Comparison Schecter Demon-6 FR vs Cort EVL-X6

The type of tone block used in the construction of an electric guitar.

A timbre block is an “intermediary” between a pickup and a guitar output: a set of electronic circuits that provides signal transmission, and often also its processing (volume control, frequency correction, preamplification, etc.). In modern electric guitars, there are such types of tone blocks:

— Passive. Passive are called timbre blocks that do not require additional power sources during operation. Usually, such modules have the simplest design and functionality, adjustments are limited to changing the volume, as well as passively correcting frequencies (by “cutting off” the desired frequencies). At the same time, passive tone blocks are simple, compact, inexpensive and do not depend on batteries; and the necessary adjustments can be made on external equipment (anyway, the electric guitar will need to be connected to it). As a result, most modern instruments are equipped with this particular type of tone blocks.

— Active. The key difference between a passive tone block is that it needs its own power source to work. Most often, this role is played by a PP3-type battery installed in a special socket in the body of an electric guitar. The need for power is due to the abundance of additional functions: active tone blocks are able to amplify the signal coming from the pickups, suppress interference, and even match the output impedance of the inst...rument with the input of the amplifier. Yes, and the active method of tone control is more advanced than the passive one, it allows you to more accurately adjust the frequency ratio. On the other hand, active modules are noticeably more expensive, and without a battery, the tone block turns into a set of useless parts. However, such devices consume relatively little energy, and one battery lasts for quite a long time.

— Active/passive. Tone blocks that combine the capabilities of the two options described above. If there is power, such a module operates in active mode, and if there is no power, it turns into passive. Thus, the musician can enjoy all the advantages of the active tone block and at the same time not worry that the instrument will become completely useless due to a dead battery (although, of course, the tone block functionality is not so extensive in the passive mode). At the same time, combined modules are quite complex and expensive, and the real need for such versatility is rare. Therefore, this option has not received much distribution.

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.

Profile of a fretboard mounted on an electric guitar.

The profile of the neck is called its shape in section, more precisely, the shape of the back of the neck. This parameter practically does not affect the sound of the guitar, but it directly affects the convenience of playing. Ideally, the neck should “fill” the hand, but not be too large — otherwise it will not be possible to clasp it to the right extent.

Profiles are denoted by the letters C, D, V and U — depending on which letter the neck resembles in the section. Profile D is the flattest, C is slightly more convex, with almost uniform curvature along the entire length, U is more voluminous, with a wider profile in the area of the lining, and the V profile in its classic form has the form of an angle with a rounded top. There are also modifications of these options — for example, "thin", which provides for a reduced profile thickness, or "modern", with slightly improved (theoretically) ergonomics.

The most popular profile types are C, U and their "modern" (modern) modifications. The C profile is almost semi-circular, the U profile is more voluminous, at the fingerboard its edges are almost parallel and only closer to the back of the neck are sharply rounded. The terms modern C and modern U refer to various improved versions of these profiles, their f...orm may be different.

In fact, the choice of neck profile depends solely on the guitarist's personal preferences, the characteristics of his hands and his preferred playing technique. Thus, there is no "perfect" profile shape — in each case, the optimal choice will be different. The perfect option is to try several types of profile "live", decide which one will be more convenient, and choose an instrument with a neck of the same or similar profile shape.

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 radius of curvature of a fretboard mounted on the fretboard of an electric guitar.

The fingerboard is located directly under the strings, it is to it that the musician presses the strings when playing. If you look at the neck in cross section, its upper part with the overlay will have the shape of an arc; the radius of this arc is implied in this case. The smaller the radius, the more convex this arc will be, and vice versa, a large radius will correspond to an almost flat surface.

In general, it is believed that a smaller fingerboard radius is better for playing chords, and a more even, flat surface makes it easier to play technical passages with an abundance of special techniques such as bands. The average and, one might say, classic diameter value is 12", this is the most popular option among modern electric guitars. The smallest figure is just over 7", it is found in some guitars with Stratocaster bodies (both original Fender instruments and copies ). And the most flat pads have a diameter of 20" or more.

Note that there are often instruments with a variable fretboard radius — smaller at the headstock (where chords are played more often) and larger near the body (where solos are played by notes). In such cases, the radius at the nut is indicated.

The type of truss provided in the design of the neck of an electric guitar.

The anchor has the form of an elastic metal rod installed along the neck and hidden inside. It reinforces the structure and prevents the neck from deforming from string tension. The truss rod can be made adjustable to suit the characteristics of the strings and compensate for the deformations that inevitably occur over time. The types of this detail can be as follows:

- Single. Anchor consisting of a single rod. The classic version used in most modern electric guitars, regardless of price category. Usually, the strength and rigidity of even a single rod is sufficient for normal applications and use.

- Double. Anchor, consisting, in accordance with the name, of two rods. It is distinguished by greater strength and reliability compared to a single one, in particular, it provides additional resistance to lateral deformations. On the other hand, the double construction is noticeably more expensive.