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PDF Editor FAQ

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No card are Life time free there is some trems and condition please go through it.For SBI card kindly contact SBI card.

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Which is your favorite guitar and why?

One of my favorite stories from the history of Fender guitars is written by a former Vice President of Fender, Forrest White, in his book, “The Fender Inside Story,” published in 1994.Fender: The Inside Story: Forrest White: 0073999135329: BooksIn the early 2000 years, vintage guitar collectors were paying special attention to and extravagant prices for a short run of late 1950s Stratocasters and Telecasters that had an aberrant neck shape referred to as the “C Neck Shape,” or “The Boatneck.” These necks are about 3/16” thicker at the center than a standard Fender neck contour of the same era. Some players loved it and others hated it. Only about 300 were made so the scarcity makes for good collector investment.Forrest White tells us of the happenstance that accounted for “The Boatneck.”He had just hired a new neck worker for the wood shop as Leo Fender was leaving for an extended two-week vacation. Coincidentally, Mr. White also had to be out of town for a few weeks on company business. Upon returning from his trip, White was horrified to find that the newly hired worker had finished around 300 guitar necks that were substantially deviated from specification. When Leo returned from vacation, White broke the bad news, with the conversation going something like this:Forrest White: “Leo! We’ve got a real problem here. This new guy made all these necks while we were gone and they’re all wrong! Every last one of them is completely out of spec. They’re terrible!”Leo Fender: “Can they be fitted on the guitars?”Forrest: “Well … I think so.”Leo: “OK. Go ahead and run them. Send them out and if anyone complains, we’ll replace them under warranty.”That’s the way it was at Fender. The cumulative variations in machining and craftsmanship were all over the place, resulting in instrument quality that varied from the sublime to the ridiculous. I’ve owned two at the extreme of the spectrum and would like to tell you a story about each.In the photo below, I’m shown playing my 1975 Fender Strat. This instrument (if you can even call it that) was so poorly made that it would have embarrassed any decent, self-respecting piece of firewood. The mid-1970s was an especially bad time for Fender quality control, and my particular thingamajig was the absolute dregs, the sediment from the bottom of the sludge heap.The neck pocket was so sloppily milled that you could insert a credit card in the gaps on either side. The joint between the neck and body behaved like a 360 degree swivel, where if given a bump, the neck might move in any direction, up, down or sideways. Sometimes I’d open the case to see an “E” string that was riding a quarter inch off the edge of the fingerboard, or a playing action of 3/8” at the 12th fret. The tonal response was akin to half-dried Play Dough and the overall instability was like Silly Putty, required constant attention, adjustment and tuning. There were tricks of the trade for making improvements, but they were mostly just polishing a turd.This was one of those “stage of life” dilemmas where, in 1981, I was making the transition from being the weekend warrior musician with a day job, into full time playing. Money was in short supply and a decent guitar would not be mine until 1986.Representing the opposite extreme to my 1975 Crapocaster is my 2001, American Deluxe.In early 2001, I was visiting the music shop owned by a friend who, with a big smile, asked if I’d like to help him unbox a fresh arrival of new Fender guitars that had just come off the UPS truck. “Well surrrrre, I would!”I had no intention of buying nor was I in need of a guitar at the time. But then there was this one. I knifed open the shipping box, lifted the lid to the case and slipped a dark colored Stratocaster out of its plastic shipping wrap. Just out of the shipping carton, after having traveled 3000 miles on a truck from California to Virginia, it was still within a few cents of being in tune. I touched up the tuning, played a little of this and that and in three minutes I knew this was a once-in-a-lifetime find. Absolutely everything was right about it, the comfort, the tone, the fit and finish, the shape of the neck, the feel of the finish, the liveliness of the tone … everything. This was a masterpiece of the craft made with love and care from start to finish — the complete antithesis of my Crapocaster. So very ironically, the two looked much the same.Right away, I asked my buddy to give me a price on it. Showing surprise, he asked, “Huh? You don’t even want to take it home and try it out?” “Nope,” sez me, “… no need. This is MY guitar. Let’s make it so.” Taking a close look at the guitar, he was reluctant. “Nah, you can buy the red one. It’s the same thing.” I tried the red one and turned it down.His concerns about selling me this guitar were probably legitimate. A quick decision like that can often be an impulse purchase, plus he’d always given me the family price, which in this case would be much lower than what he’d have fetched on the retail showroom.I persisted and we agreed that he’d hold it in the back of the store for a week and come to a decision. Thankfully, he softened up and sold the guitar to me at the family price.As with any love affair, the exuberance we demonstrate for the beloved will often come off sounding like so much brag. I hope the following might be taken as simply an expression of one of the joys in life rather than some variation of “my dog’s better than your dog.”All photos below are uploaded in large format, so feel free to click on the pic if you’d like to take a closer look.2001 American Deluxe Stratocaster:This one has a raised metallic silver vintage logo, which has no special functional value, but just appeals to me. The raised lettering can be felt with the fingers.In most ways, it looks like any other. But the liveliness, nuance and expressivity of this lovely piece of wire and wood never fails me. Every time I pick it up, the magic is always there. Anything I want to do goes easier on this instrument, whether it be practice, writing, dialing in a tone or searching for just the right idea to make a song arrangement for a client. Everything about it responds to the touch. Whether the mood of the music is tender and brooding or rude and intrusive, the American Deluxe is quite ready to go there with me. It goes in tune and stays in tune, all over the fingerboard. At 8 lbs. 4 oz, it weighs in very closely to living things we are evolved to hold close to the body and bond with.The inset on the nut is perfect and all the sharp edges have been carefully rounded over for comfort.The frets and the fingerboard contour are wonderful. The fret crown is just steep enough for good intonation but just soft enough to be comfortable. The rosewood on the fingerboard is a lovely piece of wood that appeals to the eye and the touch.In the past, I’d never paid much attention to locking tuners, but indeed, they do make life easier for the player.This next photo has, unfortunately, has exceeded my photography and lighting skills, but you may be able to notice through the glare, that the neck pocket fit is rock solid and all the corners on the neck heel are carefully rounded over for additional comfort. The little specks seen on the dark finish are not dust, but copper colored sparkles in the top clearcoat.If you’d like to take a listen, here’s the Strat on a recording:As mentioned earlier, I’d like to throw in a little epilogue about the guitar that replaced my Crapocaster in 1986, as one of the best go-to live gig instruments I’ve ever come across. While using the Crapocaster to try to eek out a living, I also taught guitar lessons on the side for three years until I’d saved up $1500 to finally buy a decent instrument. Other players were enthusiastically recommending brands like John Suhr, James Tyler or Tom Anderson, which all seemed like exciting possibilities. However, in late 1985, Music Retailer Magazine feature an article about Ned Steinberger, from New Jersey, who was about ready to release a radically new guitar design that intrigued me. After reading the article and looking at the photos of the prototypes, I figured this was what I was looking for.I taped a magazine photo of the Steinberger GL-3T to my refrigerator door and for the next year, month by month, I called various music stores in the Washington, D.C. area until, in late 1986, I found a dealer that had had just taken shipment on a GL-3T. That very day, I drove a raggedy old car with no heater, three hours in 20 degree weather to get to D.C., racing to get there before they sold the Steinberger.At my arrival, I met with a salesman named Bill who was surely the most rude, arrogant, overconfident, unhelpful and disrespectful sales person I’d ever run across. People like Bill are usually described using the name of ailments treated by proctologists. When I auditioned the Steinberger, I was uncertain. The bells didn’t go off in my head and the magical sensations of a new toy weren’t really there. But, I’d saved for years, driven for hours, and I suppose I’d bowed and scraped sufficiently that Bill was willing to forgive my mere presence long enough to take $1500 and let me walk out with the Steinberger. In the long run, it was worth it.How many complex commercial products can we buy that never break or need adjustment? In the winter of 1986, I brought the Steinberger home and set up the string height and intonation. That was almost 32 years ago. Sitting here in 2018, that same, 32 year old setup is still holding as precisely as the day I first made the adjustments.Having an instrument that never fails under any circumstance is a major asset for touring or keeping up with a busy local gigging schedule. The Steinberger takes some getting used to, but after a short adjustment period, the feel and sound is a bit like a good Gibson, only a little colder to the touch until it absorbs some body heat. The one shown in the photos has faithfully endured just about every possible mishap short of being run over by a car. It’s been dropped countless times, played in the rain, sweltering sun, left frozen in a car or band truck, had drinks spilled on it, and just about anything that comes with heavy use and risky environments. All it ever asked for was strings and tuning. After gazillions of strums and solos, the middle pickup is nearly worn through to the innards, yet the logo just below is still intact. Very little about it shows any sign of wear.The Steinberger incorporates all manner of clever deviations from traditional design. One of the most innovative is the automatically locking tremolo arm. If you can tell from the two photos, whenever the trem arm is lifted into playing position, it instantly unlocks the bridge. As soon as you let go of the arm, it quickly falls into a precisely locked position using a small tooth on the base of the arm that acts a little like a one-tooth gear. A locked tremolo has better tuning stability than one that remains always floating.First here, in raise position for using the arm:Then here, with the arm dropped into locked position where the tremolo swing doesn’t budge in the slightest:My emotional relationship with the Steinberger is not quite the “love bond” that I have with the 2001 Strat, but more like that of a solid and enduring business partnership or perhaps that of an old war buddy who saved my sorry butt many times over. As the ultimate in dependability, I have to look at this guitar with respect and reverence for the times we spent together, all the places we traveled and how it never once, failed me in any way.It’s a darned shame that the Steinberger company was so short lived and sold to Gibson in 1987, who closed the Newburgh, NJ plant and started making far inferior versions. Many of the current offerings bearing the Steinberger badge are nothing more than gimmicky toys. But I suppose I’ll just be thankful to have crossed paths with this marvelous instrument. Ned Steinberger was an amazing innovator and inventor.My thanks to you for enduring the shop talk, for your tolerance of my bit of self indulgence and for the A2A that gave me an excuse to be thankful that my fate was not forever chained to the 1975 Crapocaster.Have fun!

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