Murata Guitar Support Review
Here’s some pros:
- You can adjust the height
- Very secure
- It is made from great materials
- A little difficult to find the right position
- The clamps can be too tight on the guitar and might even leave a mark on the finish
- There is not a lot of variety on where to place it.
(Description is from Strings by Mail)
The Murata GR-2B Guitar Rest is one of our favorite guitar supports at Strings By Mail. Here are some reasons why:
- It’s comfortable and feels natural. Your guitar moves with you, just as it does when using a foot stool — but without the lower back pain that a foot stool can cause.
- It gently clamps to your guitar with four adjustable rubber feet, providing great stability.
- There aren’t any suction cups, so you don’t have to worry about them detaching or marring your guitar’s finish.
With the 3-inch pole that’s included with the Murata GR-2B Guitar Rest (a.k.a. Aria Guitar Rest), you get 4.5 to 6 inches of leg lift. You can extend its range with replacement poles of 2 inches to 8 3/8 inches that are available separately in the Guitar Support Parts section of our website. With these poles, you can achieve a lift of 3 1/2 inches to 11 3/8 inches.
A hinge between the pole and the base allows you to rake your guitar the same as a guitar that sits directly on your leg. The support has a fixed angle, but you can adjust the angle by moving the base on your leg for an approximate range of 40-50 degrees.
Here are some more key features of the Murata GR-2B:
- The molded base that rests on your leg has a fabric lining to prevent slipping.
- The support collapses, making it small enough to fit in most guitar cases.
- Unlike most other guitar supports, this product works equally well for left- and right-handed guitarists.
The minimum width of the clamp when tightened is 3 1/8 inches, and the maximum width is 4 1/4 inches. This support will not fit correctly on guitars with tapered bodies because the support clamps are square.
Hi, I’m Allen Mathews.
I started as a folk guitarist, then fell in love with classical guitar in my 20’s. Despite a lot of practice and schooling, I still couldn’t get my music to flow well. I struggled with excess tension. My music sounded forced. And my hands and body were often sore. I got frustrated, and couldn’t see the way forward. Then, over the next decade, I studied with two other stellar teachers – one focused on the technical movements, and one on the musical (he was a concert pianist). In time, I came to discover a new set of formulas and movements. These brought new life and vitality to my practice. Now I help guitarists find more comfort and flow in their music, so they play more beautifully.
Click here for a sample formula.
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