Now Playing On Mind Coup Radio!

Feb 24th

Zoom Handy Recorders

By Gear In The Mail

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Zoom H1 Handy Portable Digital Recorder

Price Range $99.00 - 120.00

What makes it great!

This little guy is a must have for any one. This super easy-to-use unit give you great stereo recording at the push of a button. Record in many formats including 96kHz at 16-bit or 24-bit wave or 320kbps mp3. The mic level can be adjusted and so can a 1/8 line-in. Connect the line-in to a phone-out on a mixer and record all your band practices or gigs. After first hand use over years of a non-ideal conditions, this little hand recorder is still working great today. Getting files to the computer is as easy as plugging in a usb cable.

What are the drawbacks?

This great product is only limited by its price point. All the features go above and beyond expectation for this type of unit. You might want more than record and go. If so, keep reading about the upgraded Zoom recorders and features.



 Save With Gear In The Mail!

Zoom H4N Handy Portable Digital Recorder

Price Range 199.99 - 239.99

What makes it great!

This handheld four-track recorder is amazing. Record up to four tracks at the same time with this guy! It has 2 xlr or 1/2 inputs with which you connect mics or line instruments. It also can do multitrack recording. One amazing thing about this is that it is also a usb interface! Record directly to your computer! This is a songwriter's dream recorder. This even features phantom power for use with any mic you wish to use. After about 5 years of use, it's still going strong and is very handy to have in any studio. Now, at this sell-out price due to the new Zoom recorders, this is a super amazing deal.

What are the drawbacks?

It is hard to say what the drawbacks are on this product. Myself and others I know who use this are all super happy. It is a bit of a trick to get to know how to use it the best way, but that's all in getting to know new gear. If you need more than four tracks, you can bounce down and record more, but that's kind of a hassle.




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Zoom H5 Handy Recorder Price Range 269.99 - 299.99

What makes this great!

This is a piece of gear to get excited about. The first thing that stands out is the interchangeable mic attachments sold separately. It also has a 1/2 stereo line-in attachment you can add to record four line-ins at once. 15 hours of battery time is amazing. This is an audio interface as well. It's great for film, with time stamping and connecting to your camera. This is the kind of gear you want to write new songs on just so you can play with the recorder. This is definitely worth the extra dough over the h4. It is great to see new gear like this at such a good price.

What are the drawbacks?

The song editing features on the unit itself are not the best but that's what the computer is for anyway. At around $270.00 it's a bit of an investment but can be more than worth it if you are in need of a pro field recorder.


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Zoom H6 Handy Recorder

Price Range $375.00 - 400.00

What makes it great!

Wow did you see the video! Sexy! The H6 is very impressive. I love that you can connect 6 tracks to a mixer and record a show. This has the power you need for any pro project. Two more tracks and inputs is a massive upgrade for handheld recorders. The next step after this is a full-on studio! With 6 tracks, it is more than they used to record all though classic hits we all love so much. This is like having a record label in your hand create a pro video for your next gig with album sound quality. This could be the best piece of recording gear you ever buy.

What is the drawback?

Well, if you work at Roland then you will not like this piece of gear at all. This is the first and only one of its kind. The only drawback we see is that it would be a good thing for someone to try a walk off with.

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Feb 23rd

Spray Paint Secrets

By Alisa Amor

Are you ready to become a Master Of Spray Paint Art….

Are you ready to begin successfully selling your artwork and exhibiting in art galleries…

Are you ready to really have fun doing your new hobby….

Are you ready to learn to paint in a way that feels right for you…

then…. Wach this video and check out the website !

You’re going to learn all about the breakthrough street art program that will transform you into a skilled and fast spray paint artist. You can fascinate an audience in the street and make the kind of paintings that really shine, draw attention, and sell like hotcakes. YOU can NOW choose to be the artist who can create a whole galaxy in just minutes...

As a hobby or for a living!


Master Of Spray Paint Art

Feb 17th

Drum Leveler

By The Loop Loft



Drum Leveler is a new beat detection-based downward and upward

compressor/expander. By selectively applying gain to single drum

beats, Drum Leveler easily achieves the desired target level for each

beat, without affecting bleed noise or beats that are out of the

user-defined processing range. Unlike traditional envelope-followers

that detect incoming levels and utilize VCA to apply gain changes,

Drum Leveler runs an advanced new algorithm that takes full advantage

of the digital domain – allowing unparalleled control over your drums'

dynamics. Drum Leveler is powerful yet easy to use. It will help you

achieve solid driving grooves, improve clarity and add punch to any

percussive performance. Drum Leveler brings a new, radical approach

to drum’s dynamics control. We’d like to encourage you to take the time

and explore Drum Leveler to utilize its full power. Features - Transparent,

beat detection-based simultaneous upward & downward compressor/expander

- Applies gain to each beat individually to achieve set target level - Gain

reduction and expansion is transient-accurate to the drum beat for artifacts-

free transients reproduction - Dual threshold levels allows processing any level

range to affect only specific beats within a track such as ghost notes or bleed

without affecting other beats - Mono, Stereo, Dual Mono and Mid/Side operation

modes - Easy to use and intuitive user interface Formats Drum Leveler is

available for Mac & PC in AAX, RTAS, VST and AU formats, in 32 and 64 bits

where applies.

Check It Out NOW


Feb 8th

Botfly Promotions

By Botfly Promotions

1000 fackbook likes

1000 youtube views

1000 soundcloud playes

Spread to Millions of Facebook Fans

Tweet to Millions Followers

Get Millions Of Visitors To Your Website!

Get on Radio shows Like Mind Coup and many others!




Feb 8th

The Ultimate Social Media Plan

By Mind Coup

Given the power of social media, it is critically important for businesses to work through their strategies and develop processes to lead to scalability, efficiency, and successful social engagement. This eBook provides you all the necessary information to understand the full potential of social media, as well as how your business can harness its latent power so you can make smarter decisions on how your organization can effectively incorporate it into your company’s marketing and communications mix. If you want to drive your business forward, you need to make sure it stays social, current and relevant in consumers’ consciousness. Discover how social media can become your most effective and influential marketing workhorse. This eBook will equip you will all the important information on how to get started and how you can use social media to your full advantage and rake its long-term rewards.


We Will Email Your Order
Feb 5th

Meta Hoepfner-Homme: Violin in the Kootenays

By Meta

Meta Hoepfner-Homme: Enthusiastic, Fun and Intensive

Music Teacher

Biography/ Teaching Philosophy:

I am a music teacher having come from the Toronto area with a whole lifetime of musical experience. I was born to a musical family; my grandfather was Bob Homme, aka the Friendly Giant, who was a huge influence on me as a child and also continues to be as an adult, as we share the same passions; guiding children in the way of music, reading, and making the most use of the imagination in a gentle but firm way. He taught me to not talk down to children, but to communicate with them in a way they can understand, namely images, sound, and wordplay. There is no need to condescend, and very often they are eager to learn, and naturally curious. I have developed a teaching method these past 20 years on how to reach children and nurture their natural instincts to learn, with attention to making sure they don't feel discouraged, pressured, or negative towards their instrument. Any pressure is a friendly motivation, a friendly competition through being inspired by other children, or beautiful music they themselves would like to excel at.

My father was Bob Homme's son, Richard Homme, who was a session bassist, having played with many amazing musicians, including Heart, k.d. Lang, Oscar Peterson, Holly Cole, Loreena McKennit, was in Hagood Hardy's band, touring all over the world from Morocco to Spain to Bahamas to Mexico to Japan to Germany, among many others. When he was young, one of his bass teachers was Ron Carter, Miles Davis' bass player. He lived the life of a musician, so this is what I know. The way he influenced me as a musician is to have high, impeccable standards for myself and to not settle for sub-par performance. I aim to influence my students to do the same, and to realize this for themselves.

My other grandfather, Paul Hoepfner, was a gypsy jazz violinist from Germany. He influenced me with his passion and gusto and creative fire. He was my muse as I practiced violin, growing up.

All three of these family members (among many other amazing teachers, musical and otherwise) have helped shaped my philosophy:

1) Using gentle nurturing, warmth, intelligence, enthusiasm, and good communication as key to creating a good practicing and learning environment. Also, exposing students to a wide variety of musical styles and ideas is important, especially in this day and age where everything is spread so thin. Being aware of the origins of many styles of music is healthy to know about as a musician.

2) Guiding students to be self-motivated and rise to standards of greatness, solidity, quality, and excellence. Practicing good posture and technique is a large part of this.

3) Showing students how to express themselves and feel the music, how to use their own personal sense of creativity to their fullest.

I am a Suzuki trained violinist, and graduated from Royal Conservatory of Music grade 10 with Honours. I have played in many youth orchestras, adult orchestras, string trios/quartets/quintets, chamber groups (including SOCMI with David Zafer), and have also done solo performances with piano accompaniment. Graduating grade 10 is an equivalent to a University degree in music, and includes achieving grade 5 harmony, grade 5 history, and grade 6 piano.

I took a Suzuki teacher training course in Guelph, Ontario, and passed with 100%. I have taught privately, coached quartets/quintets, and taught group lessons at Suzuki camps in Ontario, as well. I am also strongly influenced by the Suzuki method. I have been teaching privately at various schools and from my home since 1996.

The following are my prime values as a teacher:

1) Musical Understanding/Tonalization: Children and adults alike should cultivate their ears before sight reading, (be able to sound out a song, or at least whether a note is higher or lower), but I do like to introduce sight reading quite early nonetheless, as a companion to ear training. I feel they should meld together, seeing the music on the page, they should be able to hear/equate it in their heads. Also, intonation is crucial in violin. It is very easy to make a note sound terrible, and a person can't be lazy with this. Tonalizations are exercises students do before each practice, ensuring that the notes are in tune, and being paid attention to carefully.

2) Ear Training is crucial: There are many fun games I play with kids to help them cultivate their ear and listening/observation skills. It is also a neat tool for kids who have trouble focusing. Some of my tests involve playing songs with your eyes closed, playing songs in new keys, copying what I play without looking, and even writing stories along with songs determined by the way the songs progress. I make sure that every song is memorized before they can proceed to the next one.

3) Imagery: Images, shapes, colours, metaphors are really helpful when communicating through music.

4) Repetition: Stressing repetition through practice and making it an enjoyable habit. Monitoring progress.

5) Recitals: It is always inspiring for kids to see other kids perform music. The beginners ahve a chance to see what is in store for them, and also a sense of friendly competition is created. Children have a chance to meet others who also play, and maybe even start other duets or quartets with them. It is nice meeting like-minded individuals, and to feel they are actually performing, and communicating everything they have learned. A chance to feel special, recognized, and accomplished.

Classes available: Private violin lessons, small group lessons (Suzuki, string quartets), children's choir (looking for new members), guitar lessons, theory lessons, beginner piano lessons, bass guitar lessons

Where I am and how to get here:

Crescent Valley, off Pass Creek rd. Email me for details:


Private Violin Lessons: I charge $20/ half hour or $25/ 45 minutes

Group Lessons/Choir: Email me for details

Piano, guitar, bass, theory: Email me for details

Feb 4th

Modern Strat for the Gibson player By 'The Enchanter'

By The Fludes

When you finally pick up your guitar & realise ‘That’s it!’ you’ve found the perfect set-up, it’s like a dark cloud has been lifted from your soul. Not being able to express yourself properly through your instrument is to me, one of the most miserable things for a musician. That’s why I’d like to share some of my secrets with you. There’s lot of ‘haziness’ in guides I’ve studied with quotes such as ‘Use your own judgment’ & ‘between 10 & 15.’ That’s no good to me! Even guitar techs have wrecked one or two of my instruments. For once I’m going to stick my neck out on the line & tell you what has REALLY worked for me.


All of the following measurements & advice are based on a 1998 USA Standard Fender Stratocaster called Methuselah. Don’t worry about changing the pickups or the saddles or the machine heads, (Unless faulty) just concentrate on what you have & you will WIN!

If you’ve already found your perfect set-up, Fantastic! I’m very happy for you. This group is more for guitarists who have that niggle in their head every time they play ‘It’s just not quite right!’

Gibson to Fender.....Why change?

Why do those some of those famous 60’s Gibson players such as Clapton end up playing Strats?? For me, when you begin playing, that thick humbucker sound feeds the youth in you, especially if you’re playing in your first rock 3 piece. Further down the line, you might start playing funk in a big band with brass & notice ‘Hey, this thick sound isn’t cutting through’ or when you’ve bought the Marshalls & the Fuzz / Flange / Wah pedals & you’ve done the guitar hero thing, your soul craves something more, a cleaner sound with more attack….the Fender steps in! 


This may seem like a basic concept, but adopting a good re-stringing technique can really save allot of Hassle! Follow these steps & your tuning problems should be solved. There are 2 situations:
1. You’re performing a basic re-string, In this case, take off & replace 1 string at a time keeping the tension on the neck. (This will allow you to play comfortably allot sooner, especially before a gig!)
2. You’re re-stringing an unstrung guitar after a big clean or set-up. Keep an eye on the bridge & make sure it doesn't move! Carefully replace the strings in the order suggested in the STRING MAP. (See ‘The Trem')
Both techniques have the same theory but performed in a slightly different way. The idea is to equally bring up the tension in the neck as you tune.


1. Take the whole tuning down half roughly half a step.

2. Use a string winder & down-tune the low E until it can be unravelled from the tuning pole.
Don’t pull the curly end through the string hole at the bridge!This will move the saddle & mess up the action. Instead, take a pair of wire cutters & cut the string just in front of the saddle, now push the snipped end through. SIDE NOTE: Curl the old string around itself & place to one side. Standing on an up turned string on the floor will draw blood! (OW!)

3. Turn the machine head until the eyelet in the tuning pole facestowards the body. Check the string groove in the nut for any dirt/skin & remove with a tooth-pick. (Erh!)
Q. Should you put graphite in the nut slot to stop slipping? Well, for me, it was just filling the nut slot with more crap & raising the action at the nut! I feel keeping everything nice & clean & using good re-stringing techniques is the best way to keep your guitar working tip-top. 

4. Take the new low E & insert it in the correct hole in the block, very gently poke the string end through the hole at the saddle end & thread it through. Keep the saddle from moving as much as possible.

Now we are going to lock the string in place with a rhyme! Pull the string tight through theblock, then pull it tight at the head stock end, wrap the string around the string pole anti-clockwise saying in your head:
‘1, 2 & through’ keeping the first winding at the bottom. Now, as you go ‘through,’ you’re going to squeeze windings down going in from the front & underneath the last winding on the way out. Now pull the string tight through the hole.

6. With the string winder, wind the string back up to concert pitch, (E in this case)
Fine tune with a chromatic tuner always tuning up to the correct pitch. 

Repeat these steps for ALL the strings in this specific order making sure the strings gounderneath the 

string-trees where applicable:


See the plan? Now tune the whole guitar back up to concert pitch.

8. Now the fun bit, we’re going to stretch in the strings!
Take each string in turn by the 12th fret following the ‘string map‘& pull it outwards from the guitar. 

This is essential to keep the guitar staying in tune! 

Don’t go mad! just a nice stretch. 
Now bend the strings up a TONE on the 14th fret, UP for E, B & G,DOWN FOR D, A & E. Now tune the guitar back to concert pitch.

9. Last bit, you’re nearly there! 
Bend the excess string poking out of each eyelet at the head-stockDOWN pressing right where the excess string emerges. Now leave about 5mm from the eyelet & cut off the excess string with a pair of wire cutters. This leaves the string ends facing away from your delicate fingers. How much does it hurt when you stab yourself?! (&%%&*%*!!!) Retune the guitar.

That’s it, you’re done!

My holes don’t match my holes!!!

So, you would have noticed at this point that you’re back-plate holes don’t match your stings holes? 
That’s o.k, move the scratch plate!
If you’re gigging lots then you won’t want to be removing your back-plate every time you want to re-string, especially if you've bust a string! (Not good on a gig!)

If you’re using my ‘trem’ technique, then you just need to move your back-plate further towards the neck, position it over the string inserts, mark & drill 2 little holes & you’re done.’ Yes, you’re drilling holes in your baby, but you won’t see them behind the back-plate & they can be filled later. This will save you much un-needed fiddling about in the long run!

At this point I might as well mention the only after market mods on Methuselah: The WD Scratch-plate, back-plate & knobs. 

Yes it looks cool, but surprisingly, the back-plate has a better tone than the stock Fender!

They've got some great colours & all sorts of bits, check them out & don't forget to tell them who sent you!:



A very good string option: ROTOSOUND

For the longest time, I've been struggling to find the right strings for The Enchanter. 

The strings I'd used for 15 years we're beginning to feel cumbersome & erratic with overspills of unwanted tones with the new sound of 'the Fludes.'   

Then I found 'Rotosound' & for the first time in a long time, I felt like I 15 again excitedly discovering new chops on my first electric. 

Rather than fighting & manipulating the strings, the Rotosounds you simply place your fingers where your want them & the strings will follow! It's like they're full of helium, very light & part of your movements. 

They are the most balanced sounding strings I've ever played & a dream to bend.

Try a pack with the set-up in this group & see if it doesn't bring your Stratocaster to life!


Say hi & tell them who sent you, they're great guys!

The Trem

I’ve always loved the sounds of a Fender Stratocaster, but always found a modern 22 fret Strat with 10’s a real pig to play. ‘Put on 9’s!’ I hear exclaim, 

But 9’s are a vey different beast, thinner thickness, thinner tone & different bend placement! My SG plays fine with 10’s, so what’s going on?

Wether Leo Fender knew it or not, what he had created was much bigger than the some of it’s parts. The tremolo, springs & the chamber in the back had done something amazing to the sound. But what?

Being a Gibson player from an early age, I’m used to bending the strings a ‘tone’ & the bass strings staying In tune. On a Strat as we know, this is not the case. Many players such as Hendrix use this as an effect, but for the Gibson player this is STRANGE! Especially if you play a lot of pedal notes & bends. ‘Block off the trem!’ I hear you say……sadly this will REALLY kill the sound of your Strat & make it a swine to bend! So what’s the answer?

Your Stratocaster is in fact a ‘SEMI HOLLOW’ guitar similar to a 335. Now we know this, we can attack this monster in a different way. 

The sound on a Strat comes not from the body, but from the neck & springs! therefore these parts need to resonate. (So, locking trems are out, sorry!)

Why is it hard to bend a Strat when it’s blocked off? Take a Les-paul or SG & play a low ‘E,’ now at the same time take the headstock & gently rock it forward & backwards….notice how the tone goes up & down? Now do the same with your fender…..does it do the same?.....not even close….it’s the bolt on neck! Therefore, the flex on a Strat has to come from the trem unit. So Gibson lovers, we’re going to compromise!


1. Find a nice clean padded work surface & Remove the strings. 

2. Remove the back-plate (Keep the screws safe!)

Unscrew the claw screws until the springs become loose in their holdings. Remove all the springs CAREFULLY, watch your eyes & fingers just in case.

3. Hold the bridge in place & lie the guitar on its back (It will fall out!), we’re going to flatten the bridge & make it flush to the body.

4. Notice the bridge comes away from the 2 pins? Don’t panic, this is normal. Slide the bridge back away from the pins then unscrew the pins, keeping them safe.

5. Clean all gunk & grime away from the newly exposed areas, spray a little bit of WD40 in the 2 pinholes.

6. Now carefully replace the 2 pins making sure not to cross-thread them as you start to screw. Now this bit’s important, screw the 2 pins down until the bridge slides flush back into place. If the bridge doesn’t easily slot into place or lifts as It slides, adjust the pins up or down accordingly.

The bridge must remain flat to the body during this adjustment, that’s the key!

7. Make a mental note what position the 2 slots are in your bridge pins, that could really help you if they move in this next part.

Once again, hold the bridge in place & turn the guitar on it’s front. 

Stretch on & replace 3 springs, one in the middle & 2 on the outsides. (Standard set-up) CARFULLY, watch your eyes & fingers.

You should have 3 springs in place because 5 reduces the amount air space in your sound chamber & makes the playability STIFF


Carefully tighten the claw screws right to the back hard. Make sure the bridge stays flush & in place while you do this, adjust the pins back to their new adjusted position if they move! (This will take many turns!)

Now back off each screw until you can just see a small part of the 

screw thread between the body & the trem claw. 

You have now allowed the flex your guitar needs, he resonation your springs need & solidness your bridge requires!

9. Now restring your guitar. (See re-stringing)


We’re now going to use what I call ‘The Flude back-plate resonation adjustment.’ (Sorry about the title!) 

Q. Should you have a back-plate on or off on a Fender Stratocaster?...

Well, Methuselah is somewhere in between. The back-plate & material have a massive impact on the guitar’s sound. (Weird huh?) Using this semi hollow guitar theory, the back-plate seems to react with the sound chamber in a profound way. The following adjustment requires just 2 screws.

With the guitar face down & the neck on your left, put the back-plate in place. Now replace the BOTTOM LEFT & TOP RIGHT screws. (After much experimentation, this sounds the best & most balanced)

Screw them down until you start to feel resistance, (Not so hard as to crack the plate) Nowunscrew each screw 1 turn. 

You have just created the foundations of a great guitar!


I believe in my humble opinion, on any guitar with tremolo unit, after excessive & heavy use of the trem the guitar ‘looses it.’ What I mean by that is the strings become ‘stagnant,’ have a horrible tension & the sound becomes ‘unbalanced.’ 

When you’re setting up a guitar & made adjustments, you should always leave the instrument for a day before playing to let it ‘settle in.’ So what happens to a Stratocaster when you dive bomb it?? I have encountered this first hand & after carefully examining many gigs, the guitarists who perform these feats soon after seems to struggle when bending & change the way they play consciously or unconsciously. 

As we are using the tremolo as a ‘flex,’ this factor may come into play when you stretch the strings past their limits. If you bend the bend the G, B or E string up a TONE, this will never become a problem. However, If you’re the guitarist who likes to bend wildly past this point, you will notice a change in the playability. Luckily, with this set-up, the effect after 1 or 2double bends on the G & B strings never lasts for more than 5 minutes. 

However, if you start bending around erratically especially on the high E for an extended period of time, you will notice a big difference. Don’t worry, go off the hook! Just perform these tricks at the end of a set or show then leave the guitar to settle in (preferably over night) & your axe will be right back to normal. Play tastefully, choose your bends & you’ll keep going all night.

It's time to step up & set-up!

This is the most important & intricate part of the path to your perfect guitar. I've spent many hours trying to work this out using 'feel' achieving an average set-up at best. It's too easy to get sucked into fiddling with the 'action' & 'playability' of your guitar when really shouldn't you be playing? It's time to 'stop guessing' & attack this from an engineer’s point of view!

The measurements have already been worked out by Fender so we might as well use them,after all, they've had far more year's working with the Stratocaster than most of us...they invented it!

Take your time &perform this method step by step. If it starts to 'do your head in!'walk away & have a break. You will get there! There is no rush with this, take days if you can, be one with the guitar.


Some important,useful little tools you will need, all you can find inexpensively on'Amazon.':


Small 'metal ruler'with '1/64"increments


'Car feeler gauge'


Set of 'under-string radius gauges'




The correct truss rod & saddle Allen keys (That should come with your guitar, but usually don't grrrrh!)





1. When you're performing a new set-up, ALWAYS use NEW strings. The old ones are already stretched. 

Re-string the guitar. (See 'Re-stringing) Leave the guitar to settle for at least an hour.


2. It's truss-rod time!

This is probably the scariest adjustment you'll have to make because it feels like your going to break the guitar, actually, you can! But not if your gentle.Never force a truss rod, it will snap. When you feel too much resistance, STOP, it's as good as it's going to get!

TIP!: Spray a little WD40 into the truss-rod hole, let it sink in, repeat this a few times, then leave the guitar on a stand for an hour. This is a good fail safe just in case it is a bit stiff!

Let's go go it!

Holding in playing position, tune the guitar to concert pitch,

Place a capo at the first fret,

Take out the .010in blade of the 'feeler gauge,'

With your right hand, press down the 17th fret,

Coming in vertically with your left hand, insert the blade between the7th fret & the low 'E'string,

Q. Is there a gap? If YES, then remove the capo, insert the Allen key into the slot by the head-stock & turn it a quarter turnCLOCKWISE. Re-tune the guitar.

Q. Is the string lifting when inserting the blade? If YES then remove the capo, insert the Allen key into the slot by the head-stock & turn it a quarter turn ANTI- CLOCKWISE. Re-tune the guitar.


REPEAT this process from 'Lets go for it!' never turning more thanA QUARTER TURN in either direction until there is NO GAPbetween the BLADE & the STRING but NOT LIFTINGthe string.

Now walk away! Your guitar has just been through some stress & needs to settle overnight. It really is a living breathing thing! Come back fresh the next day & perform 'Let's go for it!' once again. This may take 2 days or so, but you must be patient! DO NOT attempt to play the guitar in the mean time, you will strain your fingers! (I have done this excessively & it takes a long time to recover!)


3. The big bridge adjustment!

The key with the bridge set-up is that you're copying the radius of your neck.Therefore, the bridge should mirror the radius of the neck just like an acoustic saddle!

Now, I always thought that having individual string adjustment saddles was stupid &just asking for trouble! With a Gibson, there are just 2 adjustment poles, the correct radius is already aped out on the bridge, you adjust them with your fingers & your done. But in fact, Fender's system produces A far more accurate set-up because your adjusting to the thickens of the strings.So......


Attack the bridge!

Let's take a look at my Strat 'Methuselah' on the front page. The saddles should look something like this when you've finished.

Your modern Fender Strat has a '9.5in' radius neck. Fender's recommended string hightfor this neck is luckily 

'4 / 64ths' at the 17th fret on the low & high 'E' strings. So that's just 1 measurement to find!

With the feeler gauge, you have to 'make up' 4 / 64ths with several different blades.To give you an idea, on my particular feeler gauge, I use the blades from '.035in' & '.007in.' Keep adding & taking away blades measuring the thickness on your ruler until you're happy. Once you've found the perfect blades, write them down! You'll quickly be able to find the measurement again later.

That's that out the way! Lets start measuring the string hight.


String hight adjustment.

Hold the guitar in playing position, check the string holes in thebridge line up with saddles(move is necessary) & tune the guitar,

Coming vertically with your feeler gauge, (& it's 4 / 64ths setting) slide the blades in between the 17th fret & the low 'E' string.

Q. Is there a gap between the blade & the string? If YES, take yourAllen key &insert it into one of the grub screws in the 'E' saddle & turn it ANTI-CLOCKWISE quarter turn to lower it. Re-tune the guitar.

Q. Is the blade lifting the string? If YES, take your Allen key & insert it in to one of the grub screws in the 'E' saddle & turn itCLOCKWISE a quarter turn to raise it. Re-tune the guitar


Now, turn the guitar over (with the neck in your right hand) & repeat the 'string hight adjustment' process with the 'HIGH 'E' string. Try & keep the saddles as flat as possible! (This is only the foundations of the method, so you don't have to be really accurate at this stage.)



Put the guitar on it's back & grab your '9.5in' under string radius gauge.

Place the gauge ON TOP of the saddles just behind the grub screws & take a look. The outer saddles should follow the contours of the gauge to create a curve. (If the inner saddles are too high,lower them (for now) 

so that the outer saddles are touching the radius gauge.) (Phew!)

Now, repeat the'String hight adjustment' until the hight is correct & radius gauge sits flush on top of the 2 outer saddles.

Long process huh?But like I said, be patient, it's not going anywhere, take a walk &avoid trying to play it at this point at all costs!


Take the radius gauge and place it ON TOP of the saddles just like before. Your now going to adjust the inner saddles (A, D, G & B) so follow the curve of the gauge exactly. Re-tune the guitar.

Now you're going to place the 'under-string radius gauge' UNDERthe strings with the handle exiting between he 'B' & the 'G' string. Can you see the idea?

The 2 outer strings are going to be your 'guides' while the radius gauge will set-up the perfect curve with the inner strings. (Cool huh?)

DON'T PULL UPWARDS HARD!, this will make the measurement inaccurate.

Lower each inner saddle down evenly starting with the 'D' & 'G'strings, moving outwards to the 'A' & 'B' strings so that there's is the tiniest of gaps between the 'string' & the 'radius gauge.'

Make sure you tune each string as you go!

THIS IS NOT THE FINAL PART! Just the foundations for the final master adjustment.



This is the adjustment of the 'string length' to keep the guitar in tune when you play thehigher frets.

Most manuals with tell you to perform this adjustment AFTER you've set up the guitar.....THIS IS A MISTAKE! With this set-up, when you flatten the bridge, it becomes slightly angled backwards

Let's take a football analogy.....

When your in goal,the trainer will tell you to come out from under the posts, why? Because the closer you get to attackers, the 'Bigger' you become. It's exactly the same in this situation! You've got your lovely set-up...then you perform the 12th fret internation test &realise it's out. You move the saddle closer to the neck & low &behold, your actions just got bigger!

I've heard many stories of Stratocasters with internation problems, I believe this could be one of the causes. So that's why we're performing the adjustment at this point & not at the end.




Hold the guitar in playing position & tune it to concert pitch with your'Chromatic' tuner,

Start with the high'E' & press it down on the 12th fret. Once again, check the tuning.

If the note is too SHARP, turn the screw of the corresponding saddle at the back of the bridge CLOCKWISE a full turn. If the note is FLAT, turn the screw ANTI-CLOCKWISE a full turn.

Remember to tune &check after each adjustment!

Repeat this with all the strings, perform one last tune........


It's time to let the guitar have a rest once again. Put your Strat safe on a stand let its ettle over night.

DO NOT TRY &PLAY! (That's it...put it down, no matter how tempted you are! You'll thank me later.)



5. Almost there!

RECOMENDED: Even though you've woke up the next day & your guitar is almost ready to rock, I would really recommend going back through parts '1' to '4'just to make sure you're happy with what you've done so far.Alternatively.......

It's time to make the final adjustment!

Take your'under-string radius gauge' & place it UNDER the strings just as before,

'Pluck' the low 'E'& high 'E' with the gauge in place. If it plucksdeadened, you're all set.

If either string'Buzzes,' then one of your strings has dropped. Check to see which gapbetween the 'string' & 'gauge' has closed & that's your culprit! Raise that string until the 'buzzing' stops & you can move on. Tune as you go!


Close the gaps between the 'radius gauge' & the 'inner strings' (A, D, G &B) until the gauge is just 'guiding' the stings over the top. Re-tune once again.


After all that, you have just created the perfect set-up! I STRONGLY recommend that you once again leave the guitar over night to settle before enjoying! But I promise, the next morning, after a quick tune, you're fingers will run over the fretboard like nectar.


Here's another very hazy area of advice, I believe there is only 1 correct pickup hight solution.

STOP GUESSING! Again, Fender have specific recommendations for their standard USA Strat single coils, they just need a small 'tweak' specificity for your guitar to make it ring through as clear as a whistle!



1. Hold the guitar in playing position, but with the neck on yourRIGHT. Start with the high 'E'string & press it down at the last fret,


Measure 2mm between the NECK pickup pole piece & the string. Adjust accordingly,


Repeat this with the BRIDGE pickup,


Now, lay your ruler across from the BRIDGE pickup to the NECKpickup on its edge just in front of the pole pieces. Bring the MIDDLEpickup UP or DOWN to make all 3 pickups touch the ruler equally

That's the treble side done!


2. Hold the guitar in standard playing position & REPEAT method'1' on the low 'E' side but with the measurement of 2.4mm


The key here is to treat each pickup as a different guitar. You're only going to concentrate on the low 'E' side because that's the side that gets the most effected by different stringtypes & thickness's.

The easiest thing to do is play some open chords (E & D are good!) on each pickup setting & listen to the 'high' strings. You want toback off the low side of the pickup until the higher strings (E, B & G) 

'ring through' & become less muddy. A great riff to test this is 'Foxy Lady' by Jimi Hendrix.


Have fun, stick to this method & you won't go wrong!


When is it time to go to a guitar tech?

Sometimes, you will have to send your baby into a master luthier for intensive surgery, but when?

Here's a few ideas for you to ponder over.......


Go to someone with great reviews & history, but also ask nicely if you can try one of their guitars that they've 

set-up. Every guitar tech has a different idea of what a set-up should be, so examine their work before you hand your axe. (& your cash!) Look out for widdlers who love to set-up their guitars far too low & kill your guitar or just plain sloppy work!


Nut adjustment

Some advice tells you that 'even a novice can perform this!' 

Q. Do you really want to take hack-saw & chisel to your $1500 Fender? Generally, a good luthier will be able to do this allot better & he's got all the right tools. It's really worth it! However, you can check if your nut needs adjusting.




Hold your guitar in playing position,

Take your 'feeler gauge' (See 'It's time to step up & set up!) & get out the .004in blade,

Press down the 3rd fret starting on your low 'E' string,
now come in vertically & insert the blade between the 1st fret & the string.
Q. Is there a big gap? If there is, you might have to take it to the doctors. (Sorry) If there's a very small gap, 
I really wouldn't stress about it!
Q. Does it lift the string or does the string buzz when played open? If it does, you may have to replace the nut! Time for surgery.
Repeat this with all the strings to decide your Stratocasters fate! (Bwaaaa ha ha ha!)

A major wiring problem
If your guitar's not working at all or there's a massive earth 'hum,' take it to a pro. You could blow yourself up if you tinker & don't know what you're doing! 

Full re-fret or stoning
Again, do you really want to take a chisel & pliers to your prize Strat? Leave it to a pro.

2 things you don't need a tech for:

Loose screws: Just stick a 'match-stick' in the loose screw hole with a small dab of 'super-glue' & snap it off. 
Hey presto! One tight screw fitting!

Sharp frets: Go to your hardware store & ask for their 'finest' light wire wool they have. Now very, very  gently rub up & down the afflicted side of the neck until the sharp 'burs' disappear.

I really hoped this helped & bought you closer to the enchanted guitar 'Methuselah.' 

The Enchanter 

24th Dec 2014

Feb 3rd

Talent Agents & Talented Lazy Artists

By BrennanDylan
An important thing I've learned about Talent Agents is they universally despise the talented lazy artist because they do not want to partner with a lazy dog regardless of talent. In other words, agents do not want to push on a string. Let me rephrase that, talent agents will not push on a string and only partner with artists who have a good work ethic. Talent only gets an artist so far. Its BUZZ that gets artists to the top and BUZZ comes with good strategic planning & effort ie Mush you salty artist dogs.........MUSH!!! That said, there are absolutely no guarantees but I'm going for it anyway. I've been eating canned crow and calling it fresh sockeye salmon for so long now that even the slightest positive pumps me up.

Remember, just last week I said there would be no more voting. Well, I was wrong. In a naive stupor, I concluded that we would win
Artist of The Month because we had more votes than any band or artist all month. Sounded logical to me but I slipped on a banana peel into a voting booth this morning and I'd really appreciate it if you would take a minute and vote for Men Without Armies to become Artist of The Month.

Its easy..........just click on this link:
Next, scroll down to the Green Patch and please vote for Men Without Armies. It was Your Support that really helped kick start 2015 for us and we would be very grateful for your help in keeping the momentum rolling. Thank you.............Keep Rockin'!!!

Brennan Dylan
Feb 2/15
Feb 2nd

The Harvest Release Amazing Album:

By Meta
album cover.jpg

Celebrating today the release of Montreal band The Harvest's album "Lifetime Warranty". I am pleased to have been able to ask them a few questions for Mind Coup Radio Magazine. We are all celebrating on the radio this evening, 3 pm PST, with Dylman and Trevor hosting and playing the tracks from this album.

M-Who are you guys, and who plays what?

H- Hi ! We are The Harvest a band based in Montreal, members are Mike on vocals and guitars, Eric M on Drums, Eric T on Bass

M-You are rehearsing for festival shows? Where do you plan to tour?

H- Yes we are rehearsing for summer shows we plan to start playing in Montreal and surrounding area for now and slowly extend.

M-your songs are very classic and awesome, well played. Sounds like a talented bunch of guys. How would you describe your musical sound/style, and who are your prime influences?

H- Well our style is pretty much a mix of all kinds of music we can say it’s refine Rock, sometime folk, Grunge, metal, pop country flavour. We just try to make good songs you can sing along with, influences are quite large.

M- Will you ever do a tour across Canada, to BC?

H- Absolutely we hope so, this is Mike. Preferred destination is Canada, BC, Alberta and surrounding area including south.

M- Who writes the songs ? Is there a theme to the song subjects?

H- Mike brings the first inspiration "the seed". No specific theme, everyday life emotions positive or negative.

M- How do you guys write songs? (what is the process, or is it secret?)

H- No secret, just hard work!

M- Love it. I love that people are still working hard these days, cultivating songs. Sometimes it seems as if the Internet has distracted people so much and made them lazier. Are you going to record any new albums soon?

H- Well we are working on new material right now, we already started to record some pre-prod tracks.

M- What's up for you guys in the next couple years?

H- Playing shows getting as much exposure as we can hopefully a Canadian tour, and write new material to produce another album ASAP.

M- If you could tour with any band in the world, who would you pick?

H- Any great Rock band would be nice.

M- And where would you go? H- Across Canada and United States for sure.

M- What is the meaning behind the band name?

H- The meaning of The Harvest, is a gathering of friends to live and create music as a unit, a "MACHINE", the Harvester (see the pic attached).

M- What a cool concept! Love it. Mind Coup is all about that too. Thank you very Much to you And Mind Coup Radio The Harvest

 The Harvest

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                       Mind Coup Magazine Staff

           Trevor Publisher / Manager          Meta Editor / Autnor / Host

           Dylman   Author / Host                  S&itHouse Poet Author / Host

           normandy Author                          Eden  Amazon Album Review

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