The Kremona “Sofia” model is handmade in Bulgaria as well with a fantastic support staff to answer any questions, so if you have concerns about items made in China, you can lay those concerns aside. The top is cedar, with an authentic bone nut and saddle, and solid African sapele back and sides complete the look for a very pleasing appearance and sound.
It’s a good idea to make a template for your wiring on any guitar where the controls aren’t mounted to a pickguard (like a Strat) or a control plate (like a Tele). To make the template, put a piece of non-corrugated cardboard over the guitar, use finger pressure to find where the control holes are, and very carefully poke through the cardboard with a punch or a nail to make a hole for your template. You can enlarge the holes with a pencil or a round file until they are big enough for the controls to be mounted snugly. It’s also a good idea to write what is supposed to go where on the template with a marker.
No doubt many of you thought that the very first electric guitar was Les Paul’s legendary “Log.” Well, regardless of who was responsible for its invention and evolution, electric guitarists throughout the world are truly grateful for the ability to amplify their instruments, as are their audiences. This capability to connect to dedicated guitar amps along with the use of distortion and guitar effects has spawned entirely new genres of music. Pickup types and configurations, as well as specialized switching options and tone controls also help generate different sounds. But when you break it down to the basics, there are really only three types of electric guitars in existence to this day, excluding acoustic-electrics - the aforementioned Hollow Body, Semi-Hollow Body, and Solid Body varieties.
The SG started out as a lighter alternative to the Les Paul - which Les didn't like and eventually opted out of. But what seemed like a failure turned out into a success story because many rock and metal guitar players loved the SG's sharp look, faster neck and comfortable upper fret reach. These days, the SG continues to dominate in the realm of rock and metal with modern production models like the Epiphone SG Special, which is meant to be as affordable as possible for future rock stars to learn on.
Among the popular performers of Hawaiian (and most other types of) music on the Vaudeville music hall circuit was Roy Smeck (1900-1994). Smeck was a talented instrumentalist who played guitar, banjo, ukulele, and lap steel guitar, earning the sobriquet “Wizard of the Strings.” Smeck made quite a few recordings and starred in part of the first “sound on disk” movie that was released in 1926. Like many other performers, Smeck endorsed a number of instruments by various manufacturers over the years, but is probably best known for the line of Harmonies introduced in 1927 with the pear-shaped Vita-Uke. Smeck’s name would be associated with Harmony instruments until near the end of the company’s run in 1973.
Have you ever looked at a guitar and wondered, "How do they make that?" Or thought to yourself, "I bet that I could build my own guitar," but never actually tried it? I have built several electric guitars over the years and through trial and error have learned many helpful tips that anyone who might want to tackle this sort of project needs to know before starting out. This kind of thing does require some wood working skill and also requires some specific tools as well but not all the fancy stuff that a guitar manufacture has. Building an electric guitar is time consuming and requires the completion of several steps before your project gets finished but be patient and you'll be happy with the results. I tend to go into detail so as not skip any steps or tips you need along the way, and use pics from other projects that I did as well so you can get more that on reference. If you set out to make a guitar you'll find that it takes quite a bit of time so you'll have time enough to go back and read other info if you just want to skim through the first go round. So I hope this helps all the future guitar builders out there!
[SIZE="2"]Guitar Gear: Gibson '61 RI SG, Dean Cadillac Select, Charvel 475 Special, BC Rich NJ Bich, Gibson Faded V, MIM Strat, Warmoth Tele, LP Copy, Yamaha Acoustic, VHT Pittbull Fifty/ST, VOX VT30, Blackheart BH5H, '72 Hiwatt 4123 Cab, Traynor TS-50, POD XT, 16 ohm THD Hotplate, 80's Peavey Rage combo, Boss ME-50, Russian Big Muff, Graphic Fuzz

Used as a send effect, a resonant filter can be used much more creatively than as an insert.You get very different results from your filtering depending on where you put the filter in the signal chain. To introduce some real movement into delay lines, for example, place sweeping low-pass filters before the delay. You then get the movement of the dry sound contrasting with the movement in the delay line. If both the filter sweep and the delay lines are tempo-sync'd, you can create interesting effects where the filter appears to be moving up and down at the same time.

The music that Jimmy Page made was able to transport you so that you got lost in what he was playing. His solos were show-stopping and so innovative when it came to guitar-playing technique at the time. He set himself the challenge of breaking the preconceptions of what a guitar can do, so his style evolved over time. But he was always one of the greats, even when experimenting!
The SparkFun Proto Pedal is an easy-to-assemble kit that makes building guitar effect pedals easier. Let’s face it, most guitar pedals start with all-too-similar circuitry – you need the input and output jacks, the bypass switch, and a barrel jack for power input. In some pedals, there may be as much wiring involved in the jacks and switch as there is in the effect itself. The SparkFun Proto Pedal takes care of the hard part and provides you with a simple infrastructure; all you need to do is decide what simple circuit to make to gain your desired effect, and you’ll be ready to rock!
The first to go are the ultra-highs, and the lower the value of the pot, the greater the amount of signal that can escape to ground. This is why 500K pots keep your sound brighter than 250K: their higher resistance won't allow as much of the signal to bleed off. And a 1Meg-ohm pot has such high resistance that when wide open it sounds almost like having no control pot there at all.
Want to write blazing leads and screaming solos? Crank the pitch bend up, use one of four vibrato modes, and shred to your heart's content. Need some ultra-chunky rhythm chugs? S2 features both single-note and powerchord palm mutes with up to 5 layers and 8 variations each, offering superior realism and maximum options. While it excels at rock & metal playing (both lead and rhythm alike), it is also well-suited for many other genres thanks to its clean tone and huge range.
Yet you’d never find a punk rocker who didn’t want to be just like him. Whereas most punk guitarists found inspiration from the same hard rock and proto-metal players that they pretended to despise, Strummer was influenced by reggae, rockabilly, soul, ska and even early New York rap music when most of the world still hadn’t heard of the Sugarhill Gang.
Categories: Guitar manufacturing companies of the United StatesGuitar amplifier manufacturersManufacturing companies based in ChicagoManufacturing companies established in 1890Companies disestablished in 19681890 establishments in Illinois1968 disestablishments in IllinoisDefunct companies based in IllinoisMusical instrument manufacturing companies of the United States is a curated collection of electric guitars chosen for their unique tone, design, and significance in electric guitar history from approximately 1950-1980. This collection approaches electric guitars from the underdog perspective. So we carry guitars built for the masses, luthiers & manufacturers who pushed the boundaries as to what was possible in terms of not only instrument quality but tone. Design also plays an important consideration in this collection. Alternative materials, innovative tuning systems, and high quality-low cost manufacturing processes are only some of the unique qualities found on instruments at

BAJAAO bring to you the best and extensive range Electro Acoustic Guitars also known as the Acoustic Electric Guitar or Semi Electric guitar in layman terms from all over the world. Versatile in design, the electro acoustic guitar is known for its smooth sound and powerful projection. At its core, an acoustic-electric guitar is acoustic in style fitted with a pickup device allowing it to be plugged into an amplifier, a number of effect pedals or played on its own for a more intimate sound. Heard in basically every genre of music, these guitars are indispensable in almost any modern band setting. In acoustic-electric nylon string guitars, piezoelectric pickups and microphones are used because magnetic pickups are not capable of picking up vibrations of non-magnetic materials. The design is distinct from a semi-acoustic guitar, which is an electric guitar but with the addition of sound chambers within the guitar body. Buy the best Electro Acoustic Guitars online with with the best and affordable price in India. Make your shopping experience a wonderful one with us.
Before diving in, it’s also worth mentioning the “crap in, crap out” rule, which dictates that any recorded track is only going to sound as good as the guitar and amp that it captures, however good your mic or skilled your engineering. You can’t expect elevated studio technique to convert junk tone or a mediocre performance to stellar sounds in the mix; the best you can hope for is to accurately capture the sound being made by your amp, and to do so with optimum depth, dynamics, and fidelity. Of course, it’s possible that the crappy, low-grade junk tone you capture from a scuzzball rig is exactly what the recording demanded (Jack White or Dan Auerbach, anyone?), but it will usually benefit the tune to capture it as powerfully as you can!
It worked like all amps: the guitar in my hands translated the vibrations from its strings through magnetic pickups into a voltage that traveled through the guitar's wiring and out the main 1/4" cable, then the amp picked up the signal and sent it through a coil of wire around a much larger magnet than those in the pickups, and the vibrations of that magnet shook the cone of the speaker, producing sound. The specific vibrations corresponding to those voltages created specific frequencies of vibration through the air, and my 10-year-old ears were hooked.
Tuner: If you’re new to guitars and playing music, there is absolutely NO way that you know how to recognize all the notes by ear and tune your guitar without a tuner. Even if someone tunes the guitar for you at the shop, it will get out of tune by the time you’re home, so this one’s an absolute must have. Hang on for the price until we discuss the next device.

I think this is one of the better done tests. Any musical instrument is subjective, so there is no “this one sounds ‘better’”, but having an understanding of how individual components interact in the overall sound is important in a luthier. Too often players are too quick to label one guitar as sounding “good” or “bad” instead of quantifying what characteristics they do or don’t like. Building this sonic vocabulary helps a musician work their way towards their ideal instrument instead of haphazard trial and error.
The Wildwood staff feels that they are some of the best instruments to see the light of day since the mid-60’s. We have worked closely with the Gibson Memphis factory to create unique special run guitars that take these iconic instruments to new levels while honoring the Gibson’s storied history. By producing everything from classic reissues to signature artist models, the Memphis factory is taking their game to a whole new level. We are proud to present our Gibson Memphis inventory, and we invite you to look around and fall in love with one of these superlative instruments.
Guitar FX BOX is acting just like a good collection of analog effect pedals. Just plug your guitar into the sound card input and your guitar will sing and scream. You can apply a wide range of high quality effects to guitar, voice, and other inputs real-time - I/O delay is really low, almost undetectable. This is achieved using DirectSound, WDM streaming or ASIO for fast access to the sound card hardware and special DSP algorithms optimized for real-time processing. Besides high sound quality, Guitar FX BOX features intuitive user interface, supports presets and hot keys for quick presets changing, MIDI/Game controllers pedals, configurable tuner, metronome, file input/output. Currently included effects: Overdrive/distortion, Amp&Speaker cabinet simulator, Echo, Pitch shifter, Reverb, Wah-Wah, Chorus, Tremolo, I/O Equalizers, Dynamic compressor, Phaser and Volume swell.
Two and one half steps down from Drop D. This tuning is most often used by death metal or deathcore musicians, such as Suicide Silence or Whitechapel (both use seven-string guitars and tune down the seventh string a full step). Utilized by bands like Nile, Motograter, Thrice, Filter (on the songs "Columind" and "The Missing" from The Amalgamut and "Drug Boy" and "The Trouble with Angels" from the album of the same name), Dead by April, RED, Ill Niño (on Dead New World) and occasionally Slipknot, Crowbar, Amon Amarth, Five Finger Death Punch, and Parkway Drive. Trapt uses this tuning on their songs "Hollow Man" and "Waiting".
When looking at the list above, it may be a bit overwhelming to see 50+ guitar riff song suggestions. You may not know where to start depending on your skill level. Below, is a short list of 5 songs you should start out with and learn the main riffs of as a beginner guitarist as well as 5 songs you can start with as an intermediate guitarist. Once you’ve learned these, feel free to head back up to the list above and start learning others as you wish.
Bass chorus effects use a cycling, variable delay time that is short so that individual repetitions are not heard. The result is a thick, "swirling" sound that suggests multiple instruments playing in unison (chorus) that are slightly out of tune. Bass chorus effects were more common in the late 1980s, when manufacturers such as Peavey included chorus effects in its bass amplifiers. In the 1990s and 2000s, more sophisticated bass chorus effects devices were created which only apply the swirling chorus effect to the higher parts of the bass tone, leaving the instrument's low fundamental untouched.[5]
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Fender’s legendary tone is enough to win just about anyone over, and they cater to a wide range of customers by offering the more cost friendly Squier series. While their classic electric guitars are favored by plenty of players, their acoustic selection and Jazzmaster offerings have their fair share of supporters as well. No matter what you’re looking for in a guitar or what price range you’re shopping in, you’re likely to find a good fit with Fender.
Now, there are some basic terms in the electric guitar lingo that you need to be aware of. Below are some of the terms that you need to know before you go out and research about different electric guitars. But if you are musically inept, there are some ways you can compete with the guitar guy. If you learn some points about the electric guitar, such as terms and mechanics of the instrument, you can impress your friends and possibly even will be the guy holding the guitar at your next dinner party.
As for the nuts and bolts of digital delays, any thorough, from-the-ground-up explanation is more than can be entered into in this space (and most of you at least know the basic principle behind binary encoding by now anyway, right?). Simply think of the digital delay pedal as another form of sampler: it makes a small digital recording of your riff, and plays it back at a user-selectable time delay, with depth and number of repeats also more or less selectable. The higher the sample rate, the better the sound quality. Early affordable 8-bit models really did leave a lot to be desired sonically, but as 16, 20 and 24-bit designs emerged, the reproduction of the echoes increased dramatically in quality.
Don't forget that you can use MIDI velocity and other controller data to create quite complex effects — and this approach can take up much less computing power than using audio effects. Don't forget that you can create audio-style effects purely through MIDI. For example, using a grid-style sequencer, it's very easy to program in echo and delay effects, just by drawing in the repeated notes and then putting a velocity curve over the top to simulate the echoes fading away. By combining this with automated MIDI control of other parameters — reverb send, filter cutoff and resonance, for example — you can alter the timbre of the repeated note and create dubby-sounding, feedback-style delays. Stephen Bennett
Since 1996, ESP’s subsidiary LTD has been creating quality guitars at very affordable prices. The EC-256, for example, is a great guitar if you’re looking to spend around $400. With extra-jumbo frets and a thin-U neck, this guitar is super comfortable to play. These guitars are known for their reliability and excellent build quality. And with a lightweight body, they make for great gigging guitars.

It was Berry’s songs from the late Fifties with cut boogie patterns—like “Roll Over Beethoven,” “Johnny B. Goode” and “Carol”—that realized electrically the guitar ambitions first dreamt by Robert Johnson. Berry’s tone—courtesy of a hollow-body Gibson through a tweed Fender amp—was raw and loud. This, along with his duckwalk, ringing double-stops and songs about cars and girls, grabbed the youth market. Tall and handsome, he brought the guitar as the “cool” instruments to a ready audience via appearances on TV and in movies, in a way that the Beatles would repeat in the early Sixties.
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Let's look at how the professionals go about combining the close and ambient techniques we've looked at so far, in order to create specific custom setups for different recordings. Joe Barresi, for example, relies heavily on the trusty SM57 and MD421 combination, but he'll choose from a variety of other mics to give character to particular sounds. "The two microphones I use most for recording electric guitars are the Shure SM57 and the Sennheiser MD421, often both, close up, placed at the edge of the speaker, where the speaker centre meets the cone, or, if I'm looking for a more bright sound, dead centre. When I want more low end, I may have an AKG C414 on there, and when I'm after a little more personality, a Neumann U87, backed up a foot, or a ribbon mic, like the Royer 122, or an RCA BK5 or 77."

I'm also retarded. And my father used to beat me with my decca.... Im also the ex-ceo for decca inc. Your guitars are worth mere pennies.... litterally, Deccas were originated in the late 60s for young children to pretend to be their idols.. Deccas were packaged in cereal boxes as ready-to-go kits.. you assembled them yourself... they are made from old left over popsicle sticks.. So Im glad to put your high hopes and sleepless nights of wondering whos going to come up to you and tell you your old guitar is rare and worth thousands... Because frankly it will just never happen..

An electric guitar is an expensive toy, so deciding who to buy it for is very important. Depending on the electric guitar’s purpose, its size and sound have to align with the player’s taste and goals. Profciency is also another deciding factor. If you are a beginner electric guitar player, the most important things to keep in mind is how easily you can play the electric guitar. What type of body style is suitable? What types of tones suits your tastes? These are the types of questions anyone should ask themselves when deciding who to buy an electric guitar for.
So you’re thinking about building an electric guitar. Well, it’s a very rewarding experience when it’s done right, and you have the ultimate freedom to make it whatever you want. On top of that, it can be a money saving alternative to the hefty price of a good instrument, if you’re willing to invest your time. Or if you’re just planning on undertaking a fun project, it can certainly fit that bill too.
There have been several changes in the amplifier world since we last took a look at this mega amp article, spurring us to refresh a lot of content. We have replaced some models in our top ten chart, such as the Bugera Trirec and the Vox AV15, with a host of new additions. These include classic combos like the Fender Champion 100 and the Vox AC15C2, with some awesome heads such as the EVH 5150III and the Boss Katana, as well as the super portable Roland Cube Street.

In 1962 or 63 (possibly as early as 1959) Guyatone guitars began arriving in the U.S.. If you look around the internet you will see that they could be found under a variety of brand names and were sold in drug stores, department stores, even auto parts stores, as well as music stores. There were two lines of Kent guitars: a Standard series and a “Pro-series”. They were made by Teisco and Guyatone. I haven't been able to get my hands on any of these early solidbodies so I don't know if "the Professional Group" guitars are actually worthy of the "professional" designation and slightly higher pricetag or if it was all about marketing.
Another consideration, and something you’ll read a lot about, is the pickups, which give the guitar its voice. There are two kinds of pickup in this price range: the single-coil (which gives a bright, sparkly sound) and the humbucker (which is fuller, meatier and perfect for rock and metal). Both are as common as each other in this budget range, and a guitar with a mix of both will offer you the best versatility.
Engineers invented the first loud, powerful amplifier and speaker systems for public address systems and movie theaters. These large PA systems and movie theatre sound systems were very large and very expensive, and so they could not be used by most touring musicians. After 1927, smaller, portable AC mains-powered PA systems that could be plugged into a regular wall socket "quickly became popular with musicians"; indeed, "...Leon McAuliffe (with Bob Wills) still used a carbon mic and a portable PA as late as 1935." During the late 1920s to mid-1930s, small portable PA systems and guitar combo amplifiers were fairly similar. These early amps had a "single volume control and one or two input jacks, field coil speakers" and thin wooden cabinets; remarkably, these early amps did not have tone controls or even an on-off switch.[1]
Amazingly well made and a beautiful guitar. The finish is incredible, it looks like a guitar that should cost a $1000 and up. Mine is the red color and found it in a pawn shop looking very rough, price on it was $99 and at first I thought it looked like a $99 guitar so I didn't pay any attention to it. I was looking a some Epi SG400s and a couple of Gibson's but for some reason I went back to the Samick. I had some cleaner with me and I grabbed a rag and started cleaning it up, after a few minutes of scrubbing this beautiful guitar appeared. I plugged it in along with the Epis and Gibson SGs and played them side-by-side and I was amazed at the sound I was getting from the Samick. I compared it along with the other SGs and the finish and the build quality smoked the others. I am all about American made guitars but this Korean made SG has completely changed my opinion about Asian made guitars, especially when I compared it to a $900 Gibson. I wasn't even looking for a new guitar but I couldn't let this one get away. I bought it and have played it for hours every day for the last week. It's amazing, the neck is the smoothest and easiest to play that I've ever seen, I like it much more than my Ibanez RG with the Wizard II neck I've got. I am now looking out for other Samick Artists Series guitars and if you see one for a good price try it out.

In 2005, Gibson issued three Pete Townshend signature edition Les Paul Deluxe guitars, based on Townshend’s heavily customised “#1” Wine Red 1976 Les Paul Deluxe, “#3” Gold top 1976, and “#9” Cherry Sunburst 1976. These guitars were modified by Alan Rogan and used extensively on stage and in the studio with The Who. In addition to the two mini-humbuckers the guitar carried, Rogan modified Townshend’s originals with a DiMarzio humbucker in the middle. Toggle switches located behind the guitar’s tailpiece turned the pickup on and off and added volume boost. The control knobs were wired for volume, one for each pickup and a master volume. The reissues differed from Townshend’s originals in that the reissues had an inlay at the first fret while the originals did not.

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As the market for iOS devices and apps has grown, so has the availability of affordable stompboxes and processors that can store downloaded effects. Being able to sample, purchase, and download effects through an iOS app or digital download gives you access to a whole new palette of sounds. Though relatively new, in years to come this may well become the way in which most players will assemble their effects libraries.
Along with the options mentioned, be sure to check out overdrive pedals like the Ibanez Tube Screamer or the Boss Super OverDrive SD-1. As for distortion pedals, be on the lookout for the TC Electric Dark Matter Distortion Pedal or the MXR M75 Super Badass Pedal. Whether you're going for a heavy Sabbath-like snarl, the cutting buzzsaw tone of Johnny Ramone or Cobain's feedback-drenched squeals, the distortion and overdrive effects pedal for you is waiting in this catalog.
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In 1964, The Rolling Stones‘ Keith Richards obtained a 1959 sunburst Les Paul.[19] The guitar, outfitted with a Bigsby tailpiece, was the first “star-owned” Les Paul in Britain and served as one of the guitarist’s prominent instruments through 1966. Because he switched guitars often enough in that period (using models ranging from the Epiphone semi-hollow to various other guitars made by Guild and Gibson), Richards is sometimes forgotten as an early post-1960 Les Paul player.[20][21] In 1965, Eric Clapton also recognized the rock potential of the late 1950s Les Paul guitars (particularly the 1958–1960 Standard sunburst models), and gave them wide exposure. He began using Les Pauls because of the influence of Freddie King and Hubert Sumlin, and played a 1960 Standard on his groundbreaking album Blues Breakers – John Mayall – With Eric Clapton. At the same time, Mike Bloomfield began using a 1954 Les Paul goldtop he apparently purchased in Boston while touring with the Paul Butterfield Blues Band, and recorded most of his work on the band’s East-West album with that guitar. A year later, he traded it to guitarist/luthier Dan Erlewine for the 1959 Standard with which he became most identified. Concurrently, such artists such as Peter Green, Mick Taylor, Jeff Beck andJimmy Page began using the late-1950s Les Paul Standards.

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