Like many others, Frenchman Patrice Vigier started with a guitar repair shop before establishing his own company in 1980 in order to introduce his first instruments from the Arpege series. The trapezoidal, neck-through body construction is reinforced by a metallic sublayer. One of the models has a metal fretless fretboard, electronic supply by accumulator and a locking string-through body bridge. The Excalibur series was born in 1991 and features a bolt-on neck and a Floyd Rose tremolo system. Available in different variations, it remains the brand's signature up to this day. Vigier instruments are entirely made in France following a quality-oriented philosophy. Among the artists playing Vigier guitars are Gary Moore and Bumblefoot.

What can you expect from a shop whose exterior is painted in Eddie Van Halen stripes? Everything! Their selection of pedals was astounding. One of the largest selections I've come across in any store. I left having bought about a dozen things. Dangerous place! They are obviously a big dealer in PRS guitars because they had a nice selection of the USA made guitars. The Guitar Store represents Seattle right with an awesome staff and a vast selection of great guitars. With an ongoing series of in-store events and appearances by notable musicians, there is always a reason to stop in. Last year the shop hosted a monthly "build your own pedal" workshop--how cool is that?
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Purists might question why we’ve lumped loopers in with delays but the simple fact is that both pedals repeat an element of what you’ve already played. Both are also great for helping you come up with new ideas that simply wouldn’t be possible otherwise. Basically, loopers take similar technology and allow you to record entire passages of play, then ‘loop’ them back (i.e. repeat them) whilst you play something new over the top. Lay down a basic chord progression, then solo of the top of it. You don’t even need to bother with pesky drummers or singers! We’re joking, obviously. As a tool for practice, they’re unparalleled, but in creative terms they’ve opened the doors to entire new genres of music. Ed Sheeran, KT Tunstall and plenty of other solo singer-songwriters have employed loopers in their acts to great effect.
Flanger: A flanger creates a "whooshing" "jet plane" or "spaceship" sound, simulating a studio effect that was first produced by recording a track on two synchronized tapes and periodically slowing one tape by pressing the edge of its reel (the "flange"). When the two tapes' audio signals are later mixed, a comb filter effect can be heard. Flanger units add a variably delayed version of the audio signal to the original or signal, creating a comb filter or Doppler effect.[73][74] Some famous uses of flanger effects include "Walking on the Moon" by The Police, the intro to "Ain't Talkin' 'Bout Love" by Van Halen, and "Barracuda" by Heart.[75][76]
These two articles show us how me can manipulate coil winding direction, electrical phase, and magnetic polarity to achieve hum-cancellation between two coils. Having this knowledge allows us to create hum-cancelling combinations of coils over and above than just using humbuckers. A good example is using a RWRP pickup in the middle position of a Strat.

Confusion sometimes revolves around the distinctions between overdrives, distortions and fuzzes, but in theory each should do approximately what it says on the box—even if some also do a little of the other breeds’ jobs along the way. In the case of overdrive pedals, the intention is often twofold: either to provide a gain boost to “overdrive” a tube amp into distortion, or to approximate the mildly distorted sound of a slightly overdriven tube amp. In practice, most do a little of both. Crank the average overdrive toward the max and it usually coughs up an element of self-generated distortion, which can easily be heard when DI’d into a mixing desk set to well below overload levels; generate enough distortion, and things can also sound a little fuzzy. Despite the gray areas, however, there are definitely distinctions between the types. It all makes some sense if you think in terms of the degree of clipping achieved by the pedal, with overdrives generally being soft-clipping devices and distortions being hard-clipping devices.

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How come a gibson les paul, an sg and es335 sound so different that people can tell them appart while blindfolded? If wood has nothing to do with it these guitars with the same pickups in them should sound exactly the same, yet these guitars have their own characteristics. I understand that the string in the magnettic field inducts an electric impulse thats the signal, but its the in way the string vibrates that the signal changes, like if you pkug soft or hard the signal is different, wouldn't it then be logical that the vibrating of the guitar body has an influence on the movement of the string?
While vintage guitars tend to hold a reputation as the best ever made, there are more high-end boutique makers turning out truly magnificent instruments than ever before. Following the wake of trail-blazers like Paul Reed Smith, the current class of boutique guitar makers includes the likes of Knaggs, Kauer, Swope, Fano, Huber, Koll and many many more. Keep an eye on this page for the latest and greatest luthier-made new and used electric guitars to hit the pages of Reverb.
Deco Tape Saturation & Doubletracker is a unique effects pedal that allows for a wide variety of tonal possibilities.  You can place Deco near the beginning of your signal chain and use the Tape Saturation as a light overdrive.  Or, you can place Deco at the end of your chain, use lower Tape Saturation settings, and provide your entire signal with the tape-like warmth, compression, and added low end harmonics.
7) Yamaha quality can't be beat. I just returned from my friend's house and noticed his $1,000 Martin box splitting because of the dry Las Vegas climate. And, no I'm not a believer in guitar humidifiers because I believe a guitar should be made for the real world and not so delicate that it needs a humidifier. My friend and fellow old-time musician who has been working at Guitar Center here in Vegas for many years has seen them all come back over time because of splitting or warping except one brand that is... You guessed it, Yamaha! The reason you find them back ordered from time to time is because Yamaha actually gives their wood time to cure properly unlike other manufacturers who tend to rush their products out the door. And, this guitar is for my kid and for travel which means it needs to be exceptionally tough and well-made:)
Another Quality Ibanez Guitar ....This example is MODEL VINTAGE # V302 BS...And it IS A REAL GEM and it has a Premium German Sitka SOLID Spruce Top, WoW! what a nice original finish this one has...AAA Mahogany Sides-Neck & Back "see quality og the grain in the pics" . Lots of Full-and Wonderful rich tone from this baby. Its real ez to play & stays in tune well. It is a crafted in Japan guitar and it compairs favorably to Gibson, Guild or Martin! Please Note: If you prefer the guitar in Natural and not sunburst see our other listing for another V302 non sunburst we have in stock & available.. thank you for your interest, Joe .
Get a quality amp and make sure you set your guitar up right (Jon Walsh has a great tutorial online─be sure you stretch the strings starting at the smallest, or you'll end up getting over confident and break a string.). Make sure your pickups are quality, and you're good to go. And you can even get a good modelling amp if you want to create tons of tones without forking over tons of cash for effects pedals. (I recommend Fender Mustang v.2 series; it's been tested against other modelling amps and has the best overall rating. Fender Fuse software is awesome compared to everything else I've seen. Check them out.) If you have any questions, let me know. I spent months researching before I bought my guitar and amp, and I couldn't have made a better choice imo. However, if I had just a little more money, I would have upgraded from a Mustang II to a Mustang III.
Why We Liked It - The Martin DRS2 will take some beating as one of the all-round best electric acoustics you can buy, simply because you’re getting the finish and tonal quality of a much more expensive guitar for a solid price. Whether you’re mainly looking for a traditional acoustic you can occasionally amplify, or you need something professional grade for gigs, this could be it. In terms of recording your guitar, you can mics for guitars or a microphone for the guitar amp. If you're looking for an alternative, check out the Martin Road Series DRS1 Dreadnought.
Two of the strongest reasons to buy an acoustic guitar are user-friendliness and price. Some musical instruments are prohibitively expensive for beginners, and they’re difficult to learn, too. Not the acoustic guitar. Acoustic guitars are easy to learn, easy to carry, easy on the ears. And you can buy an acoustic guitar for an affordable price. The most difficult challenge in purchasing an acoustic guitar is finding the ideal fit for you. In this shopping guide, we will discuss some important elements to consider when browsing the acoustic guitar market.
The first thing I did was solder all the colored pickup wires to their correct positions on the switch. You can solder the components on in any order you want. Make sure that all the wires go to their correct places. A lot of times the jack wire goes through a small hole in the body,  so make sure that the jack is mounted in its correct place before soldering it into the circuit. 
If you’re looking to get this pedal as a first in your arsenal, then don’t worry at all, you can keep it simple with the offered Reverb dial as it offers high-quality effects which you can tune to your liking. This astonishing “stomp-box” by TC covers guitarist’s needs who possess different ranges of experience, all available at a fantastic startup price.
For the last tip/technique, I’m going to shift gears and talk about recording acoustic—upright—bass. This may seem more daunting, but many of the same techniques apply—I’ll mention a few quick items that would be specific to the big box. While the dynamic mics I mentioned above might work fine (especially on stage), a good large-diaphragm condenser would be appropriate in the studio, to capture the high end and air of the acoustic instrument as well as the lows. On stage, the relatively low acoustic volume of the instrument may preclude more distant mic positioning, but you can wedge a small (pencil-type) mic into the bridge, with appropriate foam padding, and this, surprisingly, can often provide excellent sound and much better isolation. 

Unfortunately, no reference materials were available for this early period, so we’ll make some educated guesses. Based on the evidence of the logo on the 1968 amplifier, we suspect Univox guitars with the plastic logo debuted at about the same time. By 1970, Univox was employing decal logos on some models, further corroborating this conclusion. If this assumption is correct, it would suggest that among the first Univox guitar was the Mosrite copy known later as the Hi Flyer, debuting in around 1968. This would be consistent with the evolution of “copies” in Japan. As the ’60s progressed, the Japanese were getting closer and closer to the idea of copying, producing guitars similar to their competitors, such as Italian EKOs and Burns Bisons, etc., finally imitating American Mosrite guitars in around ’68. The Japanese affection for Mosrites was no surprise, since the band most associated with Semi Moseley’s guitars was the Ventures, who were enormously popular in Japan.
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Phasers, also called phase shifters, duplicate the original waveform of a guitar’s output, and shift one wave out of phase with the other. They blend both waves together usually applying an oscillating circuit, resulting in the waves moving in and out of phase with each other creating spacey, “whooshing” effects. “Itchycoo Park” by the Small Faces was an early example of phase shifting in a recording. Eddie Van Halen and Queen’s Brian May often used phase effects in the 1970s and ‘80s.
The output jack is where you plug in your guitar lead. These are generally 1/4″ and transfer the signal created by your pickups to your guitar amp. They are usually connected from a ground wire and input wire. When the lead is plugged into the output jack the signal can be transferred. These can often be a source of trouble and need to be kept tight to reduce noise.
Acoustic amplifiers are intended for acoustic guitars and other acoustic instruments, especially for the way these instruments are used in relatively quiet genres such as folk and bluegrass. They are similar to keyboard amplifiers, in that they have a relatively flat frequency response with minimal coloration. To produce this relatively "clean" sound, these amplifiers often have powerful amplifiers (providing up to 800 watts RMS), to provide additional "Headroom" and prevent unwanted distortion. Since an 800 watt amplifier built with standard Class AB technology is heavy, some acoustic amplifier manufacturers use lightweight Class D amplifiers, which are also called "switching amplifiers."
Even with tone control maxed some high frequencies get cut. To let all the frequencies through you can either get a no-load pot or make one. CTS makes them for Fender and what they do is simply break the connection between the wiper and conductive element when pot is maxed. Additionally, they have an indentation so once they reach maximum setting they “click” and it’s not that easy to turn them back. To make your own just cut (or cover with nail polish) the element near the end, so that resistance between the wiper and the opposite lug reads infinite when maxed, at lower settings it should read as usual.
In the early 1960s the Brothers Grim became the first American group use Vox Amplifiers. Joe Benaron, CEO of Warwick Electronics Inc. / Thomas Organ Company, the United States distributor of Vox, along with Bernard Stockly (London), importer of Challenge pianos to the United States, arranged for the boys to have full use of the tall Super AC 100 Vox amps (4×12" speakers). The solid-state version of this amp (known in the USA as the "Super Beatle") was produced to cash in on the Beatles-Vox affiliation, but was not nearly as successful as the valve AC30 and AC15 models.
Let's now look at two real-life examples of what this would look like with a realistic setup. Our first example will be a linear sequence without an effects loop, while the second will use an amplifier effects loop. It should be noted that many pedals themselves can host their own effects loop, so how you set it up is up to you. It functions the same either way.
At least five sunburst hollowbodies were offered in ’61, the PE-7, PE-8, PE-13, PE-14 and PE-51. These appear to have glued-in necks, by the way, with the open-book head, circular sticker logo and rectangular metal-covered pickups. The PE-7 was a non-cutaway thinline with dots, a single neck pickup, elevated pickguard, a fancy lyre trapeze tailpiece and volume and tone controls mounted on the lower bout. ’60s Bizarre Guitars shows a ca. ’61 PE-8 with a single black-plastic-covered pickup with Teisco printed on the top, small strip inlays, wooden pickguard, a fancy harp tailpiece and volume and tone mounted on the lower bout. The following year this model would have two pickups, so whether this is typical or not is unknown. The PE-13 and PE-14 were single-rounded-cutaway archtops, the difference being in finish, the former being blonde and the latter sunburst. Both these were full-bodied jazz guitars, with the small block inlays, twin pickups, chicken beak selectors, elevated ‘guards and two volumes and two tones mounted on the lower bout. Some of these carried fancy Gibson Johnny Smith trapeze tails. The PE-51 was a twin pickup, single-rounded-cutaway thinline archtop, with a chicken beak selector, ordinary trapeze tail and one volume and tone on the lower bout.
The Old Standby is another model beloved by generations of harmonica players. Up until the 1990s, this model was a quality instrument made in Germany on a wood comb. Where the Marine Band was the choice of blues players, many country music players such as Charlie McCoy preferred the Old Standby. In the 1990s, Hohner began manufacturing this model in China on a plastic comb with a significant decrease in quality. Among harmonica fans the downgrade remains unpopular.[26]
#5? Are you joking? I have a PR-200 that I've owned for 15 years. I hate it. The action is ridiculous unless your fingertips are made out of adamantium or whatever the heck Wolverine is made from. The sound is muddled and a clash of midrange. Sustain is nonexistent. The frets have flattened on the high strings. News flash- I'm not spending $350 to re-fret a $279 guitar. Epiphone may make some good high end guitars but I don't trust them. If you make crappy low end guitars why should I trust your brand? You were supposed to get me to fall in love with the brand but you've made me hate it. My next guitar will be a Yamaha, Martin or Taylor.
The pedal rocks forward and backward like a see-saw as you rest your foot on it. Move the pedal to get the wah effect. On some pedals, there is a switch under the toe end to switch ceon straight-through (no effect) to using the wah effect. This means that when you switch it on, it's always in the "aaaa" position. You can hear this in some of Hendrix's work.
Since 1998, many high-end US-made Fender Stratocasters such as the American Deluxe, American, Hot Rodded American, American Special and American Standard series came with an HSH pickup rout instead of a “swimming pool” (or “bath tub”) cavity to increase the total amount of wood that actually can resonate, producing a more complex tone. The HSH rout allows players to modify their pickups to the most often seen after-market configurations without re-routing or cutting into their guitar’s body, while maintaining more wood than a “swimming pool” rout.

Read Full Review This electric guitar offered by Epiphone is absolutely on the budget when it comes to and looking for a markdown price decent sounding Les Paul style electric guitar. The guitar can be bought individually to pair it with an amplifier of choice or as part of the Epiphone Les Paul Special II guitar package that comes complete with a strap, guitar cable, plectrums, gig bag and a small 10 watts Electar amplifier to already begin playing right out of the box.

The second issue of the Les Paul guitar was introduced to the public in 1954. Called the Gibson Les Paul Custom, this entirely black guitar was dubbed the Black Beauty. The Les Paul Custom featured a mahogany top to differentiate the instrument from its Goldtop predecessor’s maple top. It also featured the new Tune-o-Matic bridge design and a pickup with an alnico-5 magnet, P-480, in the neck position. In addition, since 1957, the Custom was fitted with Gibson’s new humbucker pickups, PAF,[16] and later became available with three pickups instead of the more usual two. The three pickup model retained the standard Gibson 3-way switch so not all pickup combinations were possible. The neck and bridge-only settings were retained, but the middle switch position was set to enable the middle and bridge pickups. A common modification was to restore the standard neck/both/bridge switching combination and add a switch to enable the middle pickup on its own.[citation needed] The guitar is wired as a “normal”2 pick up Les Paul except there is a master volume , master tone, (for front and back pu) while the middle pick up has its own volume / tone. this allows the middle pu to turned out of the circuit or mixed with the other two. allowing many different tones.
Remember that when buying a guitar, quality usually comes with price tag to match. Consider paying a little more for the right guitar. Often, you can save money in the long run by purchasing a better guitar up front, skipping over the incremental upgrades along the way. A seasoned guitar player will often have a very good idea of what they like. With experience comes a desire to invest in quality. Musician’s Friend offers a stunning selection of Private Reserve Guitars. When gift shopping for a high-end guitar, it’s usually wise to forego the element of surprise and find out exactly what your giftee wants.
The initial single-pickup production model appeared in 1950, and was called the Esquire. Fewer than fifty guitars were originally produced under that name, and most were replaced under warranty because of early manufacturing problems. In particular, the Esquire necks had notruss rod and many were replaced due to bent necks. Later in 1950, this single-pickup model was discontinued, and a two-pickup model was renamed the Broadcaster. From this point onwards all Fender necks incorporated truss rods. The Gretsch company, itself a manufacturer of hollowbody electric guitars (and now owned by Fender), claimed that “Broadcaster” violated the trademark for its Broadkaster line of drums, and as a newcomer to the industry, Fender decided to bend and changed the name to Telecaster, after the newly popular medium of television. (The guitars manufactured in the interim bore no name, and are now popularly called ‘Nocasters.’) The Esquire was reintroduced as a one-pickup Telecaster, at a lower price.
The steel-string and electric guitars characteristic to the rise of rock and roll in the post-WWII era became more widely played in North America and the English speaking world. Barrios composed many works and brought into the mainstream the characteristics of Latin American music, as did the Brazilian composer Heitor Villa-Lobos. Andrés Segovia commissioned works from Spanish composers such as Federico Moreno Torroba and Joaquín Rodrigo, Italians such as Mario Castelnuovo-Tedesco and Latin American composers such as Manuel Ponce of Mexico. Other prominent Latin American composers are Leo Brouwer of Cuba, Antonio Lauro of Venezuela and Enrique Solares of Guatemala. Julian Bream of Britain managed to get nearly every British composer from William Walton to Benjamin Britten to Peter Maxwell Davies to write significant works for guitar. Bream's collaborations with tenor Peter Pears also resulted in song cycles by Britten, Lennox Berkeley and others. There are significant works by composers such as Hans Werner Henze of Germany, Gilbert Biberian of England and Roland Chadwick of Australia.
There aren’t really any structured lessons—like, where you’re starting at the beginning and working your way sequentially through—you have to browse through the playlists and find what’s best, but the quality of the lessons and wide variety of topics will have everything covered. JamPlay is a sampler for the website, where you’re offered a subscription service to complete courses, which explains the kind of shotgun approach to the videos made available on YouTube. But the size and breadth of the topics you can access for free still makes it a great channel.

Few instruments are as versatile as the electric guitar. Widely heard in most types of music, the guitar's sound can be customized in virtually limitless ways to suit the genre and the player's individual style. Multi effects pedals put all of that personalization within your reach, allowing you to change your soundstage with the push of a button while you play. Many guitarists achieve multiple effects by chaining pedals together. This gives the ability to mix and match different effects to create unique combinations, but it can also be a source of frustration to keep track of so many pedals. A multi-effects pedal avoids this confusion by converting the mess of individual pedals into one discrete unit that's easier not only to use, but also to transport from venue to venue. Multi effects pedals can offer hundreds of onboard distortion, filter, modulation and dynamics effects to transform the sounds of your guitar. With as many or as few features as you prefer, the selection offers a multi pedal for every guitarist's needs. If simplicity is your thing, a basic stompbox can provide a handful of effects with minimal complications. On the other end of the spectrum, you can satisfy your inner technophile with a cutting-edge digital pedal featuring MIDI support and USB connectivity so you can save seemingly limitless library of effects. There are three things to look for in your ideal multi effects pedal: the range of available effects and features, the ruggedness of its construction and the available inputs and outputs. The more effects that are supported, the more the pedal has to offer to your sound. The more durable it is, the more the pedal can withstand being moved from venue to venue. And the more connection options it has, the more versatile it is for studio recording or connecting to additional stompboxes and accessories. Whether you're playing hard rock or smooth jazz, the range of tone alterations offered by a multi effects pedals enables you to deliver a personalized sound that complements your band and your musical style. There are two things that get guitarists into the history books: developing their skills to perfection and crafting their own distinct sound. With a multi effects pedal, you've got the gear you need to start shaping the tones you aspire to be remembered by.

Primarily, people also use Mahogany wood to construct the guitar neck. Since it’s able to prevent the neck from warping, you’ll never have to worry about any impact that can deteriorate the quality of sound. Furthermore, the body ends up with a spruce top. In comparison with cedar, spruce is much brighter and provides better echoes through the instrument.

Just plug your guitar into the sound card input, start Guitar FX BOX and your guitar will sing and scream. You can apply a wide range of high quality effects to guitar, voice and other inputs. This sound processing program is acting just like a good collection of guitar effects pedals. You can use several of them at the same time, even all if you need so.
More expensive amplifiers may have a patch bay for multiple inputs and outputs, such as a pre-amp out (for sending to another guitar amplifier), a second low gain input, to use with active basses, an in jack to create an effects loop (when used with the pre-amp out jack), an external speaker output (for powering an additional speaker cabinet), and stereo RCA jacks or an 1/8" jack, for connecting a CD player or MP3 player so that a player can practice along with recorded music. Some amps have a 1/4" jack for connecting a pedal to turn the amp's onboard overdrive and reverb on and off or to switch between channels. Some amps have an XLR jack for a microphone, either for the guitar amp to be used for singing (in effect as a mini-PA system), or, for acoustic guitar, to mix a mic signal with a pickup signal.
OM-42PS: Paul Simon’s signature acoustic model (manufactured in the 1997 model year) is based on the OM-42, which had not been manufactured since 1930. Alterations were specifically requested by Simon himself. From the original planned run of approximately 500, only 223 were produced, making these a collector’s item. A standard version of the OM-42 is in the current range.

Many people "re-amp" direct guitar tracks recorded to a DAW using amp-modeling software, with good results. Plug-ins are wonderfully suited to the virtual  recording environment, allowing for fast access to a plethora of modeling amplifier and speaker cabinet combinations, hence tones, effectively replacing a roomful of amps, cabs and microphones. Programming the virtual amplifier is the same as tweaking the knobs on the real thing, and the same is true for programming software dynamics and effects processors in relation to their hardware equivalents. As the realism and sophistication of modeling technology continue to develop, so does the viability of virtual re-amping as a production technique.
All guitars need to be tuned to play properly and sound on pitch. This is done with the tuning pegs (also referred to as tuning machines) on the headstock. On the top side of of the neck is the fingerboard, also called a fretboard, over which the strings are routed. Pressed into the fingerboard are small metal ridges called frets. They help delineate individual notes along the fretboard and also make it easier play on pitch.

Besides the recognizable brand, there’s the sound quality, that earned it good appreciation even from experienced guitarists who are used to more expensive units. It has a standard 12” speaker that allows it to render treble and bass equally well, for a good range of sound which should make it suitable for country, blues, and jazz, as well as softer rock.
First, remove the knobs of the pots that you want to replace. Some knobs are held in by setscrews. Look around the shaft of the knob to see if there is a screw head then unscrew the screw and remove the knob. Most knob are mounted on split shaft pots. There are no setscrews on a split shaft pot. Friction and pressure hold the knobs on the shafts in this case. You can pull the knob directly off the shaft of the pot since there is no screw. If the knob is stuck on the shaft, I usually use heavy gauges guitar picks to try to pry up the knob. You may also wrap a thin rag around the bottom of the knob and pull the knob off the shaft. Regardless how you get the knob off, be careful not to dent or ruin the finish on the top of the guitar. It is easy to rip the knob off of the pot and accidentally drop it on the guitar. Once the knob is removed, you can unscrew and remove the nut on the top of the shaft.
I had an Epi G400, MIK, I found for $175 used, in a pawn. It was decent enough enough but I found the pickups (humbuckers) a bit muddy. I subsequently picked up a Valkyrie II on closeout when they changed over to the current Valkyrie shape, for $99 + shipping. It played just as good but I was able to get one with P-90's, not available on the Epi. I preferred the P-90's and sold the Epi G400. I still have the Valkyrie:
Mic orientation, or the angle of the mic in relation to the speaker, becomes more critical as the mic is moved closer to the amp. Pointing the mic at the center of the cone will yield more active highs and better transient detail but fewer lows. As you move the mic toward the outer rim of the speaker, maintaining a 90-degree angle with the grille cloth, the low frequencies gradually increase because of proximity effect and other factors, resulting in a sound that may be warmer, softer, or more powerful. Many engineers like to blend these complex characteristics by angling the mic between 30 and 60 degrees off-axis from the center of the speaker.
Johnny was a strange case, a rock and roll outsider who was obsessed with uniformity. And that obsession helped forge the Ramones aesthetic: the identikit leather jackets and ripped jeans worn by each band member, the single surname shared by all four (in the absence of any actual familial kinship) and the terse pacing of the music itself, with not a single excessive note or lyrical utterance.
Takamine GS330S: Like Yamaha, Takamine is a Japanese guitar company. They also have low price Jasmine series for beginners. I don’t recommend you buy Jasmine series if you have enough budgets because Jasmine has a laminate top. Go for the GS330s, it has a solid Cedar top, cedar is a kind wood that make better sound when aged. So if you buy Takamine GS330S and keep it for a long time, the guitar will sound better and better. For more details features and price, check out here.
The standard tuning, without the top E string attached. Alternative variants are easy from this tuning, but because several chords inherently omit the lowest string, it may leave some chords relatively thin or incomplete with the top string missing (the D chord, for instance, must be fretted 5-4-3-2-3 to include F#, the tone a major third above D).
: "Later, in the '70s, a line of low-priced Japanese-made instruments were imported and sold under the Dorado name in an effort to compete with the flood of imports inundating the market. Flattop acoustics and solidbody electrics alike were sold under the Dorado name. None hold much in common with Gretsch's own guitars." Also, that Gretsch had been sold to Baldwin prior to 70's; reacquired
Others are perfect for getting started. In fact, the Epiphone Les Paul Special II is the electric guitar I most often recommend for beginners. This is an instrument that’s modeled on the legendary Gibson Les Paul, with many of the same attributes such as a single-cutaway body, dual humbuckers and tune-o-matic bridge. It is a simple yet versatile setup.
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If you are a beginner then you probably don't know what a ‘floating tremolo' is. Have a look at Floyd Rose, who made the first models. If you are looking at a guitar that has little tuners on the bridge, then it's probably a floating tremolo. For a beginner, they are a total pain in the butt. They are very hard to tune and a real pain to change strings. The cheaper ones go out of tune a lot too. If you know why you want one, then fine, but locking tremolos on budget instruments are usually rubbish, so stay clear of those for now!
Since treble frequencies pass through a capacitor, what would happen if you routed the positive lead THROUGH the capacitor rather than having it ground out frequencies?  The answer: just the opposite - the signal from you pickups would pass through the capacitor and only treble frequencies would get through.  Aha!  A new type of tone control.  The illustration below shows this type of wiring in a bit of an advanced concept.
Boss’ CE-1 Chorus Ensemble was the first of these types commercially available, and is the best remembered of the company’s now-archaic looking early range of die-cast metal pedals. The unit was an instant success when it hit the market in 1976, and was quickly snatched up by a range of major players. Andy Summers used the CE-1 with the Police in the late 1970s and early 1980s, and it’s probably most famously heard on the band’s big 1979 hit “Message In A Bottle,” though others made creative use of it too. Shortly after the Boss, Electro-Harmonix offered both its Memory Man Stereo Echo/Chorus—which featured a very good, spacious chorus setting that a lot of player’s loved—and smaller, stand-alone Small Clone chorus. Like the Small Stone phaser before it, the Small Clone had a softer, subtler sound than many of the chorus pedals that would soon flood the market, and it too was a huge hit. Kurt Cobain’s use of the pedal on “Smells Like Teen Spirit” and Chris Novoselic’s bass part on “Come As You Are” from Nirvana’s Nevermind album shows off how it can add a rich, moving, liquid texture to both clean and distorted parts. MXR, DOD and Ibanez all offered popular early IC-based analog chorus pedals, and today every major mass-manufacturer has a unit on the market.
Now that you know the general protocol to a pedal chain, remember there are no strict rules in music. Introducing alternative ways of setting up your effect signals is what starts new trends and even leads to the development of new genres. There are also indisputably more choices in pedals then ever before. Vintage classics have been reissued in mass, are sounding better then ever, and have become affordable (but I doubt you’ll see that DeArmond toaster pedal version any time soon).
Now that we mentioned some of the exotics, it’s time to go back to the roots. Epiphone Les Paul Standard is as old school as it gets. Legendary LP body style that brings a no-nonsense combo of hardware has always been the way to go. I actually have one of these, and after years of playing it keeps surprising me. I’d say it easily punches way above its price range.
With that budget you can look about anywhere you choose. Try epiphone, maybe a boutique builder along the lines of your ideal, even a good kit that you rough in and take to a great tech/Luthier to trim finish….but about the Gibson…play em yourself, don’t get upset by a bunch of rumbling that’s largely bad noise. What your hearing is chatter largely perpetuated by their competition. They had a rough patch when they had ALL their imported wood jerked out from under them do to a screw-up of paperwork, wouldn’t at all surprise me if the government changed the rules and didn’t tell anybody(again). You can imagine what Gibson had to do to stay afloat, compromise was inevitable. I’m sure they more than anyone regret that, but you know everyone else in the industry was plenty happy to keep the scuttlebutt going, they ALL hate you when you’re on top. She. I was with strings and things of Memphis, Gibson came out of packing set up beautifully, usually perfectly in tune or nigh on to it. No other maker came close at all. By the way , I’m not a Gibson guy, the only one I’ve had is for sale, I prefer a more modern platform, that’s just my preference. But I still have to give props where they’re due…say, if your interested in an SG ’67 reissue at a good price, hit me up. I’ll give you the skinny on it, all right and wrong, and beat the brakes off any price from a shop!
Size & Weight: If the multi-effects pedal will stay in one place at all times, then perhaps size and weight is not a big deal. However, one of the biggest selling points of a unit like this is its portability. If you need to gig with it or simply take it to a friend’s house, make sure you’re fine with its dimensions. The good thing is that a manufacturer like Line 6 makes several versions of the same basic pedal. The Line 6 M13 is a great unit, but if you need it to be more compact you can opt for the M9, or smaller yet the M5.

Electric guitar strings are thinner than acoustic guitar strings and closer to the neck and therefore less force is needed to press them down. The ease with which you can bend strings, clear access to the twelfth position, the use of a whammy bar and the manipulation of pots and switches whilst playing has led to the development of a lead guitar style that is unique to the instrument. Fret-tapping is a guitar technique for creating chords and melody lines that are not possible using the standard technique of left-hand fretting and right-hand strumming. The sustain, sensitive pick-ups, low action and thin strings of the electric guitar make it an ideal instrument for fret-tapping.
Guitar amplifiers and electronic keyboards may have switch pedals for turning built-in reverb and distortion effects on and off; the pedals contain only a switch, with the circuitry for the effect being housed in the amplifier chassis.[106] Some musicians who use rackmounted effects or laptops employ a MIDI controller pedalboard or armband remote controls to trigger sound samples, switch between different effects or control effect settings.[107][108][109] A pedal keyboard uses pedals, but it is not an effect unit; it is a foot-operated keyboard in which the pedals are typically used to play basslines.
The steel guitar is unusual in that it is played horizontally across the player's lap. The steel guitar originates from Hawaii where local musicians, newly introduced to the European guitar, developed a style of playing involving alternative tunings and the use of a slide. The Hawaiian guitarists found that by laying the guitar flat across the lap they could better control the slide. In response to this new playing style some Hawaiian steel guitars were constructed with a small rectangular body which made them more suitable for laying across the lap.There are two types of steel guitar played with a steel, the solid metal bar from which the guitar takes its name, namely the lap steel guitar and the pedal steel guitar with its extra necks. The pedal steel guitar comes on its own stand with a mechanical approach similar to the harp. Pedals and knee-levers are used to alter the pitch of the strings whilst playing thereby extending the fluency of the glissandi technique.
The way that manufacturers state the wattage output of an amplifier can be confusing. Amplifier manufacturers may state that a combo bass amp produces 600 watts at 4 ohms and 300 watts at 8 ohms. If the speaker mounted in the combo amp is an 8 ohm speaker, then the combo by itself will only produce 300 watts. This combo amplifier will only put out 600 watts if an "extension speaker cabinet" is plugged into the combo amp with a speaker cable. Plugging a second 8 ohm cabinet in parallel wiring with the combo amp's internal 8 ohm speaker will lower the amp's impedance (electrical resistance or "load") to 4 ohms; at this point the amp will put out 600 watts. Another factor that can make it difficult for bassists to select a bass amp is that different manufacturers may state their amps wattage in Root Mean Squared (or "RMS") and in "peak power". For example, a bass amp ad may state that it produces 500 watts RMS and 1000 watts "peak power". The RMS figure is much more important than the peak power wattage.
SOLD OUT: ASK we may have another in stock Here we have a wonderful example of the Alvarez answer to the classic Martin 000-18 now famously linked to the Eric Clapton version from Martin om guitar today. Imported to the US by Saint Lewis Music 36 years ago. This fine example of the Alvarez 5014 is in excellent vintage condition you will not believe that she is over 36 years old when you see this in person you will realize it has been amazingly well cared for these past 3.6 decades. Its fit and finish is excellent as is its play action / neck angle ... this guitar is a pleasure to play and is truly EASY on the eyes... The neck is 1-11/16" at the nut and very comfortable to play with very little visible play wear to fingerboard or frets one will notice that this example is WELL above average condition for this age of guitar its really rare to see. Its beautiful SITKA SPRUCE top is solid and the back and sides are excellent grade Mahogany as is the neck please refer to the pics ... with nice details like its herringbone rosette, celluloid tortis pick guard, exotic Brazilian Coral Rosewood headstock overlay this guitar is more fancy than the other 5014's we have had and is in near mint vintage condition. The woods are well aged and the tone and volume has nicely opened up and aged like fine wine it takes time... a lot of guitar for this kind of price. Crafted in Japan over 36 years ago and kept in Amazing condition all these years just for you... Nicely set up with a NEW Martin Bone Nut & compensated bone saddle here at JVGUITARS. get this gem before she's gone! questions let me know... .
While National blithely ignored Beauchamp’s electric experiments, their competition – Dobro – was next to enter the electric arena as early as 1933, with the introduction of the Dobro All-Electric. Basically, the All-Electric was a mahogany-bodied Model 37, most usually outfitted with a 12-fret square neck. It had a large lightning-bolt-engraved coverplate, two screen holes, three little holes under the fingerboard, a slothead, and rosewood ‘board with dot inlays. Instead of the usual resonator, this had a large metal plate where the cone assembly would normally be and a Stimson pickup mounted just in front of the bridge, curiously enough with the poles slanted from the bass side near the bridge toward the middle on the treble side.
How it sounds: Ex. 1a demonstrates the treble-cut control—nothing surprising here. Ex. 1b features the bass-cut. With a clean tone like this, it’s a bit subtle, though you can hear the difference if you focus on the low notes. But Ex. 1c adds a vintage-style germanium Fuzz Face with the gain and volume maxed. With the guitar’s tone control wide-open, the signal easily overpowers my vintage Fender brownface—your typical Fuzz Face fart. As I gradually trim bass via the guitar, the tone acquires greater punch and clarity. I remain on the neck pickup throughout—the only thing changing is the guitar’s bass pot setting. The extreme-cut settings near the end of the clip may sound harsh in isolation, but they can be perfect in a band context. At the end of the clip I max the bass pot again to underscore how much the tone has changed. It ain’t subtle.
We spent 45 hours on research, videography, and editing, to review the top choices for this wiki. One of the best things about an electric guitar is its portability. Most times, however, you can't say that about the amps you need to go along with them. Fortunately, these mini amplifiers have come along, developed by the top names in full-size models, and offer incredible sound quality in an exceedingly portable package. We've ranked these micro monsters by tonal character, power, and control. When users buy our independently chosen editorial picks, we may earn commissions to support our work. Skip to the best mini guitar amplifier on Amazon.

In addition, there were other assessments. I went to Guitar Center to buy an amp. I was playing my guitar through a vintage tube amp when I noticed a man standing behind me. I said, “It sounds good.” He said “It sounds really good, are you going to buy it” as he pointed at my guitar. It was then I realized he was a customer and was interested in buying my guitar.
PRS scale length falls between Fender and Gibson at 25 inches. These are typically set-neck guitars, often with carved tops. This style is a nice alternative for players who are looking for a middle ground between the warmth and resonance of a Les Paul and the tighter feel of a Strat. You’ll also see a lot of guitars that have that PRS look but are built to a different scale length.

Guitar amplifiers can also modify the instrument's tone by emphasizing or de-emphasizing certain frequencies, using equalizer controls, which function the same way as the bass and treble knobs on a home hi-fi stereo, and by adding electronic effects; distortion (also called "overdrive") and reverb are commonly available as built-in features. The input of modern guitar amplifiers is a 1/4" jack, which is fed a signal from an electro-magnetic pickup (from an electric guitar) or a piezoelectric pickup (usually from an acoustic guitar) using a patch cord, or a wireless transmitter. For electric guitar players, their choice of guitar amp and the settings they use on the amplifier are a key part of their signature tone or sound. Some guitar players are longtime users of a specific amp brand or model. Guitarists may also use external effects pedals to alter the sound of their tone before the signal reaches the amplifier.
We answer this with a resounding, “Yes!” While electric guitars depend solely on pickups to be heard and to change or distort sound, acoustic electric guitars just provide the ability to amplify the sounds of an acoustic. The acoustic electric guitar construction is still built the same way as an acoustic but with pickups added in the design. You now have the ability to play plugged-in to amplify the natural acoustic harmonics of your tonewoods, or you can play unplugged when jammin’ it at a Summer bonfire.
GUITAR BLEND/BALANCE POT, 500KA.  Bourns dual MN taper blend-balance with center detent. Split shaft. 17 mm body diameter. 1/4" knurled shaft diameter. Solder lugs. 3/8" bushing.   Note that length of threaded part of shaft is 3/8" - measure to make sure that this is long enough for your application, especially if the pot mounts through the wooden guitar body.   (This pot will not work on Les Pauls, for example).  500K, Special MN taper used for balance/blend pots.  Nut and washer included.   Note: threaded bushing diameter is 3/8", like most 24mm "quarter-sized" pots.

Jump up ^ Miller, Jim (1980). The Rolling Stone illustrated history of rock & roll. New York: Rolling Stone. ISBN 0-394-51322-3. Retrieved 5 July 2012. Black country bluesmen made raw, heavily amplified boogie records of their own, especially in Memphis, where guitarists like Joe Hill Louis, Willie Johnson (with the early Howlin' Wolf band) and Pat Hare (with Little Junior Parker) played driving rhythms and scorching, distorted solos that might be counted the distant ancestors of heavy metal.
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The Fender Bassbreaker 15 Amplifier Head presents a budget friendly option for those in need of great tone. You have 15 watts of pure power to channel here as well as a studio friendly Power Amp Mute so you can record straight into a desk - a great feature for those in need of a powerful stage and studio amplifier. This is a professional grade amplifier head that features 3 very unique tonal options and overdrive levels to provide you with a whole host of lush fender tones that range from glass like cleans to vintage overdrive. Perfectly paired with the Fender Bassbreaker 212 Guitar Cab.
In the 1980s, when shred metal was at its peak, Ibanez took a big share of the market with models that were geared towards the fastest, loudest players – thin necks, floating double-locking tremolos and high-output pickups. These guitars were endorsed by modern day virtuosos such as Paul Gilbert, Steve Vai and Joe Satriani, with many artists designing their own custom Ibanez models.
1991 saw the introduction of guitar designer Jol Dantzig's first truly workable acoustic-electric hybrid guitar design. The instrument, called the DuoTone, was conceived while Dantzig was at Hamer Guitars. (Dantzig was also the designer of the first 12 string bass.) Adapted by players like Ty Tabor, Stone Gossard, Elvis Costello and Jeff Tweedy, the DuoTone was a full "duplex" instrument that could switch between acoustic and electric tones. Recently there have been many entries in the hybrid category (capable of both acoustic and electric tones) including the T5 by Taylor, Michael Kelly's "Hybrid," the Parker Fly and the Anderson Crowdster.
Telecaster is considered to be the oldest solid body electric guitar in the world. Capturing that type of pedigree is not easy, but Squier managed to pull it off. Handling the Squier by Fender Vintage Modified Telecaster brought back some of the best memories of my youth, when Telecaster was the go to axe. This is definitely one guitar worth trying out.

Distortion was not an effect originally intended by amplifier manufacturers, but could often easily be achieved by "overdriving" the power supply in early tube amplifiers. In the 1950s, guitarists began deliberately increasing gain beyond its intended levels to achieve "warm" distorted sounds.[29] Among the first musicians to experiment with distortion were Willie Johnson of Howlin' Wolf,[29] Goree Carter,[30] Joe Hill Louis,[31][32] Ike Turner,[33] Guitar Slim,[34] and Chuck Berry.[35]
In the late 70’s digital technology boomed and made its way into the guitar community. It first entered in the form as rack units which were expensive and relatively large. As costs came down and the technology shrank, digital delay pedals were introduced into the market by Boss in 1984 with the Boss DD-2. Since then as technology advanced, delay pedals now offer many features in a very small box such as tape echo, analog, reverse delay, modulated delay, and loopers.
So, learn chords, along with their related chords, and many, many songs will be at your fingertips, even songs you don't know or haven't played yet. As a teacher, I've shied away from teaching songs for learning the particular song's sake. There are many guitarists out there who 'haven't learned the chords to that song,so I can't play it'. Usually they actually have, but don't understand how to put them together to make that song. Also, learning a song generally means putting the particular set of chords in one order. Change key, and the fumbling starts.
I put the pots into a wiring jig I made for Les Pauls: a piece of pickguard plastic with holes to match the LP control arrangement (cardboard works just as well). This lets me do my wiring outside the body, and everything fits back in neatly.The guitar’s controls were on a metal mounting plate. We decided to ditch the plate, sticking with the ’50s theme.
Slot Peghead vs. Solid Peghead (steel string models): Most models converted from a 12 fret slot peghead to a 14 fret solid peghead around 1934 (except the OM series, which went 14 fret in 1929/1930 and the style 17 and 18 models which were available in 14 fret style in 1932). Basically if the guitar has a 14 fret neck, it will have a solid peghead. If it has a 12 fret neck, it will have a slot peghead. Note there were some post-WW2 gut string and classical models (i.e. 0-16NY) and some post-WW2 special order steel string guitars (i.e. 1967-1993 D-18S) which always have a slotted peghead.

A plucked string has many modes of vibration which all occur simultaneously; most of these correspond to overtones or harmonics of the fundamental frequency of the vibrating string. Near the center of the string, the fundamental frequency has the largest amplitude; a pickup at 1/4 of the length of the string will be at the point of maximum amplitude of the second harmonic and at a null point for the fourth harmonic. This position gives a strong, full, mellow tone. A pickup at 1/8 of the length of the string (closer to the bridge) will be at the point of maximum amplitude of the third harmonic, and will also get a lot of the fourth and fifth harmonics. This gives a much brighter tone. The change in tone caused by plucking the string close to the neck versus close to the bridge is based on the same idea: bringing out the harmonics in the string in different proportions. See link to a related article, below.
Another popular value pack comes courtesy of one of the greatest rock'n'roll guitarists of all time. For those who have an appetite for destruction, look no further than the Slash AFD Les Paul Guitar Outfit. Endorsed by the Guns N' Roses shredder himself, this pack comes with the killer AFD Special-II guitar that's equipped with new Ceramic Plus humbucking pickups, and a built-in Shadow pickup ring E-tuner. Additionally, this pack also contains a custom gig bag with the Slash "Snakepit" logo, Slash signature Dunlop Tortex picks, and much more.
In late 1929, Martin built a prototype batch of six OM guitars. The very first of these had pyramid bridges and no pickguard. Martin soon realized that with the vigorous strumming required in a band setting, a pickguard would be required. Hence all OMs after the prototype batch had a small teardrop-shaped pickguard. The new OMs were not highly sucessful. They sold, but not as well as Martin had hoped. In 1933 the OM designation was dropped and was now called the "000" model. But infact the 1933 "000" models were the same as the 1933 "OM" models, retaining the OM body style and 14 fret neck. Then in 1934 the standard 000 models were modified to the shorter 24.9" scale (for unknown reasons, as the 12 fret 000 body had a 25.6" scale length its inception in 1902 to its demise in 1931). Yet the OM's longer scale was a major factor in the OM's tone. The strings on an OM must be tuned to a higher tension to get concert pitch. This extra tension translates into more drive on the top, hence providing more volume and tone. The OM's scalloped braces and a small maple bridgeplate give the OM a great sound. Although these features were common to other Martin models of the time, the OM's top brace under the fingerboard was missing. This design is unique to OMs making the top very lightly braced. This does lead to some problems with cracks in the upper bout along the side of the fingerboard, but it also contributes to the great sound of the OM models.
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Hawaiians were still available, but no information was available to me except on the EG-TW which was an eight-string double-neck with three telescoping legs. Each neck had two pickups, a selector switch, volume and tone control. Also offered was a curious instrument called a “Harp Guitar,” which was some sort of three-legged Hawaiian console with four electronic pedals!
The road toward becoming a better guitarist is paved in… books? It certainly can be, although there are plenty of routes that both beginners and professionals take to improve upon — and bone up on — their craft. The books on this list are about history and technique. They’re books that you’ll pull off the shelf for years to come to look up a vintage guitar you’re curious about or a chord progression or song you’ve been meaning to master. You may find additional inspiration reading the autobiographies of your favorite guitarists, but we decided to leave those off this particular list. If you’re in the market for a good guitar book, read on.
This is a guitar that we’ve featured before as our top pick for those who are looking for an electric acoustic for less than $500, so there’s no surprise that it’s back as one of the very best prospects at any price at all. Epiphone might be Gibson’s more affordable brand, but that certainly doesn’t mean you aren’t getting very high quality when you choose the Dove Pro.
With the advent of hard-rock acts like the Kinks and Yardbirds in the 1960s, the thirst for crunchy, distorted sounds grew insatiable. Kinks guitarist Dave Davies even slit his speaker cones in a quest for extra-gritty sound. The demand for loud, distorted output led to the rise of England’s Marshall amps, which were enthusiastically adopted by rockers on both sides of the Atlantic.

Launch price: $1,499 / £1,399 | Body: Ash | Neck: Maple | Scale: 25.5" | Fingerboard: Maple/rosewood | Frets: 22 | Pickups: 2x V-Mod Single-Coil Telecaster | Controls: Volume with treble-bleed, tone, 3-way selector switch | Hardware: 3-saddle, strings-through-body Tele bridge with compensated brass saddles, 6-screw mounting with removable modern 'Ashtray' bridge cover | Left-handed: Yes | Finish: Mystic Seafoam, 2-Color Sunburst, 3-Color Sunburst, Black, Butterscotch Blonde, Candy Apple Red, Crimson Red Transparent, Natural, Olympic White, Sonic Gray
Yes, don't do it. Take her to a music store and let her play whatever they have that's within your price range, and let her take home the one she most enjoys playing. You don't need to spend a ton. I just bought a used Breedlove for a similar gift, and it was under $200 at my local music store. The key is finding one she doesn't want to set down. That's what will get her playing.
What's funny is that guitars with cheap pickups very often sound better direct than guitars with "good pickups". I have an Epiphone Special I with ( presumably GFS ) P90-style pickups and that thing sounds great direct. It's also fine with a band thru an amp if the band doesn't play too loud - if the band's too loud the low mid buildup means you gotta EQ a lotta bass out and it loses it's girth.
The STRATosphere is not affiliated with Fender Musical Instruments. Strat®, Stratocaster®, Esquire®, Telecaster®, Tele®, Jazzmaster®, Jaguar®, Mustang®, P Bass®, J Bass®, Fender® and the distinctive headstock design of Fender guitars are registered trademarks of Fender® Musical Instruments. All applicable Fender products are covered under warranty by The STRATosphere.
Fender has a long history of building amplifiers, so much so that many of the amps we see today still mimic the look and aesthetics of the amps that they built many decades ago. You could also say that many of the amps we have today can trace their roots to the classic Fender amp design. Also impressive is the long list of Fender amplifier users which include Eric Clapton, Jerry Garcia, Brian Setzer, Neil Young, Stevie Ray Vaughn, Eddie Van Halen and many more. For a company with a long legacy and a massive line up of amplifiers, maintaining high rating across the board is quite the feat, but then again, this is to be expected from the company that helped shape the electric guitar sound that we know today. These days, Fender is well represented in the entire amplifier market, from entry level models with amp modeling, to premium modern reproductions of their iconic tube amps.
Anyone who’s shopped for any kind of guitar recently knows that not only has the number of brands increased, the number of models offered by most major manufacturers has increased. Between Squier (Fender) and Epiphone alone, you’ll find about 20 different models under $200, and that’s not even counting the different color options. When you add newer brands (some of which seem to exist only on Amazon), you could easily end up with more than 50 different models—far too many to run past a testing panel because, as we learned from our ukulele tests, when you have more than about 10 instruments to test, it gets tough to sort them all out.

Peerless hollowbody guitars are excellent at this price range. Both of these brands manufacture from factories in South Korea. PRS SE is made by World Instruments Co. and they have consistently high standards - all brands made in this factory will be exceptional. Peerless is a company which used to manufacture high end guitars for other brands such as Gretsch and Gibson, and then launched their own brand. They are exceptionally good guitars.
I’m not a Fender amp guy at all. I know, a lot of people swear by them, and they do sound great, and are a standard in the indie world. They tend to have less options and features that a beginner might want to play around with, and to get those options you end up spending more money than you might be comfortable with. You also don’t get much horsepower for the cash compared to some of the other lower priced options. To me, a cheap Fender sounds like…a cheap Fender. Blues guys sure do love those Mustangs though.
Here we have yet another fine 1971 Yamaha FG75 made in Japan Nippon Gakki Red Label Grand concert like Gibson LGO-1 but sounds better for less New Arrival: Be sure to ask for "Clean Boy" This example is just like our other 71 FG75 Nippon Gakki but this guitar is much cleaner and is JVGuitars rated in very good + condition- Excellent vintage for a 42+ year old Vintage Red Label Nippon Gakki FG75 .. its one of the nicest we've seen, this baby makes an excellent Parlor style guitar thats fun to play because of its good action, and it sounds absolutely great... upgraded to Martin bone Nut and compensated saddle and upgraded fancy bridge pins .... for a good volume transfer and superior tone over the old plastic parts,,,, we dressed the frets as well. not a crack anywhere to be found, great vintage patina but no structural damages or abuse or neglect this instrument has been well taken care of as one can tell from its condition and playability ... this one plays very nicely and is ready to enjoy .... for a song Original Specifications: - Year(s) Sold: 1968-1974 - Top: Spruce- Back / Sides: Agathis - Neck: Nato - Fingerboard: Indian Rosewood - Bridge: N/A - Notes: Folk Guitar Classic Type - Upper Bout - 11-1/8” - Waist - 9-5/8"- Lower Bout - 14-5/8" Ok so thats what the official specs are but here is what we se and have seend with 2 other fg75;s we have had, one I had to refinish its back and when sanding off the mahogany finish it was blond flamed maple sides and back,,, as this one surely looks to be just look at that flamed back and sides this example is kind of special looking. She;s got it going on just check her out. Yamaha Nippon Gakki guitars are highly respected at being well made and of great value and after 40+ years this example has stood the test of time and is still a formidable player you can compare its sound to a much more expensive guitars tone they are simply wonders to find one this nice is RARE… get her before she’s gone. Any questions or to buy it contact Joe: Thank you for your interest..
I have been playing for two years. I use to play (and still have) a fender squier. Today I bought a Lyle on impuls. I wasn't planning on buying one, i just walked in and it looked so beautiful. I have a feeling it is about 10 years old or so, but the sales man didn't know much other than it was a Lyle and it had new tunning pegs on it. I got it for 150$ and i would REALLY love to know more about it. Thanks.
In mid-’29, John Dopyera left the National company to start the Dobro Manufacturing Company along with his brothers Rudy and Ed, and Vic Smith. National String Instrument Corp. continued operating under Beauchamp, Barth et al. In 1930, the Dobro company name was changed to the Dobro Corporation, Ltd., with additional capital provided by Louis and Robert Dopyera. Dobro was, during this period, a competitor of National’s, although in this somewhat incestuous world, both got their resonator cones, plate covers and other parts, like tailpieces, from Adolph Rickenbacker.

This company specializes in guitars meant for heavy metal and hard rock lovers. It is the proud manufacturer of some of the most outstanding designs in the history of metal such as Warlock, Bich, Virgin, and Mockingbird. It molded and influenced hard rock and thrash revolution of the 1980s. It is a great choice if you are looking for some edgy designs for your guitar. The guitars are available in 6, 7, or 8-string models that are suitable for players of all genres. Their recent introduction was the Villain series that has incredible designs and has a body of basswood or mahogany.
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Gold Coverage goes above and beyond the manufacturer's warranty to protect your gear from unexpected breakdowns, accidental damage from handling and failures. This plan covers your product for one, two, three or up to five years from your date of purchase, costs just pennies per day and gives you a complete "no-worry" solution for protecting your investment.
The Continental and other Vox organs such as the Jaguar, the Continental II, Super Continental, and the Continental 300 share characteristic visual features including orange and black vinyl coverings, stands made of chromed steel tubing, and reversed black and white keys. The English wood key single manual Continental (V301J) is increasingly collectable, although the wood key American-built (V301H) and plastic key Italian-built models (V301E, V301E/2 and V302E) also command premium prices. Jennings sold production rights for the Vox Continental organ to an Italian subsidiary of Thomas Organ in 1967. Under the new production agreement, the Continental was gradually and subtly altered in quality and sound, and reliability became questionable. For example, Ray Manzarek of The Doors had been using a Vox since 1966, but could no longer trust it during performances because of the problems in quality after 1967, and thus was forced to look elsewhere for an organ. He settled on the Gibson Kalamazoo, because it had a flat top like the Vox Continental, so it could accommodate the physical requirements of the Fender Rhodes Piano Bass, which was the bass instrument for The Doors in concert.
Guitar effects and the boxes that generate them have married theory and practice, history and material, content and form. Such strange logics, inherent to all of these simple devices, radiate sincerity in their transgressive sounds. Or put differently, those “unmistakable sounds,” which can enchant an entire generation, are not entirely intentional, but are born from the accidental collisions between transistors, tubes, wiring, and luck.
While the bulk of new players will likely want an amplifier for their electric guitars, acoustic-driven music is still plenty popular amongst players of all skills. And while acoustics are fairly loud on their own, some players still want to pump up the volume from time to time, as well as shape their sound. And you can do all that without sacrificing the warmth of your guitar’s sound with the Behringer Ultracoustic AT108. Perfect for home practices and coffee shop performances, this amp was specifically designed to enhance the volume and tones of an acoustic guitar (or, more accurately, an acoustic-electric). It also has a secondary microphone input to amplify your voice alongside your guitar.
Electronics kit building kind of fell out of favor during the computer age as the home based technology enthusiasts moved to assembling PC’s, and software development. But home brew electronics has enjoyed a resurgence in recent years in what is now called the maker community. Internet electronics stores such as Adafruit and Element 14 are enabling 21st century geeks to build anything from simple circuits to complex embedded computing projects. These sites provide documentation, tutorials, video channels, and of course, a store, where you can purchase the tools and components required to internet enable your toaster, or feed your cat from the couch.
Excellent condition Traveling Wilbury's solid body electric guitar. Each Gretsch TW-100T is unique in it's graphics. Featuring a solid maple neck and an ebony colored finger board w/ dot inlays and no fret wear. Fully adjustable "Strat-style" tremolo / bridge including whammy bar. One single coil pickup and a volume control. Only the most minor of wear to the finish.
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In more recent years, a diverse cross-section of artists have started to favour Rickenbacker guitars. In 1979, Tom Petty and Mike Campbell of Tom Petty and the Heartbreakers would adopt the Rickenbacker 12-string “toaster” jangle into their records and still use the vintage 1960s models. The post-1960s “Hi-gain” pickup-equipped guitars are associated with The Jam and REM. The “Hi-gain” pickups are well suited to harder spiky pop/rock sounds as well as the classic clean chime.
A significant cosmetic change occurred in Japan in ’65, which can help determine dates. Previously, almost all models had plastic pickguards. In ’65, most models switched to striped metal guards, with the alternating matte stripes etched into the metal. Thus, if you find a guitar Teisco with a plastic guard, it’s probably from ’64 or early ’65. If it has a striped metal guard, it’s probably from ’65 or later.
“Most guitarists learn from records,” says Dr. Andre Millard, a professor at the University of Alabama-Birmingham, editor of The Electric Guitar: A History of an American Icon. “That’s how you learn to play. We learn from the classic records. And those classic records have that classic tone, which is ’58 to ’63.” And quite frequently, Millard points out, the studio had as much an impact on those recordings as anything else. He uses the Rolling Stone’s debut, England’s Newest Hit Makers which was released on London Records in 1964, as an example.
It’s provided as-is with no support, but it’s still well worth checking out if you’re on a PC. According to the developers, it was born inside an academic research project about the modelling of electric devices, and then applied to the musical instrument field as an evolution of the techniques available in commercial units. Its most important feature is the high precision of the simulation.
Electric guitars vary by type. Some are designed for beginners, while others are customized for professional guitar players. Most of the major electric guitar brands are available in a variety of different styles, each designed to best suit a customers' specific playing needs. The most popular electric guitars have great rock sounds and the best bodies. On electric guitars, strings affect the sounds too. Ease and sound are certainly big factors to consider when choosing a new electric guitar.

Seagull guitars were first manufactured in Quebec in 1982. Their goal was to introduce a high-quality guitar with all the essentials for a reasonable price. It goes without saying that they completed that goal, as Seagull guitars are still here today.Seagulls are great for both beginners and pros. They are durable and high-quality. They have incredible sound-quality and they have something for everyone. They make both acoustic and electric guitars at reasonable prices. Seagulls are easy to play even for beginners. Additionally, they strive to reduce the impact guitar manufacturers have on the environment. They use sustainable wood sourcing so that they can avoid deforestation. Reclaimed wood is often used in the production of Seagull guitars. 

Fortunately, some of the best happy accidents have been preserved for posterity. For over 40 years Seymour W. Duncan has kept meticulous notes on the best pickups to cross his workbench. Many of these have been resurrected as Seymour Duncan models. For example, our ’59 Model is based on a particularly sweet-sounding ’59 P.A.F. in one of Jeff Beck’s guitars. Another of our models, the Pearly Gates, is inspired by another, rawer-sounding ’59 P.A.F. That’s just one example of two supposedly identical pickups from the same year displaying different musical personalities.
We answer this with a resounding, “Yes!” While electric guitars depend solely on pickups to be heard and to change or distort sound, acoustic electric guitars just provide the ability to amplify the sounds of an acoustic. The acoustic electric guitar construction is still built the same way as an acoustic but with pickups added in the design. You now have the ability to play plugged-in to amplify the natural acoustic harmonics of your tonewoods, or you can play unplugged when jammin’ it at a Summer bonfire.
At the beginning of the 1920s, Andrés Segovia popularized the guitar with tours and early phonograph recordings. Segovia collaborated with the composers Federico Moreno Torroba and Joaquin Turina with the aim of extending the guitar repertoire with new music.[14] Segovia's tour of South America revitalized public interest in the guitar and helped the guitar music of Manuel Ponce and Heitor Villa-Lobos reach a wider audience.[15] The composers Alexandre Tansman and Mario Castelnuovo-Tedesco were commissioned by Segovia to write new pieces for the guitar.[16] Luiz Bonfá popularized Brazilian musical styles such as the newly created Bossa Nova, which was well received by audiences in the USA.
In the entry-level market, brand-name guitar companies are usually forced to make their guitars with cheaper materials. There is a simple reason for this. Most major brand-name companies have a brand owner (sometimes an American company). That company buys from a factory in China, and in Australia they will have a distributor who will sell to a retailer (your local music store). It’s pretty easy to see why they can be forced to use cheaper materials. There is a lot of price pressure to get a guitar manufactured at a low enough price for everybody to take their cut of the profit down the chain.
You can divide these further into cabinets and combos. A cabinet is simply an amplifier without a head. The head is all the knobs and so on that can be tweaked to produce variations in tone and volume. Combos include the head, so they're often preferred as they're easier to port around. However, if you want a multi-speaker setup, you'll want to opt for cabinets with separate heads.
The Yamaha's FG series FGX800C is a perfectly machined instrument. If there is one thing Yamaha is known for, it's the quality of their mass-produced acoustic guitars, which people like to pooh-pooh due to the romanticization of extremely expensive handmade guitars. Yamaha has perfected this machining process to a point where you wouldn't really be able to figure out if the instrument was put together by a luthier or if it was made on a factory floor somewhere. This is the case with nearly every accessible guitar these days thanks to machines reducing errors and driving prices down.
.From its G logo cattle brand on top, to the fence rail pickguard graphic, the Chet Atkins Gretsch cowboy'd up big time with cactus, cattle, rifle and arrow inlays inscribed right into the mother of pearl. This 6120W  Reissue combines many of the most desirable features of this longtime favorite. Twin Filter-Tron pickups offer lively, hum-free performance, with master volume and tone controls for ease of operation. See pics,pricing and info here
SPEAKER-LANEY-LA30Stock Code: 558568Guitar Amp Items Available: 1Stock ID: 558568Available at Cash Converters Pinetown only. Subject to availability.Please visit the store to view and purchase the product.Cellphone number 083 459 1248 (Whatsapp) Telephone number 031 701 9017 - speak to JennyBuy with confidence -This product is covered by the Cash Converters guarantee.Faulty goods returned within 6 ...
Speakers and speaker stacks are a necessary partner for standalone amplifier heads. Take the total power level into account when you're looking at speakers, ensuring you're getting a stack with the muscle you need for the venues you play. Speaker configuration is also important, with larger woofers delivering more powerful bass and smaller tweeters bringing through the high-end.
If, like me, you have a short fuse, you might find yourself cursing to yourself when unable to nail something on guitar. Indeed, you might get so frustrated that you feel like, literally, nailing something into the guitar. If you do get to this point, it's because you're trying to move too far, too quickly. Your mind and fingers will struggle to keep up with your expectations if you're too ambitious or impatient.

Play It Loud: An Epic History of the Style, Sound, & Revolution of the Electric Guitar is just that: a swooping, all-encompassing timeline of the instrument’s early days to its beyond-essential role in pop culture and music. Written by Brad Tolinski and Alan Di Perna, with a foreword by Carlos Santana, the book dives into the electric guitar’s place in our society, tracing its evolution in sound, style, look and purpose. Here are 10 things we learned from reading:

Teisco's very FIRST solid body electric guitar, the 1954 Teisco, Model J-1. 1 single coil Pickup. Front plate says, "NIHON ONPA KOGYO CO. LTD TEISCO". Back plate says, "TEISCO ELECTRIC GUITER MODEL J1". Yes, Guitar is misspelled as "GUITER"!. Maple neck is a "ball bat" with very pronounce "V". Guitar is currently set up for slide with "flat-wounds". VERY ROUGH CONDITION and lots of "character". Where to start, hm....? Firstly it has termite, yes, termite damage to the back. Don't ask me how, I don't know. The top is veneered with a beautiful quilted maple, but is missing a big section on the front. The tailpiece is missing it's cover. The wood bridge is partially inverted and sagging, due to string tension. The pick guard is warped (normal to many vintage guitars). We're pretty sure the brown bakelite knobs, while cool, are not original. Some of the frets have been changed, mostly by removing from the last 6 slots and relocated. 95% of the veneer is missing from the back. The tuners are mostly original with a couple of replacement gears. A couple of the tuner button shafts are bent, but tuners still function. The great thing is the way it is currently set up, it makes a heck of a "slide guitar". The original pickup sounds incredible through both our shop Trace Elliot and Marshall JCM-800!!! No case included.

Electric Guitars- Vintage, new & used / Second-hand electric guitars by Kay, Teisco Del Rey Ray ET J-1, Univox & Silvertone. Cheesy Japanese, Surf Guitars. Also guitars by Ibanez, Gibson, Fender, Peavey, Martin, Zon, Gretsch, Rickenbacker, Diasonic & More. Les Pauls recording, lap steels / slide guitars, Barney Kessel style, Fender Stratocasters, Telecasters, Squire Bullet series, Peavey Falcon neck Martin Acoustics, bass guitars, Zon Legacy Elite 5 string Bass, Diasonic double single cutaway, Rickenbacker, archtop, Gretsch TW-100T Traveling Wliburys guitar, Hamer Mirage 1, Yamaha sg-2000, Fender Jag-Stang, Gibson Howard Roberts, Ibanez Artist AR-100 to name a few.

Although Orbison’s good friend and Sun Records labelmate Johnny Cash may be known as “the Man in Black,” Orbison habitually dressed from head to toe in black in the early Sixties, a decade before Cash adopted his dark uniform. Even Orbison’s raven hair and impenetrable jet Ray-Bans were blacker than the cover to Spinal Tap’s Smell the Glove, adding to his alluring persona as a mysterious, brooding artiste.

In the 1960s, the tonal palette of the electric guitar was further modified by introducing effect units in its signal path, before the guitar amp, of which one of the earliest units was the fuzz pedal. Effects units come in several formats, the most common of which are the stompbox "pedal" and the rackmount unit. A stomp box (or pedal) is a small metal or plastic box containing the circuitry, which is placed on the floor in front of the musician and connected in line with the patch cord connected to the instrument. The box is typically controlled by one or more foot-pedal on-off switches and it typically contains only one or two effects. Pedals are smaller than rackmount effects and usually less expensive. "Guitar pedalboards" are used by musicians who use multiple stomp-boxes; these may be a DIY project made with plywood or a commercial stock or custom-made pedalboard.