Thursday, December 24, 2009

The True Story about Edwards Guitars (Apparently)

Found an interesting post on the true nature of Edwards Guitars from ESP Japan. An MLP member named gibiphone posted this information on the http://www.mylespaul.com/ forum. The main thread can be viewed here: http://www.mylespaul.com/forums/other-les-pauls/43888-edwards-guitars-whole-story-more.html

--The first runs of Edwards guitars were entirely made in Japan

--Nowadays the initial phase of the manufacture of an Edwards guitar (woodworking through painting) is done in an ESP factory just inside the Chinese border in the Northeast province of Heilongjiang.

-- I believe that the Edwards LP series is made from genuine mahogany (Swietenia macrophylla) grown in plantations in Indonesia. That’s why the guitars are so light and lively. The wood is neither Sapele (entandrophragma cylindricum) or African Mahogany (khaya anthotheca).

--ESP employees from Japan oversee and QC the production
line.

--The finish and electronics, hardware and plastics, as well as
the setup are done in Japan, now at the new ESP factory near Tokyo

-- This is not new. It has been like this for a few years, though exactly how many I could not pin down.

ESP established a joint venture in Northeast China in early 1992, named the Heilongjiang ESP Electronic Audio Co., Ltd. (黑龙江ESP电子音响有限公司 Heilongjiang E.S.P Electronic Hi-Fi Co Ltd. Jiguan District, Jixi City, Heilongjiang, China 158100. Processing Electric Guitar. Phone: 86-453-2358268). ESP ENTERTAINMENT GROUP

ESP made this move at that time due to China’s opening of the Northeast Asia Economic Subregion--in short this was an agreement among China, Russia, Japan and Korea to ease restrictions and tariffs on the import and export of finished and particularly unfinished goods among one another. This cooperation among the countries was renewed and expanded
in 2003.

In the case of ESP, this provided the availability of cheap, trained, literate workers, and cheap factory workspace. Obviously, for China it meant jobs in a region that was shedding thousands of heavy industry and mining jobs. So the deal was done and ESP established a factory in Jixi, Heilongjiang to do the woodworking and painting of guitars.

Raw materials are ocean-shipped by ESP to Vladivostok, Russia where the materials are shipped by train about 200 km to the Suifenhe Sino-Russian Trade Zone. There they enter China at the Suifenhe port of entry and move an additional 120+ km to the ESP factory at Jixi. After the semi-finished guitars leave the factory, it is possible to reach Japan and the ROK directly by means of overland and marine transport from Suifenhe customs office via Vladivostok or Nakhodka, Russia.

According to the ESP representatives:
-- Mahogany, Alder and Ash are used in EDWARDS. (This of course refers to more than the LP series)

-- Neither Sapele nor African Mahogany are used in Edwards.

-- The Mahogany that is used in the E-LP series is native to Southeast Asia.

The ESP factory is located at No. 20, Xishan Rd., Jixi, Heilongjiang, China and employees about 100 people.

According to responses from ESP, the preliminary work on both Edwards and ESP guitars are done at this factory, from woodworking through painting. ESP claims that high degree of craftsmanship is maintained on the Edwards line because they are built totally within ESP facilities—in China, ESP has its own (high quality) factory, its own staff trained by ESP and production is done under the ESP monitoring. None of the work
is contracted to other factories.

“((ESP))木工〜塗装まではESP中国工場(黒龍江省)、組み込み〜セッティングは日本のESP新東 京工場にて行っております。”

“EDWARDSは木工〜塗装までを中国、組み込み〜セッティングを日本で行っています。”

The finish process and installation of all the electronics, plastics and hardware is still done in Japan at the ESP Japan Factory in Saitama, Tokyo. This new factory was opened in June 2008. (2008年6月: 埼玉に新東京工場を新設) This factory is in the greater Tokyo area, about 20-30 km north of central Tokyo. ESP also has factories in Sado and Kiso for export mainly, but these now do not work on the Edwards line

In ESP’s defense, the company has a tradition of choosing not to build giant facilities with CNC machines and undertrained staff. ESP traditionally has multiple work shops and custom shop facilities around Japan, enabling the company to spread the high volume of orders across multiple shops, without having to compromise their higher quality custom instruments. It looks as if the Jixi factory has been folded into this mix.

Now for the 64 dollar question—why did ESP choose to build the Edwards brand in Northeast China? Well, there’s the break on tariffs, the availability of cheap factory space and a skilled literate workforce, but wages have got to be the primary driver. Wages for Chinese factory workers are less than for Korean and much less than for Japanese, BUT wages for workers in China’s Northeast even lag behind those for workers in the factory cities along the coast (Shenzhen, Shanghai, Guangzhou, and even Qingdao). For a number of reasons, I believe that a wage equal to about $1 per hour would be a good fudge-figure to get a feel for what it costs ESP per Chinese employee of the Heilongjiang ESP Electronic Audio Co., Ltd.


This story was pretty much an eye opener for me about the Edwards Brand. Makes me want to go out and buy an Edwards now!

Wednesday, December 23, 2009

How to use the controls on a Les Paul effectively

Hi all,

Found this great post by Splattle101 on
http://www.mylespaul.com/ and I thought it should be shared. hope you find it as useful as I did.

First, your volume controls do not just control your loudness, but also your level of distortion (‘gain’ or ‘overdrive’). If your guitar has modern wiring, lowering the volume will also reduce the available treble, as if you’d turned the tone down too. If you have 1950s wiring this effect is far less prominent.

Secondly, your tone control not only cuts your treble, it also reduces the amount of ‘space’ your guitar seems to take up in the mix. Turning your tone down can effectively pull you ‘back’ into the mix.

Enough basics. Here’s some pointers.

EQ Your Amp for the Neck
Most of the time you’ve probably set up your amp for a good tone from the bridge. Try this instead and see what happens.

1. Turn all your volumes and tones up to 10.
2. Select the neck pick up.
3. Adjust your amp so you get a good soloing tone for that pickup.
4. Switch to bridge. This will be too bright. Ice-pick through ear territory.
5. Tame bridge with tone control, until you’ve got a good soloing tone.

You now have your ‘boost’ sounds. Now turn the bridge vol down (about 75-80%), until you’ve got a good crunching rhythm sound. If you have modern wiring you may need to turn up the tone a little at this stage. You could now play the rhythm on the bridge, and switch to the neck for the solo.

Solo on Bridge, cleans on Neck
Turn up your bridge tone and vol. That’s your solo sound (ice pick and all). Turn your neck vol down to about 50%. If your amp is any good, that should be nearly clean. If you’ve got 1950s wiring, it won’t be muddy either. You may now play the intro to Since I’ve Been Lovin’ You on the neck pick up. Switch to bridge for the signature lick. Back to neck, or turn down bridge to 50-60%. For a more sensible bridge pick up sound, just turn the tone down a fraction to clip some of the hairs off it.

If your amp is good, it should be sensitive enough to clean up when you turn down, and also to clean up if you back off with your right hand an pick gently. Use both these effects to control your tone.

Middle positions

Leave your bridge in its rhythm setting, then switch to middle. Now turn down the neck to nearly nothing, then slowly turn it back up (to about 50%). Somewhere across this range you’ll hear three fairly distinct tones. It’ll start out sounding like the bridge on its own. Next, it will fill out (i.e. get some extra bass), and it might do this quite suddenly. This is a really useful sound for soloing, because it basically sounds like the bridge pickup, but it’s fuller and meatier without being in any way muddy. As you keep turning up the neck vol it will start to sound more like both pick ups. This can be sort of nasal, but quite good.

Once you get both pick ups to the same vol (~ 75%) you’ve got the classic middle sound. Many people find this a bit muddy, but if you EQd the amp for your neck pick up, you should be OK.

If you set your neck so it’s basically clean (~ 50%), and then set the bridge to about 75%, that will give you the sounds-like-the-bridge-pickup-but-fuller tone. As I said before, that’s a good rhythm or lead sound.

From that basic position, if you want to get a boost, all you have to do is adjust ONE volume control up to 100%. Either will work. If the bridge, you get the biting sound, if the neck you get the fuller sound. When you’ve finished, simply turn that volume back to where it was.