recording process. The 1980s also saw a movement toward integrated workstations that allowed producers to create all musical parts with one synthesizer. Yamaha developed the V-50 synthesizer as a powerful model that incorporated a multi-part tone generator, MIDI sequencer, keyboard, rhythm machine and digital effects processors. This multi-faceted Yamaha FM synthesizer was a compelling product that displayed the rapid evolution of the Yamaha synthesizer. Sampling Arrives in the SY Series Entering the 1990s, new technology continued to change the synthesizer industry. One of the major advances was PCM sampling, which allowed the sounds of real acoustic instruments to be digitally recorded and used for tone generation. Musicians used short samples of drums, percussion and other effects that could be played back with minimal tone adjustment. Yamaha developed this sampling based on tone generation Advanced Wave Memory (AWM) tone generation. While sampling is now a standard part of music production, it was a huge innovation for its time. The Yamaha SY Series of synthesizers responded to this new technology by incorporating an AWM tone generator with an FM tone generator. Introduced in 1989, the SY77 was the most successful model of this line and produced unique and expressive sounds by blending FM and sampling. The SY77 could create a wide variety of sounds, including those of a classic FM synthesizer, more realistic acoustic sounds and unique hybrid tones using FM synthesis and AWM tone generation. The SY77 synthesizer also boasted reverb and modulation effects, along with 32-voice polyphony. Complete with an onboard sequencer and floppy disk drive that allowed sounds to be saved and loaded, the SY77 was a powerful workstation for music production. Enjoy Unique Expression With the VL Series Released in 1994, the VL Series of synthesizers used a new synthesis technology called Virtual Acoustic developed by Stanford University. This synthesis is based on physical modeling technology, rather than sampling, and the Yamaha VL-1 was one of the first of its kinds to be available on the market. The VL-1 was unique in its ability to recreate the sounds of wind, brass and string instruments with a high level of realism. The VL-1 allowed musicians to experiment with different ways to play the instrument, including a breath controller. By blowing into the breath controller while playing the keyboard, the MIDI parameters of the notes would change based on the musician's air flow. Skilled players could produce subtle changes in tone and pitch that closely resembled the sounds of real wind instruments, such as saxophones or trumpets. However, the VL-1 was challenging to play, as the user had to manipulate multiple parts and different types of controllers at the same time. A Modern Workstation Is Created With the MOTIF Line Released in the early 2000s, the Yamaha MOTIF Series is a powerful workstation for music production. As the popularity and demand for integrated synthesizer workstations grew, Yamaha worked to produce a workstation with better sound quality, ease of use and computer integration. The MOTIF Series is designed to produce a realistic and high-quality sound that mimics acoustic instruments. Its straightforward user interface allows the user to create music easily, and the synthesizer can connect seamlessly with computers and other studio equipment. MOTIF synthesizers allow samples to be imported and exported through a digital output connection. Another stand-out feature of the MOTIF line is its Integrated Sampling Sequencer (ISS). This functionality allowed audio loops to be created and sliced up with a natural release applied automatically on each slice. With the rise in popularity of audio loops in the early 2000s, ISS made it simple to create high-quality synthesized music. The MOTIF synthesizers also featured intelligent time stretching, which allowed musicians to play audio loops at different tempos while maintaining a natural sound. The intelligent arpeggiator in the MOTIF synthesizer is another popular feature. Users can program the synthesizer to play constituent notes in sequence up and down when a chord is held. The MOTIF synthesizers can also play trill effects in addition to standard arpeggios, creating an endless potential for expression. Since the original MOTIF line was released in 2001, Yamaha has produced three more series over the course of 15 years. Each of the four MOTIF Series improves upon the previous model with expanded memory, enhanced aesthetic appeal and greater digital connectivity. MOTIF synthesizers have been used by many famous musicians, including Alicia Keys, Stevie Wonder, Michael MacDonald, Babyface, Chick Corea and David Bryan. Yamaha's Newest Development — MONTAGE The newest line of Yamaha synthesizers builds on Yamaha's previous synthesis technology to produce an intuitive, powerful and dynamic workstation. The MONTAGE Line uses a control interface called Motion Control to combine two synthesis engines, the AWM2 and FM-X. The AWM2 features greatly expanded wave ROM from the MOTIF X, and the FM-X features eight Operators and 88 Algorithms for the widest variety of sound production yet. The united Motion Control interface allows musicians to alter multiple parameters at the same time for new levels of control and creativity. Users can create seamless fading in and out of different sounds and directly control multiple FM-X and effect parameters at the same time. This unprecedented level of real-time control allows up to 128 simultaneous control assignments. With innovative effects processing, the MONTAGE Music Synthesizer offers delays, vintage effects, HD reverbs and modern effects such as Beat Repeat, Slicer, Spiralizer and more.With a streamlined workflow and dynamic control, the Yamaha MONTAGE Line enters a new era of synthesizers that continue to provide the high-quality sound and reliable performance the Yamaha brand is known for. Yamaha Synthesizers at Bananas at Large® As the number one manufacturer of musical instruments in the world, Yamaha offers a variety of high-quality professional synthesizers for anyone from experienced producers to amateur musicians. If you are seeking the latest in synthesizer technology, you can find the newest Yamaha synthesizers at Bananas at Large, including the flagship MONTAGE8 and the 61-key MONTAGE6. Purchasing your dream synthesizer from Bananas at Large is easy with our simple payment plans and flexible financing options. Explore Yamaha synthesizers today to find the perfect fit for your sound.
Everything You Need to Know About Yamaha A-Series Acoustic Guitars
The Yamaha A-Series is one of the company's higher-end acoustic guitar lines, though it does include some more accessible models. Known for its great tone and road-worthy build quality, the A-Series offers excellent value in all configurations. Here's what you need to know about this popular seller and how to make an informed purchase. Decoding Model Numbers Like a lot of acoustic guitars, A-Series model listings read like a jumble of letters and numbers. However, once you understand how to read them, they're easy to decode. Let's look at one guitar — the AC3M — and break down what its code means: A, of course, signifies that this model is part of Yamaha's A-Series C denotes that this particular model features a concert body style, as opposed to the standard western dreadnaught body 3 signifies that this instrument is an A3 model — the A-Series is broken down into three sub-series, ranging from the budget-oriented A1 to the high-end A5 M means that this guitar has a mahogany back and sides, as opposed to rosewood models, which are marked R Using this breakdown, we can tell that, for example, the A5R is a dreadnaught A5 model with rosewood back and sides. Regardless of their configuration, all A-Series guitars offer quality construction that's designed for the rigors of the road but equally at home being pampered in the studio. Beyond that, however, individual models can vary considerably both in specifications and in price. Let's look at each sub-series one by one. A5 Yamaha A5 model guitars contain all the premium features the A-Series is known for, including: Powerful sound thanks to a unique scalloped bracing system and Yamaha's proprietary A.R.E. (Acoustic Resonance Enhancement) process. Yamaha A-Series guitars will deliver a rich, vintage-inspired tone with well-balanced lows and mids and a natural resonance that stands out in a full band setting. Solid wood construction with a Sitka spruce top and your choice of mahogany or rosewood back and sides. Solid backs and sides give the A-Series a distinctive tonal footprint that many prefer to laminated guitars. SRT2 electronics. The SRT2 system features a proprietary piezoelectric pickup with a clear, wide response and an integrated preamp that allows you to dial in the perfect sound for your playing style. Yamaha manufactures all A5 acoustic guitars in its Japanese factory. The A5 line includes premium features such as a TUSQ nut and saddle, ebony bridge and fingerboard and open-gear Gotoh tuners. As well, all A5 guitars come with a hard shell case. The A5 series consists of four models: A5R AC5R A5M AC5M A3 The A3 is the mid-range entry in the Yamaha A-Series acoustic guitar family. Though priced lower than the A5, it contains many of the higher model's most notable features, including a solid back and sides and SRT2 electronics. This model lacks some of the embellishments of the A5 — the nut and saddle are made from urea, the tuners are a die-cast chrome model from Yamaha and the hardshell case is replaced by a hard bag. In addition, A3 models are made in China rather than Japan, though they undergo a rigorous quality control process before leaving the factory. All things considered, the A3 series offers a great compromise between premium features and a budget-friendly price. Four models are available: A3R AC3R A3M AC3M A1 Finally, the A1 is the most economical iteration of the Yamaha A-Series. It retains the solid Sitka top of its more expensive cousins but features laminate back and sides and a rosewood fingerboard. As well, it contains a simplified preamp with fewer tone controls and lacks the A.R.E. processing found on the A3 and A5. Although it doesn't have the full feature set of other A-Series guitars, A1 models are still a great choice for anyone from a beginner to a working pro. With an MSRP starting at $815.00 — and street pricing even lower — it's a guitar that's well worth every penny. The four models in the A1 series are: A1R AC1R A1M AC1M Other Models While the A1, A3 and A5 make up the core of the A-Series, Yamaha is always introducing new models — such as the limited edition A4K and AC4K, which feature a solid Hawaiian Koa top, back and sides. The best way to stay on top of the latest offerings is to stop by one of the two Bananas at Large® locations and speak directly with one of our acoustic guitar specialists. We'd be happy to show you the latest additions to our inventory and help you find your next purchase. Call, email or visit us in person today!
How to Start Your Kids Playing Guitar
At Bananas at Large®, our customers range from the youngest learners to people that have been playing music their entire lives. What every one of them has in common is that at some point, they made the decision to follow their passions and take up an instrument. And while it's never too late to do so, the earlier you get your kids exposed to music, the more likely they'll be to enjoy it for life. Popular music has changed a lot since the dawn of rock and roll, but the guitar has endured. In fact, evidence suggests that the global popularity of guitars has only increased in recent years — fueled in part by broader cultural shifts that are opening the instrument to a wider range of demographics than ever before. In short, there's never been a better time than now to get into the guitar, no matter who or how old you are. Keep reading to find out our tips and suggestions for starting your kids playing guitar — including how and when to teach them and what to look for in a beginner's instrument. Benefits of Learning Guitar Learning an instrument helps children develop motor skills and a sense of rhythm and harmony. Children will learn to express their creativity while also gaining discipline and patience. Best of all, learning music is its own reward — the satisfaction a child gets after mastering a new chord or song is invaluable for instilling confidence. There's also a social benefit to learning an instrument — as your child grows up and makes new groups of friends, they'll have an instant connection to other creative kids. The guitar is a natural entry point to further musical study. It's highly accessible and has a somewhat less steep learning curve than, for example, the violin or a reed instrument. As a result, your child will enjoy the above benefits faster and will be more likely to stick with their instrument for longer. When to Start We've covered the question of when to start guitar lessons in another post, but a few key points are worth repeating: Children under seven may not have the hand and arm strength to play full-size acoustic guitars yet. Starting with a ukulele or nylon-string instrument may be a better choice for the youngest learners. Like any instrument, learning guitar takes practice. If your child can't sit still for a 20-minute lesson or gets easily frustrated, they may be too young to start on guitar. The basics of music theory apply to all instruments — there's no harm in starting on one instrument and switching to another later. Options for Learning The easiest way to start a child learning guitar is to expose them to the instrument. If you or someone you know plays, start having some informal living room jam sessions. Get a few small percussion instruments to play along with — once your kid is involved in the music-making process, they'll be naturally curious and want to learn more. As for lessons, there are a few options. Private, one-on-one lessons are a great way to learn, as the teacher will have more flexibility to adapt their lesson plan to your child's interests. However, group lessons offer a social element that can make learning more fun. Ultimately, you know what type of environment your child will respond to best. If you're in the Bay Area and would like to learn more about guitar classes at Bananas, visit our Lessons page for contact information. Choosing a First Instrument — What to Look For Choosing a child's first guitar is a delicate balance — on the one hand, you want something that won't break the bank. On the other, a better-quality instrument will last longer and will likely be more fun to play. Fortunately, the quality of entry-level instruments is higher than ever before. A well-made 3/4 length guitar is an excellent beginner option — the smaller size is better suited to growing hands while still offering the feel and functionality of a full-size instrument. Some great choices include the Yamaha JR series, which is modeled after the company's famous FG acoustic guitar line. The APXT2 is the next step up and includes a convenient built-in tuner and tone-shaping preamp. Finally, if you prefer a classical guitar over steel string, you'll be happy to know that the Yamaha CGS is one of the most popular and best-regarded options on the market today. Trying out different models can be a fun project for you and your child when you visit either of Bananas's two Bay Area locations. Stop by and let our friendly sales staff help!
Comparing Transacoustic Yamaha Guitars: FG vs. FS
Yamaha launched its TransAcoustic series of acoustic guitars in 2016 with the release of the LL-TA and LS-TA models. The two guitars were immediate successes, winning the "Best in Show" award at the Summer 2016 NAMM and being named "Best of What’s New" by "Popular Science" magazine not long afterward — high praise, given how incremental innovation in the world of acoustic guitars tends to be. In 2018, Yamaha expanded the TransAcoustic line with the release of its FG-TA and FS-TA models. With their more accessible price point, these guitars are poised to expand the popularity of the series and get innovative TransAcoustic technology into the hands of even more players. Below we offer an overview of the new models, including what they share with their more expensive counterparts and how they differ from one another. Read on to learn more! What Is TransAcoustic Technology? At the heart of every TransAcoustic guitar is a specially designed actuator — a small metal device within the guitar's body that vibrates sympathetically during playing, creating natural-sounding chorus and reverb effects. A set of push-pull knobs on the side of the guitar allows players to turn the actuator on and off and control the effects' parameters, creating everything from subtle, sustaining room reverb to lush chorus pads. TransAcoustic technology aims to expand the creative palette available to acoustic guitarists, without the need for amplification. However, for larger gigs, each guitar contains a built-in piezoelectric pickup powered by a set of two AA batteries. Beyond that, all TransAcoustic guitars contain the same legendary build quality, playability and tone that Yamaha is known for. And with the introduction of the FG-TA and FS-TA models, these and other benefits are available to more guitarists than ever before. The TransAcoustic FG-TA The FG-TA is based on the Yamaha FG820 — one of the most popular entry/mid-level acoustic guitars in the word. First released in 1966, Yamaha FG series guitars offer superior quality and tone at an affordable price, making them great for beginners and working musicians alike. Both the FG-TA and LL-TA feature a traditional Western dreadnaught body with 25 9/16" (650 mm) scale length and only minor variations in overall dimensions and size. Both have a glossy body finish and a matte neck, 0.43" (11.0 mm) string spacing, urea nut and saddle and transparent pickguard. The main difference between the two is the choice of tonewoods: The FG-TA features a solid spruce top, mahogany back and sides, nato neck, rosewood fingerboard and rosewood bridge, while the LL-TA has a solid Engelmann spruce top, solid rosewood back and sides, five-ply mahogany and rosewood neck and an ebony fingerboard and bridge. One thing that's worth pointing out is that both models feature a solid wood top as opposed to a cheaper laminate, a choice which is generally thought to produce a more resonant sound with more balanced overtones. Other differences between the two models are primarily cosmetic. As befits its higher price point, the LL-TA has premium features such as die-cast gold tuners, an abalone soundhole inlay and maple and black binding. The LL-TA also comes with a hard bag. TransAcoustic FS-TA vs. FG-TA Whereas the FG-TA takes its design cues from the FG series, the FS-TA adds TransAcoustic technology to the Yamaha FS820. Like the FS820, the FS-TA features a concert body shape with slightly narrower string spacing — 0.39" (10.0 mm) vs. 0.43" (11.0 mm) — than the dreadnaught FG-TA/LL-TA models. As a result, they're a great option for smaller hands or anyone who wants a more compact, portable guitar. Like the FG-TA, the FS-TA has a solid spruce top, mahogany back and sides, nato neck, rosewood fingerboard and rosewood bridge, as well as die-cast chrome tuners, cream binding and a black and white soundhole inlay. Both the FG-TA and the FS-TA feature a specially engineered internal bracing system for improved depth and clarity in the low- to mid-range. The FG-TA is available in three finishes: vintage tint natural, brown sunburst and black. The FS-TA is available in vintage tint natural, brown sunburst and red. Both have a manufacturer's suggested retail price of $939, though street pricing comes in lower than that. Available at Bananas at Large® Keep watching the Bananas online store for the latest additions to the TransAcoustic line. If you'd like help choosing between the FG-TA and the FS-TA or are wondering if upgrading to the LL or LS model is worth it, we'd be happy to provide unbiased, expert advice. Give us a call, shop Yamaha Acoustic Guitars online or stop by one of our two Bay Area locations to try a TransAcoustic guitar out in person.
Bananas At Large® Is On The Move
Northern California’s Oldest and most Prestigious Musical Instrument Store is Relocating! San Rafael, CA: After over 40 years, Bananas At Large® is moving to a new location. We have found a new home. We will move from our current downtown location, .3 miles to our new location of 1654 2nd Street in San Rafael, California. The current location will be open until the new location opens for business on November 15, 2018. “In an effort to address the modern needs and wants of our customers, we are excited to open a new, more life style directed, retail space” says owner Alan Rosen. “We will continue to offer our award-winning customer service, curated inventory, music lessons, repairs and design installation services we have been known for over 40 years, but in a new better location.” The new site will showcase our commitment to curating the best of well known brands like Fender, Fender Custom Shop, Bose, Gibson, Martin, Taylor, Yamaha, Roland, Korg, Gretsch, Ibanez, Shure, and more as well as showcasing the widest selection of independent, boutique and local builders like Magnatone, Swart, Heritage, Victory, Mesa Boogie, Durham, and more. We carry more brands and models of boutique, unique, indie brands than any chain store or online site all curated for the best in our category. We also assist well known rock stars with selling off their Private Collections. We currently have inventory from Joe Satriani, Neal Schon, Journey, Keith Richards, Santana and more. The new location will feature an open naturally lit space with plenty of on-site parking. It will include a feature wall of 200 guitars, and separate isolated demo rooms. “We are excited to bring the same level of attention to detail, product knowledge and incredible inventory to a location that will complement our vision all while guaranteeing our customers the lowest prices” adds Alan Rosen. We have been providing Professional Audio, Musical Instruments, Music Lessons, Design and Installation Services, Repairs and more to the Bay Area for over 45 years. Bananas At Large® features thousands of instruments and brands from all major manufactures and many independent, boutique, bespoke and local builders.
Finding Your Perfect Pick
A pick may be the smallest part of your guitar rig, but as the most direct connection between you and your instrument, its importance easily outweighs its diminutive size. In this post, we provide a brief overview of the differences between guitar picks and offer some arguments for rethinking the role they play in your setup. Shapes and Sizes Most picks come in some variation of the standard triangle/teardrop shape, with varying degrees of edge sharpness and in some cases, a tapering effect in the end. Shape may be the most personal decision when choosing a pick — try out different options and select the one that feels most comfortable in your fingers. Picks range in thickness from extra light (under 0.40 mm) to extra heavy (1.22 mm and above). Lighter picks are better for strumming, whereas thicker picks offer greater precision and control. If you're new to guitar, try starting with a medium-gauge pick and, if your needs change, adjust from there. Materials For the sake of this post, we're going to limit our discussion of pick materials to the synthetic plastics that account for the vast majority of commercially available products, including: Celluloid: Celluloid/cellulose picks have a smooth feel and a balanced tone, perfect for everything from casual strumming to playing complicated leads. Tortex: As the name implies, Tortex aims to replicate the feel of a tortoiseshell pick. Though that comparison may be lost to all but a few players today, the result is a pick that grips well, with a crisp, consistent tone. Nylon: Nylon picks are more flexible than plastic and produce a brighter tone. Most feature a textured surface for added grip. Picks for Bass Players There's a persistent myth that bass players don't use picks. The reality, however, is that picks have a definite place in the world of the low end — in fact, a versatile, well-rounded bass player will be able to switch between picked and fingerstyle playing with ease as the song demands. As for which pick is best for bass, that's a matter of preference — many bass players find that a larger, harder pick is better suited to the fat strings of their instrument, though a standard thin guitar pick will still give you the sharp attack and defined tone that characterizes picked playing. Picking Your Pick If you've found the pick that works best for you, it's a great idea to stock up. As any musician knows, picks tend to go missing as they move between the rehearsal space, the studio, the stage and the pocket. Always make sure you keep extra on hand — and keep a few in different places, including your gig bag, your wallet, the back of your amp and anywhere else that's convenient. As your musicianship evolves, your taste in picks will likely change with it. Don't be afraid to experiment! You'd be surprised how big a difference something as simple as a new pick can make. Consider switching your pick of choice for something of a different thickness, size or even color. It might be just the thing you need to regain your enthusiasm for your instrument. Explore the possibilities in the Bananas at Large® online store today!
MIDI Explained
Musical Instrument Digital Interface (MIDI) has played a role in performance and production since its introduction in the early 1980s. Today, a basic understanding of MIDI is essential if you want to record at home or in the studio, and it's highly useful for many performance applications as well. What Is MIDI? MIDI is, at its core, a language used by musical instruments and equipment to communicate with one another. Just as you can't explain the full nuances of a language in one short article, this post won't be a comprehensive overview of everything MIDI can and can't do. Instead, we'll look at the basics of its grammar (how it works) and syntax (what it can do) — and how you can incorporate it into your musical vocabulary. Okay, enough with the metaphor — let's get started! Working With MIDI MIDI is an integral component of any digital recording environment and a powerful composition tool. Working in the digital audio workstation (DAW) of your choice, you can use MIDI to compose and edit instrumental tracks using a piano roll or grid-type interface. Then, you can send that information to a hardware or soft synth for playback. Hardware MIDI controllers, on the other hand, send information about a musical performance — note pitch, volume, length, etc. — to a DAW, sound module, synthesizer or software synth. Most controllers are laid out like a standard keyboard, through electronic drum kits, specialty guitar pickups and wind controllers, among other devices, also transmit MIDI information. Because MIDI is used to automate effects and mixing, many controllers feature additional inputs in the form of knobs, faders and pads for this purpose. One thing that's important to remember is that MIDI files don't contain any audio. Rather, they're a set of instructions telling a device what to do. As a result, if you're working with out-of-the-box equipment — hardware synthesizers or drum machines, for example — their output must be recorded separately during the mixdown process. Connecting to MIDI Historically, MIDI devices have connected with each other using a five-pin, one-directional cable. Most interfaces feature three ports — in, out and thru — for sending, receiving and forwarding messages to and from other devices. However, many manufacturers today are adding USB connectivity to their products, lowering the number of cables and connections required to transmit MIDI messages and making it easier to connect multiple devices at once. MIDI and You To recap, here's a quick rundown of a few of the most common ways to use MIDI for the following categories: Performance: Use MIDI to expand your sonic palette by connecting multiple synthesizers and sound modules, automating effects or triggering loops and samples in a live setting. Composition: Use this language to write and edit new tracks, synchronize tempos between devices and share files with collaborators, among other things. Recording: Use MIDI to work in the box with soft synths, trigger outboard hardware, track, mix, master and practically everything else involved in making a professional-sounding recording. Whatever your musical goal or your level of MIDI fluency, Bananas at Large® has products for you. Search our inventory to explore our selection of Roland MIDI controllers, synths, and more.
Acoustic Guitars for Beginners
The guitar is a versatile and fun instrument to learn how to play. A lot of people who decide that they want to learn how to play the guitar choose the acoustic guitar as a starter. The acoustic is great to practice with, doesn't require a lot of extra equipment or accessories. If you're thinking about buying your first guitar, putting in the time to research your options and ask questions will help you find the right guitar for you. Here are a few pointers to get you started out while you're getting ready to buy your starter acoustic guitar. Acoustic Guitar Basics When you begin learning to play the acoustic guitar, you'll need to begin building up a lot of different skills. Like learning anything new, there's a learning curve at the beginning. Here are just a few skills that you'll need to begin developing: How to hold your guitar properly Learning the order of the strings How to tune your guitar correctly Learning correct finger placements Reading chord diagrams How to play a few simple chords Along with these skills, you should also have a basic understanding of your guitar. It's important to be able to recognize if something isn't quite right. That way, you will avoid potentially damaging your instrument by fixing it as soon as possible. The acoustic guitar has a few main components: the headstock, neck, body and bridge. The headstock is where the tuners are, the neck of the guitar has the frets, the body is the main part, and the bridge is the piece near the opening of the sound hole. Finding the Right Beginner Acoustic Guitar When you're ready to buy a new acoustic guitar, you're making an investment. You can certainly find a good deal on a guitar, but you want to ensure you're picking the right one. Here are a few things to look for while shopping for your new acoustic guitar: Size: While you're shopping for your guitar, try testing them out to see if you can comfortably handle the instrument before you buy it. Brand: While big names in guitars make quality instruments, don't count out guitars made by brands you haven't heard of yet. Strings: Different types of strings will give your instrument different tones. While you're learning, you may want to consider getting a guitar with lighter strings, or even nylon strings, while you're learning. Extras: There are a few other things that will make learning your new guitar a lot easier. Picking up a beginner's book, a tuner, some extra strings, and an assortment of picks really help a lot in the beginning. At Bananas at Large®, we have the selection and knowledgeable staff to help you pick out the perfect beginner acoustic guitar. If you're wondering how to buy an acoustic guitar for a beginner, check out our inventory of Martin guitars online or stop into one of our two locations in the San Francisco area.
What Are In-Ear Monitors?
In-ear monitors are a helpful piece of equipment for performers and music producers. They are very similar to earbuds and allow musicians to hear themselves play — or mixes of vocals and instrumentals — and to block out ambient noise. These monitors are a relatively new piece of technology and in more recent years have become more affordable. But what did musicians use before in-ear monitors? In the past, musicians and music producers relied on speakers to do the same work as in-ear monitors do now. These speakers had a lot of limitations. On the stage, they would take up a lot of space and restrict your movements. In the studio, they didn't give the same level of clarity that in-ear monitors can provide. If you're thinking of investing in a pair of in-ear monitors — or just want to learn more about them — read on. How Do They Work? In-ear monitors are a relatively simple piece of technology. They have three main components: Transmitter: The transmitter picks up the signal and communicates it to the receiver. In-ear monitors can be wired or wireless, but wireless is much more common. Wireless monitors work by picking up a radio signal, which the transmitter is programmed to pick up. Receiver: The transmitter picks up the radio frequency and communicates the message it picks up to the receiver. The receiver is about the size of a deck of cards and is usually worn as a belt pack. Earpieces: The earpieces plug into the receiver and rest in the musician's or producer's ears. Many types of in-ear monitors are custom-made. This gives the user a higher level of comfort and convenience because their monitors were made just for them. For instance, at Bananas, we are proud to offer Ultimate Ears, which are created custom for you from a free 3-D ear scanning. How Are They Used? In-ear monitors are used for two primary purposes: in the studio and during live performances. If you're a musician recording a track or an entire album, in-ear monitors can play the other parts to help you stay in time. If you're on the other side of the glass, in-ear monitors can help you get higher-quality recordings and produce better music in general. In-ear monitors can also be helpful during the editing and mastering phases of music production. By having the record right in your ear with a clear, crisp sound, you can make any necessary changes to create a fantastic result. Performers most commonly use in-ear monitors. When you use in-ear monitoring instead of stage monitoring — using speakers — you'll enjoy many different benefits. For one, you can move freely across the stage. You don't have any bulky speakers taking up your space, and you don't have to worry about not being able to hear as well if you stray too far from them. Find Your In-Ear Monitors From Bananas at Large® If you're looking for a high-quality set of in-ear monitors, look no further than Bananas at Large®. We carry the very best - Ultimate Ears. With Ultimate Ears you get 3D Digital Imaging impressions (vastly superior fit and positioning to “goop” molds), a $150 value, FREE with purchase. We sell monitors explicitly designed for distinct uses — we have in-ear monitors for singers, drummers, DJs, producers and more. Check out our inventory of in-ear monitors today.
Best Age to Start Piano Lessons
The piano is a great instrument to learn because of its versatility. It's also the most popular instrument to learn, followed by the guitar, ukulele, drums and voice. It's also more common to see much younger children playing the piano compared to other instruments. If you're considering enrolling your child in piano lessons, you may also be wondering what the best age is to start them. There are a few things you should consider before enrolling your child in piano lessons, which we'll discuss below. Like us, you'll probably realize that there is no one "best" age for starting your child in lessons. We'll talk about why a little later, too. How to Tell If Your Child Is Ready for Piano Lessons There are a few factors that affect the best time for your child to start piano lessons. Here's what you should look out for before enrolling your child in their first lesson: Development: There are a few growth milestones that are key to allowing your child to learn the piano. First, their hands should be big enough that they can place each finger on a different white key. Secondly, they should be able to move each of their fingers independently. Ask your child to wiggle one finger on one of their hands. They should have developed their fine motor skills to the point where they are able to play the instrument. Ability: Does your child have a natural inclination to the piano? If they like to hum to themselves, perk up when they hear music or can sing along to songs with a fairly accurate pitch, it shows that they might naturally have an ear for music. Or, at the very least, it shows your child has an interest in music. Motivation: You've probably seen or heard of children who came to dislike an activity because their parents forced them into it. You shouldn't enroll your child in piano lessons unless they want to do it. On the flip side, when your child expresses a strong interest in learning to play piano, it can be a huge motivator. Practice time would be fun instead of feeling like a chore. Self-motivation could also help them progress more quickly and challenge themselves. Time: Remember that as well as time during their lessons, learning requires practice at home. If either of you is not willing or able to commit that time to encourage them to practice, it might not be the right time to learn piano. If your child has reached these developmental stages and has the motivation to learn, then they're probably ready to get started! There Is No "Right" Age Every child is different. That means there is no perfect age for every child to begin learning the piano. Some kids start playing as young as three or four while others don't start until they are ten. It's up to you do decide when your child is ready to begin learning how to play the piano. However, there is a prime age range that is a good time to enroll in piano lessons. When your child is between the ages of six and seven, they have the perfect combination of finger strength, motivation and smarts to begin learning the piano. If your child begins learning around this age and they stick with it, you're setting them up to become great players with a lifelong love of the instrument. Some children can start earlier, but every child is different and ready at their own pace! We've talked mostly about young children learning to play the piano. But remember that anyone can learn how to play this instrument, no matter how old you are! With the right motivation and dedication, anyone can learn how to play the piano. If you start later in life, that's okay and you can still become proficient and enjoy a lifelong passion for the instrument. If you live in the San Rafael or Santa Rosa area and are looking for a great piano teacher, look no further than Bananas at Large®. We have a large selection of Roland Keyboards to get you started. Check out our music lesson options for every skill level and age.
Breakdown of the Acoustic Guitar
No matter what instrument you play, understanding how it was made and how it works is important. This knowledge will help you troubleshoot any issues you have and help you get the best sound possible out of your instrument. We're going to break down the different components of your acoustic guitar and the types of materials used to make this versatile instrument. Parts of Your Acoustic Guitar Whether they're manufactured or built by hand, acoustic guitars need to be made with a lot of care. Each of these components of an acoustic guitar is important in its own way and has unique attributes: Top: The top of the guitar has a few components too, with the main part being the soundboard. To get the best sound, the soundboard has to be light but strong and both rigid and flexible. This sounds like it should be impossible — how can one piece have each of those characteristics at once? It is possible, and it's key. Back: After you strum a note or a chord on your guitar, the sound will bounce around the inside of the guitar. The back of the guitar helps project that sound back out and towards the listener. The piece of wood used for the back of the guitar will be thicker than the one used for the top. This helps give you more volume and greater projection. Sides: Like all the parts of the acoustic guitar, the sides are made to help get the best sound. The sides should be thicker and more inflexible to make sure they do not absorb the vibrations from the strings. This allows the sound to go where it should: back out of the guitar. Inside: The inside of the acoustic guitar has a lot of pieces that keep the guitar together. The neck block helps keep the neck secure to the body, the end block keeps the bottom of the guitar from splitting and a protective lining reinforces the sides of the guitar. Neck: The neck of the guitar helps carry the vibrations from the strings down to the body of the guitar. Similarly to the sides, the neck needs to be thick and stiff to make sure it doesn't absorb those vibrations. Beyond how these components are constructed, the materials used for the pieces of an acoustic guitar are equally important. Tonewoods A less-well-known part of an acoustic guitar is the type of material used to make it. Most guitars, in general, are made using wood. Especially for acoustic guitars, this gives them their signature appearance. The woods used to make guitars are commonly called "tonewoods." Each type of wood, and which part of the guitar it is used to make, affects the tone of an acoustic guitar. If you're looking for a guitar with a particular tone or an emphasis on different ranges, make sure you look at the tonewoods that were used. Below are some of the popular types of wood used to make acoustic guitars: Spruce: As the most common tonewood for tops, spruce's clean, resonating qualities are enjoyed by many users. This tonewood will give the same crisp sound no matter how it's played, giving it a great deal of versatility. Cedar: Cedar is known for its dark, quieter tone. It tends to lose some clarity when played hard with a pick, making it a top choice for fingerstyle players looking for a sound with strong overtones. Mahogany: Mahogany gives a clean sound from the bass to the treble when it comes to range. But it's also great at giving a bit more emphasis on your lower tones. This tonewood is usually used for an acoustic guitar's body. Koa: If you want a blend of the two types of tone from maple and mahogany, koa is a great tonewood. This type of wood is typically found on the backs and sides of an acoustic guitar and is sought for aesthetics as often as for tone. Rosewood: Brazilian rosewood has become a protected type of wood and is more difficult to find, making guitars made from this tonewood much more expensive and difficult to find. However, it creates a warm, rich sound and gives a beautiful look. If you're looking for a new acoustic guitar, check out our inventory of Taylor Guitars today. When you shop with us, you'll enjoy great deals on top-quality instruments, equipment and accessories with excellent customer service from our experienced team.
