A common format of bass amplifier–the "combo" amp–contains the amplifier electronics and one or more speakers in a single wooden cabinet. Combo amps have been used by musicians since the 1920s, as they are convenient for transporting to rehearsals and for performances at small to mid-size venues. Combo amps range from small, low-powered "practice amps" used for individual practice, to mid- and large-size and more powerful combo amps which produce enough volume for rehearsals and small to mid-size venues (e.g., nightclubs). For larger venues, such as stadiums, bassists may use the "bass stack" approach, in which one or more separate speaker cabinets, each with one or more speakers (but not containing an amplifier) and a separate "head" containing the amplifier electronics are used. With a large "bass stack", a bassist can obtain a much higher wattage and onstage volume than a "combo" amp could provide. As with an electric guitar amp, a bass amp is not simply used to make the instrument louder; performers use the preamplifier and equalizer controls and, particularly in amps from the 1980s and 1990s onward, the onboard electronic effects, to create their preferred tone.
In 1950, Leo Fender introduced the single-pickup Esquire, and a few months later released a dual-pickup version called the Broadcaster that, due to trademark issues, was later renamed the Telecaster. The Tele® would go on to become the world's first successfully mass-produced solidbody electric guitar. Simple yet elegant, it has been a show-stopper and session magnet since its debut. It’s the go-to guitar for twangy chicken pickin’ solos, which is why the iconic axe has appeared on the majority of country records over the past six-plus decades.
The playing of (3-5 string) guitar chords is simplified by the class of alternative tunings called regular tunings, in which the musical intervals are the same for each pair of consecutive strings. Regular tunings include major-thirds tuning, all-fourths, and all-fifths tunings. For each regular tuning, chord patterns may be diagonally shifted down the fretboard, a property that simplifies beginners' learning of chords and that simplifies advanced players' improvisation. On the other hand, in regular tunings 6-string chords (in the keys of C, G, and D) are more difficult to play.

From top to bottom, this Hummingbird creates a buzz. Whatever your preference in size, colour, tone and playing style, it’s difficult to avoid picking this Cherry Sunburst up. It’s such a simple guitar to play that it’s rare to ever feel like you’re incapable of striking the right chord - especially on a neck that’s just 12” in radius. While the traditionally ornate decoration and blushing finish have been lovingly retained, this modern Montana incarnation offers a discrete LR Baggs Element VTC system for plug-in power. It is unlike many we have seen and produces one of the best sounds we’ve heard from an electric acoustic. Throw in the pleasure of playing such a superb guitar and it’s tough to say anything bad about the Gibson Montana Hummingbird Cherry Sunburst.  

Firebird is one of those less known, but legendary Gibson models. The 2016 version brings the core of what this bodyshape is all about, with more modern components. Even though my experience with Gibson Firebird is very limited, it’s one mighty guitar. It comes with mini humbuckers, and the sound is pretty unique. You can play anything from rock to metal on this bad boy, without being limited in any way.
SOLD OUT Here we have a great 45 Year old Japanese Vintage 1971 Yamaha FG180 Red Label Nippon Gakki Martin like vintage tone for a fraction shes a Boomer low action plays easily WoW! ... Just in and AVAILABLE JVG- Fresh Release: I can tell you this is a real good one folks! No structural cracks or checking in finish, its a beautiful Solid Spruce Top and it is pretty flat with no noticeable bellying and its bridge is tight, action is excellent within Martin specs... This guitar received the JVGuitars SET -UP upgrade to bone nut and compensated martin saddle as well as the brifg pins upgraded to very nice Rosewood with abalone dot detail as well as a new set of Martin Marquis strings ( 12’s ) 80/20 Phosphorus bronze . The neck has a classic feel to it with an excellent vintage finish still shines like glass …excellent with a classic Martin like feel in a soft V Medium Profile and has the correct relief set to within M spec frets are still good - we leveled and dress them. We first took off the old strings and fully clean the fingerboard and re-hydrate the woods before polishing all surfaces and lubricating the excellent upgraded Ping Deluxe tuners, Not to be confused with the similar model made in Taiwan this the famous Nippon Gakki made in Japan one and this is a really good one at that folks. Never abused, well cared for, no cracks, great neck alignment to this day, action excellent, plastic tone robbing parts - GONE! Bone & Rosewood sustains better than ever…. these are know for great “ M” Like vintage tone and is in great vintage condition,
Someone is going to be very pleased. For a Song Any questions or to contact Joe to buy this contact Joe at: jvguitars@gmail.com Thank you for your interest Joe ..

A question which causes much thought and divide! Catch 22 to a degree: you can't play songs till you've learnt some chords, but just knowing some chords will mean you actually can (though you are not aware of it) play loads of songs. There is a plethora of songs out there with only three chords (some with only two!). Their differences are that the order of chords is slightly different for each - with the exception of the thousands of 12-bar tunes!
I dont know but im looking for a good bass guitar too. Depends on your price range. Personally I realy like Ibanez basses and think they do really good low to mid price range basses. If you are looking at a professional quality basses you should look at Rickenbacker, Musicman (stingray), Fender, Lakland and Shadowsky as they are the main brands for professional basses.

By 1970, regular distribution of Japanese-made guitars, including Lyle brand guitars, began in America. In the early 1970s, Arai joined with instrument manufacturing company Matsumoku to produce guitars. It is inconclusive if they continued producing Lyle guitars at this time, but they did launch the Aria Pro II line in 1975, which included set-neck copies of the Gibson Les Paul and SG, and Fender Stratocaster and Telecaster guitars.
This is an American Fender Telecaster electric guitar played on the both pick-ups setting and is played through a Fender Bassman '59 Reissue with old valves in. This soundfont has the same presets as the Fender Jaguar above and is also recorded with the volume on the edge of break up on the amp (read the Fender Jaguar above for description of amplifier setting). This guitar is suited to jangly indie sounds or clean country sounds but can be very rocky with more distortion added. This guitar is also a classic that has been used in alot of types of music.
Epiphone is to Gibson what Squier is to Fender. Meanwhile, the Les Paul is Gibson’s Stratocaster. Probably one of the most famous guitars on the planet, the Les Paul has been played by the likes of Slash, Jimmy Page, and Bob Marley. Epiphone, luckily, has made it available to the world with a price that won’t break the bank. And it’s an excellent guitar for those starting to play rock music.
Listing the initial six harmonics of the G note, this open-G tuning was used by Joni Mitchell for "Electricity", "For the Roses", and "Hunter (The Good Samaritan)".[9] It was also used by Mick Ralphs for "Hey Hey" on Bad Company's debut album.[5] and on the Meowtain song "Alleyway" Stone Gossard also used this tuning in the song "Daughter" by Pearl Jam.
Also new in ’66 was the SM series, a variation on the E-100 and ET-100 introduced in the previous year, very similar to the Ks except the cutaway horns were flared outward in the classic Teisco “tulip” shape which would dominate later in the decade. These had fairly flat rectangular chrome-covered pickups, with a rectangular indentation stamped in the center and six flat round poles, plus to long half-slots along both outer edges. The SM-2L (Teisco Del Rey ET-210) had the hooked headstock, small striped metal pickguard along the lower body, two on/off sliders, volume, tone, roller bridge and Bigsby-style vibrato. The SM-2L retained the German carve relief of the K series. A plain-Jane SM-2 (Teisco Del Rey ET-200) followed, sans German carve, and with a bridge/tailpiece assembly. The SM-1 (Teisco Del Rey ET-110) had just a neck pickup with volume and tone controls, bridge/tailpiece assembly, no German carve or striped metal pickguard, and the Strat-style head of the previous ET-100.

You can reach me by phone all day(8am until 5pm) on Monday through Saturday  If I don't answer I probably have machinery running or have both hands busy but leave a message and I will call you back shortly. During off hours please leave a message and I will call you that evening or the next morning. Feel free to email me with any general questions you may have.

Finally, new by ’41 was the No. 130 Supro Rio Spanish Guitar. This was a slothead Regal roundhole flattop done up in a “radiant blonde hardwood body.” It had an 13″ body and logo plate on the head. In place of the typical acoustic bridge was the same square pickup/control panel found on the Clipper. The cord was permanently attached and sort of snuck out from under the control plate on the top. Cost was $33.

Some of the more distinctive specifications include, the headstock shape, tuners, neck and fretboard, bridge, and pickups and electronics. The headstock shape is based on PRS’s trademark design, but inverted to both accommodate Mayer’s playing style and also to keep a consistent length of string behind the nut, which makes staying in tune easier. The tuners are a traditional vintage-style, closed-back tuner, but with PRS’s locking design. The neck shape was modeled after 1963/1964 vintage instruments, and the fretboard has a 7.25” radius. The moment your hand grabs this neck, it just feels right. Like the tuners, the steel tremolo takes a classic design and incorporates PRS’s trem arm and Gen III knife-edge screws. The bridge on the Silver Sky is setup flush to the body in the neutral position so that the tremolo bridge only goes down in pitch. By keeping the bridge in contact with the body, the guitar itself is acoustically louder, which improves the signal to noise ratio of the single-coil pickups. The 635JM single-coil pickups are very round and full, with a musical high end that is never “ice-picky” or brash.
A standard Squier Stratocaster is mass-produced in factories located in Indonesia or China. For its construction, Squier usually uses woods readily available in those countries, such asagathis and basswood. They also use stamped metal hardware and multiple pieces of wood in construction to reduce waste and to lower costs. In some cases, the body is laminated, much like a plywood, rather than consisting of two or three solid pieces glued together.
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Electro-acoustic guitars are commonly referred to as semi-acoustic guitars. Electro-acoustic guitars have pickups that are specifically designed to reproduce the subtle nuances of the acoustic guitar timbre. Electro-acoustic pickups are designed to sound neutral with little alteration to the acoustic tone. The Ovation range of Electro-acoustic guitars have under-the-saddle piezo pickups and a synthetic bowl-back design. The synthetic bowl-back ensures a tough construction that stands up to the rigours of the road while offering less feedback at high volumes. Ovation were the first company to provide on-board Equalization and this is now a standard feature. The Taylor Electro-acoustic range uses the traditional all-wood construction and the necks of these guitars have a reputation for superb action and playability. Yamaha, Maton and many other companies manufacture Electro-acoustic guitars and the buyer is advised to test as many models and makes as they can while taking note of the unplugged and amplified sound.
For visual clarity, I’ve indicated ground connections with a down-facing triangle. As you probably know, all ground wires must be electronically connected to each other. (One convenient method is to solder all pickup ground wires, the output jack ground, the pickup selector ground, and the bridge’s ground wire to the back of the volume pot, and then run a jumper wire to ground the treble control. In conventional wiring, all pots must be grounded, but here, it’s not necessary to ground the bass pot.)
While Line 6 is probably the best known high-volume preset modeling amp brand, Peavey isn’t far behind – and truly rivals the offerings of Line 6, both in quality and quantity. What’s especially intriguing about this particular amp is that it allows you to choose not just the amp models and a wealth of applicable effects, but that it gives you the power to choose the type of instrument you’re plugging into it – thusly shaping the rest of the options accordingly. Whether you play guitar, acoustic guitar, or bass, this amp can change it sound to suit the instrument. And that’s a lot more than other competitors’ amps have to offer. It also features a tap tempo, USB connectivity, a headphone jack, and more.
And its not just about the looks, because this affordable guitar comes with a solid spruce top with mahogany back and sides. This means that you are getting a mid-tier instrument for the price of an entry level guitar, a beginner guitar that will grow with you as your ears become sharper and you learn to play better. Because of its conventional build, this acoustic has a warm and balanced tone that can sound bland to some, but it should make for a great starting point for those who are still discovering their own musical voice.
Wengrow said that Gibson got outmaneuvered by its competitors. “In the 1950s and 60s, it was really just Fender and Gibson as the two main guitar makers and they became the standard bearers. But other guitar makers such as Ibanez, Jackson, Yamaha and Paul Reed Smith, came to existence and copied their standards but continually updated many features and customizations that better reflected the idiosyncrasies of the times, often for cheaper prices.”
My first Custom was a Charvel/Jackson Star body with a custom white paint with bullet holes and dripping blood from the holes ! My friend and Guitar teacher Randy Rhoads helped me get started on the right track in 1980 ,before I was playing in clubs and headlining shows later in the 80s and 90s,I was set with the perfect guitar! Gibson is just a brand name,Epiphones are better then Gibsons ,your just paying for a name,same with Fender! Remember,one of the greatest guitars was made for less then $300,so you should never really spend more then that unless it is a custom ,then you can do what you have to!
The C3M comes with Savarez Cristal Corum high-tension strings, but you can always change them out for something different if you prefer. Aesthetics-wise, the guitar has a matte finish (the “M” in the model name), but it really has no bearing on the way the guitar sounds.All the same, you’ll want to protect your guitar from nicks, cuts and other damage.
Thanks for your note, Ed. I try and be terribly clear that there’s no notion of 1 being higher than another. They’re simply completely different, and it’s a matter of preference what you wish. Nothing I’ve ever denote has gotten additional attention than this, thus despite it in all probability being futile, i’m getting to build redo of this with video likewise.
The pickups on this guitar are really cool and not found on any other model that I’ve seen.  They are really loud single coils reading out at 5.58k at the bridge, and 5.90k at the neck.  The pole piece screws even have some “gold foil” surrounding them, which is really cool and not usually seen.  These pickups sound very close to vintage American p90s, and they have this loud, articulate, sparkly clean tone combined with a really grindy dirty tone.  These pups are special, seriously!  Also, those switches were standard fare through the late 60s on most Matsumoku guitars.
Measure the height of the strings at the twelfth fret. For most playing styles, the height between the bottom of the low "E" string and the top of the twelfth fret should be a hair over 2/32". The High "E" string should be set at 2/32". The other strings should gradually flow between these measurements. This is where I would start, but the player's style (particularly their right-hand attack), as well as string gauge, scale length and individual neck nuances may necessitate deviation from these numbers.
At the more reasonable end of the price scale compared to other Gretsch guitars, sits the Gretsch G2655T Streamliner. While not an arch top like the guitars listed previously, this guitar does feature a hollow bodied design. As such, it perfect for clear, ringing chords and lead lines. Also in its favour is the G2655T Streamliner’s thinner body depth. This makes it more comfortable and slightly less cumbersome than the bigger, more traditional jazz guitars. You’ll also get more versatility from a ‘regular’ semi acoustic, meaning you can dabble in blues, rock and country with the Streamliner models.
Fender is considered as an American manufacturer of amplifiers and stringed instruments, which was founded by Clarence Leonidas Fender in the year 1946. They provide a wide range of guitar. It has comfortable necks and  smooth fingerboard. Their headquarters located in Scottsdale, Arizona, United States. The guitar will available at Rs. 12,199/- onwards (approx). For further information, visit fender.com.
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