Guitar Equipment and Accessories Guthrie OK

Having the right guitar equipment and accessories makes a difference. The longer you have been playing the more you know this is true. Serious musicians search for the best knowing it will intensify sound quality. Music is meant to be shared in Guthrie, OK. Experienced personnel at guitar shops around Guthrie can help you find what you are looking for to create the sounds and effects you desire to make. Below you will find local dealers for all of your guitar’s needs including guitar capo, pickups, strings, picks, cables, support, amplifiers, tuner pedals, cases, cables, effects and more.

Edmond Music
(405) 348-0004
3400 S Broadway
Edmond, OK
Types of Instruments Sold
Acoustic Piano, Digital Piano, Electronic Keyboard, Organs, Band & Orchestral, Drums & Percussion, Sound Reinforcement, Recording Equipment, Guitars & Fretted Instruments

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WARNERS GUITAR SHOP
(405) 844-9990
203 E AYERS ST
Edmond, OK
 
Warner's Guitar Shop
(405) 844-9990
203 E Ayers Street
Edmond, OK
 
Edmond Music
(405) 348-0004
3400 S Broadway
Edmond, OK
 
Cottingham Music Accordions
(918) 836-3887
302 S Sheridan Rd
Tulsa, OK
Types of Instruments Sold
Guitars & Fretted Instruments, Print Music

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FISHER PIANO STUDIO
(405) 330-4994
1129 S BROADWAY
Edmond, OK
 
Warners Guitar Repair
(405) 844-9990
203 E Ayers St
Edmond, OK
 
Jim Elvis Peery
(405) 341-8625
617 Winding Lane
Edmond, OK
 
Petra Industries Inc
405-216-2100-27
2101 S Kelly Ave
Edmond, OK
 
Frontier Music Co
(580) 355-4231
1014 Sw D Ave
Lawton, OK
Types of Instruments Sold
Digital Piano, Electronic Keyboard, Organs, Band & Orchestral, Drums & Percussion, Sound Reinforcement, Guitars & Fretted Instruments, Print Music

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13 Hard Rockin’ Half-Stacks, Guitar Player Staff

13-stackROCK AMPLIFIERS HAVE EVOLVED TO A HIGH DEGREE SINCE THE DAYS WHEN TONYIommi and Ritchie Blackmore laid the foundation for heavy rock guitar tonethrough their Laney and Marshall stacks. These English marques, along withother British and American companies such as Hiwatt, Orange, Mesa/Boogie,Peavey, and Soldano, paved the way for today’s high-gain, multi-channel heads,most of which have features that were unimaginable in the late ’60s, whenBlack Sabbath, Deep Purple, and Led Zeppelin reigned supreme. As metalbecame a style unto itself, more and more amplifier companies stepped up tomeet the demands of players who wanted heads and combos that could deliverthe two essential sonic qualities—searing sustain and massive chunk—thatare about as commonplace now as footswitchable channels, independent tonecontrols, and high-powered output stages of up to 400 watts.

Look around most any music store now and you’ll find plenty of evidencethat the quest to improve and refine the tones created by overdriven tubes andtransistors continues. In terms of features, sounds, and price, Joe Six Pack neverhad it better. Fact is, you could probably pick a new half-stack blindfolded, takeit straight to the gig, and be reasonably satisfied with its performance. To betterunderstand the state-of-the-art in rock and metal rigs, we selected 13 tube,hybrid, and solid-state multi-channel amps and put them to the test using aSchecter C-1 loaded with EMG 81-X pickups, a PRS Custom 22, a Fender EricJohnson Signature Strat, and a Gibson ’68 Black Beauty Les Paul reissue. Mostof the amps we received came with matching speaker cabinets, and the onesthat didn’t were played though a Mesa/Boogie Rectifier 4x12, a cabinet knownfor its ability to stay tight and focused at punishing volumes.

We gave all of the amps a thorough shake out to evaluate the range andcomplexity of their tones, the amount of sustain they could generate, and evenhow loud they could get. For this last test we placed a RadioShack digitalsound level meter three feet from the speaker cabinet with its mic aimedstraight on at the speakers. Using the dBA setting on the meter, we turnedeach amp up as far as possible (excessive hiss was often the only limiting factor)on one of the overdrive channels, and banged out power chords until themeter gave its verdict. Testing 13 big amps presents lots of challenges—notthe least of which was the potential for hearing damage when exposed to themrunning at full volume. So for the loudness checks we went so far as to put avideo camera on our sound level meter, and played outside the sound lab withthe door closed—a method we’d highly recommend should you decide to trythis stunt for yourself.

  • B-52 LS 100
  • Bogner Uberschall Twin Jet
  • Carvin V3
  • Diamond Decada
  • Engl Fireball 100
  • Fryette Pittbull Hundred-CL
  • Krank Krankenstein Jr.
  • Kustom Double Cross
  • Line 6 HD 147
  • Marshall MG100HFX
  • Mesa-Boogie Dual Rectifier
  • Peavey 3120
  • Ra...

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