The two piggyback guitar amps included the 1010 Guitar Amplification System ($605), which offered 10 tubes, 105 watts, two channels, four inputs, volume, bass, middle and treble controls for each channel, presence, reverb, tremolo, variable impedance, and a cabinet with eight 10″ Univox Special Design speakers with 10-ounce ceramic magnets and epoxy voice coils. The cabinet grille had eight round cutouts. The 1225 Guitar Amplifier System ($435) had eight tubes, 60 watts, two channels with the same controls as the 1010, and a cab with two 12″ Univox speakers with 20-ounce ALNICO magnets and 2″ voice coil. The grille had two large round cutouts with two small round cutouts on the sides. The amps had handles on the top, the cabs handles on the sides, to make life easier for your roadies.
In the early 1980s Collings decided to move to San Diego, California but never made it further than Austin, Texas.[3][4] He started out sharing work space with fellow luthiers Tom Ellis, a builder of mandolins, and Mike Stevens. A few years later he decided to continue on his own and take the craft more seriously, moving into a one-stall garage shop.

While jazz can be played on any type of guitar, from an acoustic instrument to a solid-bodied electric guitar such as a Fender Stratocaster, the full-depth archtop guitar has become known as the prototypical "jazz guitar." Archtop guitars are steel-string acoustic guitars with a big soundbox, arched top, violin-style f-holes, a "floating bridge" and magnetic or piezoelectric pickups. Early makers of jazz guitars included Gibson, Epiphone, D'Angelico and Stromberg. The electric guitar is plugged into a guitar amplifier to make it sound loud enough for performance. Guitar amplifiers have equalizer controls that allow the guitarist to change the tone of the instrument, by emphasizing or de-emphasizing certain frequency bands. The use of reverb effects, which are often included in guitar amplifiers, has long been part of the jazz guitar sound. Particularly since the 1970s jazz fusion era, some jazz guitarists have also used effects pedals such as overdrive pedals, chorus pedals and wah pedals.

The dual-DSP-powered Helix combines amp and effects models in a large, rugged floor pedal. There are a massive 1,024 preset locations onboard the Helix, organised into eight setlists that contain 32 banks with four presets each. Each preset can have up to four stereo signal paths, each made up of eight blocks populated with amps and effects. With the current count of 41 modelled amps, seven bass amps, 30 cabs, 16 mics, 80 effects and the option of loading speaker impulse responses, there's great potential for sound creation. Line 6 has implemented an easy editing system, complete with a joystick, and - get this - touch-sensitive footswitches offering a shortcut to parameter adjustment; you can even use these with your feet to select a parameter before adjusting it with the pedal treadle! There are some great sounds here, especially when you get beyond the factory presets and shape things to your own taste. The Helix's advantage lies in its comprehensive input/output and signal routing ability, which can facilitate just about any guitar-related studio or onstage task you can think of. However, if you don't need all that connectivity, and want to save a bit of cash, there's also the Line 6 Helix LT.
Also in ’65, W.M.I. produced a Teisco Del Rey catalog that offered some interesting wrinkles in the story. For starters, the guitars shown are the same as in Teisco’s catalog, but the models were all renamed with a one or two-letter prefix followed by a dash and a three-digit number. Solidbodies were designated E- for stoptails, and ET- for those with tremolos/vibratos. Basses were labelled EB-. The numerical suffix signalled the number of pickups in the first digit; the ET-320 had three pickups, the ET-200 had two pickups, etc. Hollowbodies retained the original EP- prefix and either single or double-digit suffix. Amps remained as the Checkmate line.
In 1959, the Special was given the same new double-cutaway body shape as the Junior and the TV received in 1958. However, when the new design was applied to the two-pickup Special, the cavity for the neck pickup overlapped the neck-to-body joint. This weakened the joint to the point that the neck could break after only moderate handling. The problem was soon resolved when Gibson designers moved the neck pickup farther down the body, producing a stronger joint and eliminating the breakage problem.
It features a handsome Grand Auditorium shape with a soft cutaway for good access to the higher frets, while the satin-finished sapele neck is incredibly playable – as is the case with all Taylor guitars. The iconic brand keeps costs low with laminated sapele back and sides paired with solid Sitka spruce on the top, as well as producing it in the respected Mexican facility.
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I want to talk about a session that I got hired for this week. On this particular session, I was asked to recreate a very early-to-mid 70’s guitar tone. Something in the vein of George Harrison. Maybe “All Things Must Pass” era.

So I want to talk about my method, and the process to get this sound. The first key element is guitar and amp. I always start here. I feel like this is the most important relationship in getting any era of sound.
So, we’re just over £100 here with the Fender Mustang I V2 Guitar Amplifier Combo, but we had to include the new version of the world's best-selling amplifier series. At just over £100 you get 18 amp models, 37 effects, and 24 onboard factory and user presets – which is a lot of features for such a small price tag, definitely making it one of the best cheap amps money can buy. With 20 watts of power at your disposal pumping out through an 8" Fender Special Design speaker, it won’t blow the windows out, but it will certainly stand up on its own on stage and when used in a rehearsal or practice situation.
Pedals. I have a basic rule when it comes to overdrives, distortions, and fuzzes: When I engage them, I want the volume to either stay the same or increase a bit, so I’m “pushing” the amp with the pedal. Because drives compress the sound, they can tend to seem louder overall when you turn them on, but actually they might be reducing the overall peak level. I don’t want to diminish the natural output level coming out of my guitar, and I don’t want my guitar tone to vanish in the mix when I hit a pedal. As I mentioned earlier, I often run the tone control quite low on drive pedals, which I feel keeps them sounding warm and natural.

It's a basic rule of physics (called Faraday's law) that a changing magnetic field produces electricity. So a guitar string will produce electricity only for as long as the magnetic field is changing—in other words, for only as long as the metal string is moving. Once the string stops vibrating, the sound stops. In that respect, an electric guitar is just like an acoustic one.

The Epiphone G-400 features a mahogany body and neck and a rosewood fingerboard. It has Alnico Classic PRO™ pickups with coil-splitting on both pickups via a push/pull control on the pickups’ volume controls which gives you a lot of tonal variety. If you want to nail it like Angus Young, Eric Clapton in his Cream days or Tony Iommi from Black Sabbath, the PRO gives you the sound of a true SG without the vintage price tag.

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Theoretically, there is an unlimited number of possible chords. In actual play, you can get along just fine for quite a while with only around 30 chords in your repertoire, and maybe even less depending on what type of music you want to play. There are bluegrass guitar players that have gone through entire careers never playing more than a dozen or so chords.
I once did a setup on one that belonged to a friend but it was really wrecked so it wasn't perhaps a fair representation. It seemed to be well built though and the neck was nice enough. The tone was decent too although not exciting - exactly what you'd expect from such a guitar. Overall I'd say it was better than the cheaper squiers (SEs, Affinities etc).

Fender guitars are made either in the United States or Mexico. There is a limited number of guitars being made in Japan, but those are only sold on Japanese domestic market. The difference in quality between the U.S. and Mexican Fenders is obvious but not too great. No matter which one you go for, you will get the same refined tone that made this company famous.
Some professional-grade amp heads, such as Ampeg's SVT400-PRO, have an audio crossover, an electronic filter that enables a bassist to split their bass signal into a low-pitched signal (which could be routed to a cabinet suited for low-pitched sounds, such as a 1x15" or 2x15" cabinet), and then send the middle and high-frequencies to a different cabinet suited to this register (e.g., a 2x10" or 4x10" cabinet with a horn-loaded tweeter). Amps with a crossover can either have a single crossover point pre-set at the factory (e.g., 100 Hz) or a knob is provided to enable the bassist to select the frequency where the bass signal is split into low and higher-pitched signal. The SVT400-PRO has a user-adjustable crossover knob. Amps with an adjustable crossover point can enable bassists to fine tune the sound of their bass sound. For example, in some halls, a bassist's usual crossover point may sound too "boomy" or rumbly; turning the crossover knob to send more of the low-pitched bass signal through the 2x10" cab may reduce this problem.
• What they’re made of: Frets are typically made of nickel-silver or nickel-steel alloys, or – less often – brass, copper alloy or stainless steel. The harder and more dense the material, with stainless at the top of the scale and soft nickel at the bottom, the brighter and more cutting the notes played on a guitar should sound. Most manufacturers use nickel alloys because the metal is soft and easy to work with. At this point, most guitarists’ ears have been developed to the sound of nickel as well, and most guitar buyers have a tendency to balk at the unfamiliar when shopping for instruments.
Either way, the results in the Descent Reverb are nothing short of phenomenal.  If you watch the demo video below, you'll hear some of the most unique sounds capable of being produced by a guitar pedal. Pigtronix did something similar with delay and pitch shifting in the Echolution 2 Ultra Pro, but we think the combination is even better in the Descent.

Bob, 66 is not too late to start playing. I play classical guitar, my preference and I -also play steel string scoustic guitar. I own a Taylor because it lends itself nicely to finger style picking (carried over from my classical guitar. I play with a harpest who did not begin playing until she was 73. She is now 86 and plays someplace almost every day of the week. It's never too late to begin. Go for it I'm 69 and playing more gigs than ever.

If you were a fan of almost any kind of contemporary popular music when you were growing up, there was probably a time when you thought that it might be cool to learn how to play guitar. Whether you admired the road-going, globetrotting, fly by night lifestyle of rock stars or you just thought it might be a good way to pick up chicks, there’s something viscerally desirable about garnering even a modicum of instrumental mastery. And that very well might have something to do with the allure of the instrument itself.
By the way, I’d like to also take this opportunity to thank collector and one of VG’s earliest subscribers Jim Dulfer for invaluable help in an ongoing research effort, providing access to his truly impressive paper collection and photographs of some of his instruments. These catalogs are filling in many, many holes in information. You will be reaping the benefits in upcoming “Different Strummer” columns in both information and illustrations, as well as in upcoming book project. Thanks to Jim from guitar fans everywhere!

Fretsizes can be confusing.  They are small measurements but have a big impact on feel and the size designations can vary.  Its best in my opinion to think and talk of frets in their actual crown widths and heights rather than the old Dunlop numbers (the originator of the 6xxx numbering system) as they can mean different things to different people; i.e. Warmoth lists 6105 as .095-.047" while USACG has is at .090-.055" - these are two very different feeling fretsizes. 
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If you're a Zakk Wylde fan, take a look at his signature Les Paul or the exclusive Graveyard Disciple with its authentic Floyd Rose tremolo bridge. For the metalheads among us, there's the Brendon Small Thunderhorse Explorer, a mahogany axe based on the one Brendon plays in concert with Dethklok. To satisfy Beatlemaniacs, Epiphone also has a Casino guitar inspired by John Lennon’s famous six string.
While audio feedback in general is undesirable due to the high frequency overtone, when controlled properly, it can provide true sustain of the sound (instead of using a distortion/compressor to make quiet notes louder, or a feedback of a signal in a circuit as in a delay unit). Several approaches have been used to produce guitar feedback effects, which sustain the sound from the guitar:
Fender:  These guys have also been around for a long time and are just as iconic as Gibson. Especially for the creation of what could arguably be the most popular electric guitar of all time – The Fender Stratocaster. The Stratocaster may be one of the most popular guitars of all time, but it’s what led to it that really changed the guitar world forever. It’s the fact that the man responsible, Leo Fender, a visionary and dedicated workaholic, invented the first commercially successful solidbody electric guitar –an invention that has led to the incredible array of amazing electric solidbodies of today. It’s important to note that Rickenbacker had created a somewhat solid-body guitar back in 1935. However, it was small, kind of awkward and not completely solid or even actual wood. Some consider it the first solidbody, but by other standards most people still credit Fender for the design. There where still other semi-solidbody experiments at the time created by Les Paul himself as well as Paul Bigsby for Merle Travis but none of those actually caught on commercially the way the Fender (Esquire, then Broadcaster) did. Fender’s original solidbody guitar went through a number of refinements and name changes until it finally came to be known as the, Telecaster.
These are hybrid tube and transistor amps. They are not emulators like a line 6 or other amps. They have 8 different analog amp circuits based on various amps, they don’t call them what they are but they are similar to Fender, Vox AC15, Vox Ac30, Dumble, Marshall and I think an Orange ( CLEAN1, CLEAN2, CRUNCH1, CRUNCH2, OD1, OD2, H.GAIN1, H.GAIN2). I don’t use the higher gain ones much - they are very heavy metal sounding. They also have very nice modulation effects - Chorus, Delay, and Reverb. I no longer use a separate chorus or reverb in my signal chain. The amp uses a 12AX7 tube pre-amp and the power amp which gives the tube overtones to the analog circuit you choose. Plus, you can bias the tubes to bright and power in both the pre-amp and post amp.
Everyone listens to music for different reasons. The transition of 'acknowledgment' to 'love' of an artist or song is an entirely unique experience, starting from smell, location, time of day, time of year, repetitions over time etc., that triggers interest. Obviously, anyone who bashes John Mayer is stuck on radio feeds and needs to explore his music before judging on pop tunes, and almost all Hendrix aficionados are late adopters that buy trends (a marketer's dream).
The solid-body electric guitar is made of solid wood, without functionally resonating air spaces. The first solid-body Spanish standard guitar was offered by Vivi-Tone no later than 1934. This model featured a guitar-shaped body of a single sheet of plywood affixed to a wood frame. Another early, substantially solid Spanish electric guitar, called the Electro Spanish, was marketed by the Rickenbacker guitar company in 1935 and made of Bakelite. By 1936, the Slingerland company introduced a wooden solid-body electric model, the Slingerland Songster 401 (and a lap steel counterpart, the Songster 400).

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