The truth is that you can play any genre of music with just about any type of electric guitar. Many blues players run Gibson Les Pauls with beefy humbuckers, while Iron Maiden completely broke the stereotype that you can't play metal with a Stratocaster. Guitar effects pedals really changed the game too. However, some guitars do actually deal better with certain music genres.
Back in the 1930s jazz and big-band guitarists began to make the switch to electric guitars in order to compete with the volume of other instruments onstage. Early electric instruments were hollow-body guitars. They were big, and featured an arched top that helped with power and projection. They had f-holes to facilitate amplification acoustically, and the first rudimentary pickups that allowed the guitar to be plugged into an external amplification system.
This Schecter is an entry-level guitar into those kinds of tones that are an alternative to the standard Fender and Gibson sounds. Also, the arch top offers another kind of “feel” for playing that gives you slightly more accessible right-hand technique (it’s subtle, but it’s there), plus the body shape tucks the switches and controls out of the way.
In this era, as well, Gibson began experimenting with new models such as the Les Paul Recording. This model is generally unpopular with guitarists due to its complex electronics. The Recording featured low-impedance pickups, many switches and buttons, and a highly specialized cable for impedance-matching to the amplifier. Less noticeable changes included, but were not limited to, maple fingerboards (1976), pickup cavity shielding, and the crossover of the ABR1 Tune-o-matic bridge into the modern day Nashville Tune-o-matic bridge. During the 1970s, the Les Paul body shape was incorporated into other Gibson models, including the S-1, the Sonex, the L6-S, and other models that did not follow the classic Les Paul layout.
It is typically not possible to combine high efficiency (especially at low frequencies) with compact enclosure size and adequate low frequency response. Bass cabinet designers can, for the most part, choose only two of the three parameters when designing a speaker system. So, for example, if extended low-frequency performance and small cabinet size are important, one must accept low efficiency. This rule of thumb is sometimes called Hofmann's Iron Law (after J.A. Hofmann, the "H" in KLH). Bass cabinet designers must work within these trade-offs. In general, to get extended low-frequency performance, a larger cabinet size is needed. Most bass cabinets are made from wood such as plywood. Gallien-Kruger makes a small extension cab made of aluminum.
The new AC15 'Twin' retains the all-important dual-EL84, cathode-biased output section of its forebear, but otherwise it's very different. A quick scan across the top panel reveals two inputs for independent access to either normal or top boost channels. One benefit of the bigger, 2x12 enclosure is that it provides ample room for a full-length reverb tank, housed in the bottom. There's also an in-built tremolo effect, with controls for depth and speed. But the whole point of this amp is the pair of 25-watt Celestion G12M Greenback speakers. They are the speaker of rock in so many cases and while purists might hope for Celestion Blues, they would add a good £300 at least to the price; and he increased power handling of two Greenbacks on the end of just 15 watts is quite a tantalising prospect. It's fair to say that even with the master volume set-up, the magic doesn't really start happening until the amp's lungs are at least half way open, but happily, that's not far from perfect for many of today's pub and bar gigs - it may even be too much for some. The AC15 'Twin' does sound magnificent when clean, but listen carefully to those amps or this and it's rarely completely undistorted. That harmonically rich drive that was never supposed to be there is the key characteristic that latter day, non-master volume AC users find hardest to replicate.
This is a beautiful example of a 34 year old Japanese crafted Ibanez acoustic guitar that has the tone and the beauty, Love the Sunburst finish on this guitar that did a beautiful job with the thin Poly finish it stands up to the test of time and still shines like glass today just have a good look. It has a Spruce top… cant tell because of the sunburst if its solid or not but will assume its laminated…. Back – Sides & neck are all very nice grade Mahogany. Fit & finish as good as a $2000 guitar of today but this beauty has well aged woods now being well over 33 years old you could spend 3 x times the money and not get a better vintage guitar . The tone is surprisingly rich and with good volume it makes an excellent strumming or fingerpicking guitar. Its playing string action is very good making it a breeze to play and fun. The neck is real nice substantial and a medium profile with a soft V it feels like a vintage Guild from the 1960's ... nice job Ibanez!...Its in very good vintage condition too with several minor doinks to its top and a couple minor on the back and so on but overall its in very good condition both structurally & cosmetically and looks very good overall. The neck's frets are still good and fingerboard and frets have been lightly polished as has the entir guitar cleaned hydrated and polished and just look at the results, a new Martin bone nut has just been fit & installed as well as new Martin Marquis 80/20 Bronze light gauge strings, nicely setup to play very well like a much more expensive guitar now. Original tuners are doing a great job to this day some 34+ years later... Here is a very good Japanese Vintage Guitar of quality for a very good price too, She is not new or mint of course it has doinks and just a couple of fine hairline checks in its top I did not see at first its very hard to see but they are not wood cracks just fine hairlines to the finish and of no structural consequence what so ever. This guitar Plays and sounds very well and will make someone very happy its condition is JVG rated at easily 8.5/10 very good vintage, neck is straight without cracks fit and finish and workmanship are all in the excellent range. Great Japanese guitar for a great price… The 1980 Ibanez V300 TV, crafted in Japan over 33 years ago. This guitar plays GREAT! .
The size of the acoustic guitar body also influences its voice. Larger instruments, with dreadnought or jumbo bodies, generally produce more volume. They also tend to have warmer, rounder tones that accentuate bass notes. Smaller guitars, such as parlor, concert and “000” models, usually have a brighter sound that accentuates their middle and treble ranges.
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.
If you are considering a traveler or mini guitar, be sure to read reviews of people who own models that range between $40 - $500, because you will find various reasons to stay away from some of the cheaper models that are under$150. Some of these guitars that are made that cheaply are not much better than toys in quality, sound and crafstmanship, and at this model and price range, you will get what you pay for. By investing an extra $100 - $200, you can find some fine travelers and minis that will more than accomplish the job, and in fact, some professionals choose certain travelers and minis over others for playability, quality, performance and recording reasons.
Most players dream of having comfortable, smooth action on a guitar. With the PLEK, the most optimal string action possible for any instrument can be realized. This gives the individual musician an instrument that plays exactly the way he has dreamed of. Optimal playability on a guitar makes it sounds better with notes that ring true and clean. There is no fret buzz under normal playing conditions and the intonation problems that occur because of high string action, are eliminated. You can hear and feel the difference.
The microphone set up I described earlier will give you a similar effect. The close mic gives you great detail (in audio terms, top-end, treble) and warmth. The mid-distance mic will give you the perspective that the amp is in a room, but without too much loss of detail. The far mic will tell you in no uncertain terms that you are definitely in a room, and with any luck, the listener's brain will process that information and tell the listener what size the room is (I'm not talking exact measurements here--just rough approximations). There will be a fairly significant loss of detail though. The combination of any of the mics will give you varying degrees of perspective and detail.
As the name implies, RockJam is a guitar capable of giving you the best of rock sound and deep melody similar to the type you only get from the studio and stage. The RockJam RGEG02-BK ST Style Electric Guitar Super Packstands as the highest quality and most accessible full-size electric guitar kit of the modern era, a quality that still outstands many buyers till date.
However, John Leckie states an interesting preference for an SM58 and U67 rig instead: "SM57s tend to be that little bit brighter than the SM58, which really isn't what you want when you're miking up an electric guitar amp. You really want to pick up a flat signal, an 'unstimulated' signal I suppose is the word... The U67 gives you the warmth and a broader sound."
While modified four-stage phasers like the Uni-Vibe and other effects before it had sought to evoke a choral-like sound, the chorus pedal as we know it didn’t arrive until affordable short-delay chips became widely available in the late 1970s. This in itself implies that chorus is a type of delay, and indeed it is, but the sonic results of the ways in which these short delays are transformed lands the effect firmly in the modulation camp, so it’s easiest to consider it as such (the function of these delay chips will be explained in more detail in the Echo & Delay section down the road). IC-based chorus effects work in a manner very similar to flangers, detailed above. The main difference, put simply, is that the short delays used to create harmonically spaced notches and peaks in the frequency spectrum are manipulated to modulate more tightly above and below specific frequency ranges, rather than shifted to swoosh broadly up and down the entire spectrum. The result, and intention, is a sound like a group of singers or similar instruments, where some voices/strings inevitably waver slightly from those beside them, producing a quivering clash of harmonics that evokes space and dimension when used subtly. The effect is possibly best heard—as pure effect, at least—in stereo, and the nature of the beast lends itself readily to stereo outputs. The broad soundstage and Doppler-like movement a good stereo chorus can spread out before you between a pair of spaced amps or L-R headphones make it one of the most spacious, three-dimensional effects available, short of long delays or cavernous reverb settings.
Hendrix, Van Halen and, uh, Mozart are the musicians to thank for most heavily influencing death-metal shredder Azagthoth, not that they really come through in the jagged riffs and cheetah-fast solos of Morbid Angel classics like “World of S—t” and “Where the Slime Live.” But that’s because he has blazed a tension-filled style all his own (when he solos, he enters a mystical mind state he calls the “Temple of Ostx”) that is finally getting more praise than early antics like cutting himself with a razor before hitting the stage and extolling Satanism.
Interestingly, it’s the back of this guitar that’s the most visually attractive, with a drop dead gorgeous rosewood fretboard and quilt maple three-piece design. You’ll stare at it for some time before you can bring yourself to flip it over and start playing. That’s not to say the front doesn’t look good - the whole thing feels more upscale than the price.
As we mentioned before, the first mass-produced solid body electric guitar was introduced in the early ‘50s as a way for guitar players to avoid getting that unwanted feedback that amplified hollow body electric guitars were infamous for. Today, there are countless solid body guitars to accommodate any type of player and price range—from beginner guitar players to seasoned pros playing genres spanning hard rock, country, blues, heavy metal, jazz, and more! Some of the most popular solid body electric guitars include the Fender Telecaster, the Fender Stratocaster, the Gibson Les Paul, the Gibson SG, the Ibanez RG, and the ESP Eclipse.