Загрузка...TonePros Metric Tune-O-Matic Bridge With Large Posts And Roller Saddles
The TonePros® TPFR is a locking Nashville style bridge with flat head saddle adjustment screws, TonePros® "Roller" saddles, large posts, and metric thread. The TonePros® design roller saddles are engineered to allow the strings to roll smoothly, while the TonePros® patented system locks the bridge solidly in place allowing for the strings to always return exactly in tune when trem’ed. Bigsby® and other tremolo users will love this TonePros® product, as it will allow them to use their tremolo often without the worry of going out of tune. This model fits most guitars made overseas.
What TonePros® Components Do For You:
TonePros® components completely solidify your instrument! Your System II bridge will not only just stay on, our system solidifies your bridge in place like stone! In most cases after installation and adjustment, your bridge and tailpiece will not move or "wiggle" at all. Because of TonePros® design, even play or movement in the threads is reduced so that when you adjust your action and intonation, it is set and solid. This of course improves your sustain and tonal qualities, makes harmonics "jump" out of your guitar, and causes your instrument to play and stay in tune better.
Use Your Vintage Instrument:
It is now possible for musicians to actually use their "vintage" instruments without the fear of marring and modification and still get ultimate results. Put those vintage components back in the case where they belong for preservation while you play your favorite guitar with improved tonal qualities. Simply reinstall the old, preserved components when you go to show or sell that special instrument.
New Instruments:
If your new or recently purchased instrument did not come with System II components installed at the factory, simply replace your current bridge & tailpiece with our upgraded components. Just adjust and then secure with the allen tool provided, and your guitar will play and stay in tune better. Your guitar will not come apart when the strings are taken off and it will sound and sustain like never before!
Do The Test For Yourself
Next time you have the strings off of your guitar, hold your bridge between your thumb and index finger while it still rests on your guitar and wiggle it. If it moves (and it will), you are not getting the intonation and harmonics you deserve, especially after the size of the investment you have made in that special guitar. The greater the wiggle, the greater the problem. TonePros® Patent Issued components have the solution, isn’t it time you get the tone and results you expect and deserve?
- Thread = 8mm x 1.25 Metric
- Post to Post Spacing = 74mm
- Saddle Notch = Roller Saddles
- Saddle Material = Zmac
- Bridge Material = Zmac
- Post/Thumbwheel Material = Brass
- String Spread = Approx. 10.4mm
- Post Cap Width = .23 Inches/ 6mm (Metric Flathead Post Top)
- Radius = 12 Inch
ABR-1 Tune-o-matic Bridge — Gibson Shop
Бридж ABR-1 Tune-o-matic был изобретен в 1954 году Тедом Маккарти — легендарным президентом Gibson — и стал стандартом простоты и функциональности. Доступен в хромированном, никелированном и позолоченном исполнении.
Только оригинальные сменные части могут гарантировать 100% совместимость с вашим инструментом. Оригинальная фурнитура Gibson это оборудование наивысшего качества, которое защитит ваш инструмент от нежелательного вмешательства в его конструкцию и тем самым защитит его от лишних модификаций. Каждая деталь является абсолютным аналогом родным частям и полностью соответствует заводским параметрам вашей гитары.
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- Устройства и аксессуары для мобильных устройств.
- ROCKSMITH
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Производители
Телефоны
Время работы
Пн — Пт: с 11 до 20
Сб — Вс: c 11 до 19Адрес магазина
Санкт-Петербург,
ул. Казанская улица, дом 7
Метро Невский проспектDo You Have Any Query? Ask to Our Industry Expert!
Electric Guitar Bridge Market: Regional Analysis Includes:
- Asia-Pacific (Vietnam, China, Malaysia, Japan, Philippines, Korea, Thailand, India, Indonesia, and Australia)
- Europe (Turkey, Germany, Russia UK, Italy, France, etc.)
- North America (the United States, Mexico, and Canada.)
- South America (Brazil etc.)
- The Middle East and Africa (GCC Countries and Egypt.)
Major Points Covered in TOC:
- Overview: Along with a broad overview of the global Electric Guitar Bridge Market, this section gives an overview of the report to give an idea about the nature and contents of the research study.
- Analysis on Strategies of Leading Players: Market players can use this analysis to gain competitive advantage over their competitors in the Electric Guitar Bridge Market.
- Study on Key Market Trends: This section of the report offers deeper analysis of latest and future trends of the market.
- Market Forecasts: Buyers of the report will have access to accurate and validated estimates of the total market size in terms of value and volume. The report also provides consumption, production, sales, and other forecasts for the Electric Guitar Bridge Market.
- Regional Growth Analysis: All major regions and countries have been covered Electric Guitar Bridge Market report. The regional analysis will help market players to tap into unexplored regional markets, prepare specific strategies for target regions, and compare the growth of all regional markets.
- Segment Analysis: The report provides accurate and reliable forecasts of the market share of important segments of the Electric Guitar Bridge Market. Market participants can use this analysis to make strategic investments in key growth pockets of the Electric Guitar Bridge Market.
Key Questions Answered in the Report Include:
- What will the market size and the growth rate be in 2025?
- What are the key factors driving the global Electric Guitar Bridge Market?
- What are the key market trends impacting the growth of the global Electric Guitar Bridge Market?
- What are the challenges to market growth?
- Who are the key vendors in the global Electric Guitar Bridge Market?
- What are the market opportunities and threats faced by the vendors in the global Electric Guitar Bridge Market?
- Trending factors influencing the market shares of the Americas, APAC, Europe, and MEA.
- What are the key outcomes of the five forces analysis of the global Electric Guitar Bridge Market?
Deep Pockets: A Guide to Developing Better Time
- Develop a better sense of subdivisions.
- Understand how to play «over the bar line.»
- Learn to target chord tones in a 12-bar blues.
Playing in the pocket is the most important thing in music. Just think about how we talk about great music: It’s «grooving» or «swinging» or «rocking.» Nobody ever says, «I really enjoyed their use of inverted suspended triads,» or «their application of large-interval pentatonic sequences was fascinating.» So, whether you’re playing live or recording, time is everyone’s responsibility, and you must develop your ability to play in the pocket.
So, what is bad time? It’s when people rush and speed up the tempo or drag and slow the tempo down in an unmusical way. If your quarter-note pulse is uneven, you can’t lock in with what the band is doing because the time keeps moving. If somebody’s fills are all wonky and don’t land right, that usually means they are not subdividing and are just stuffing notes into the measure haphazardly. These players don’t realize what is happening. Don’t be one of these players. To develop your own pocket, you will need two things: your guitar and a metronome. A better groove, and a better ability to subdivide the beat, will lead to better phrasing and more control of what you want to play.
The first three examples are designed to eliminate your reliance on the first beat of the measure. Practicing with the metronome on all four beats of the measure is a very common way to practice scales and chord progressions. Remember that in most styles of music, the snare drum is on beats 2 and 4 of the measure. Practice with your metronome as if it’s a snare, where the click is on 2 and 4. (A note about tempo markings: Usually the tempo is listed at a quarter-note level, but with the metronome on beats 2 and 4, it’s marked as a half-note. So, if the half-note tempo is listed as 120 bpm, the quarter-note tempo would be twice that, or 240 bpm.)
Ex. 1 is a G7 arpeggio played in 3rd position, with half-note tempos of 100, 125, and 150 bpm. The recording of this example has a count off with the clicks on 2 and 4. If these tempos are initially too fast, start with a slower tempo where you can play the example cleanly, putting each note directly in between the clicks of the metronome. You can even start with just a single note at a comfortable tempo, getting used to what it sounds and feels like to put a note directly in between the metronome clicks.
Ex. 2 is the A minor pentatonic scale (A–C–D–E–G) in 5th position, played first in half-notes and then again in whole-notes. This example is designed to help you switch gears between different rhythms.
Ex. 3 is the C major scale (C–D–E–F–G–A–B) in 7th position played in half-notes and whole-notes, but at faster tempo. If you practice different types of scales and arpeggios in this way, you’ll discover spots where you may rush or drag the notes.
The last three phrasing exercises are intended to eliminate your need to play on the first beat of the measure. Played over a 12-bar blues in A, each example uses a different rhythm or phrasing structure where you will need to count a lot of empty space to play these rhythms correctly. Ex. 5 is deceptively simple, where you play only on beats two, three, and four of each measure. It takes more concentration than you would think, so be careful that you don’t fall back into playing your usual stuff.
Ex. 6 will develop your ability to play over the bar line, which is simply not starting or ending your phrases directly on beat 1. There’s a lot of space to count, starting each small phrase on the «and» of beat 3, and finishing on the «and» of beat 1 in the next measure.
Ex. 7 aims to expand your phrasing, creating longer lines by playing a two-bar phrase almost entirely in eighth-notes. The challenge to this exercise is beginning on the «and» of one in the first measure and ending on the «and» of four in the second measure. In each of these examples, practice each rhythm by itself on a single pitch with a metronome, focusing on counting the spaces and playing that specific rhythm. Then, try adding different chord tones or scales when that rhythm becomes internalized.
After working on these examples, play over a track and focus on one concept at a time to see if you really have it under your fingers and in your ears. Always remember to keep things simple to begin with. There’s plenty of time to make things complicated later on. Cheers!
- SG
- Ламповые усилители
