According to Harmony’s 1963 price list, the H1213 Archtone sold for $37.75. If we take inflation into account, this same guitar would actually sell for around $270 today. This is roughly the same price for most entry-level acoustic guitars these days, but the two main differences are that the H1213 is an archtop and it was made in the US (most modern entry-level acoustics are flattops produced in Asia).

Mod® Kits are designed to give both novice and experienced musicians the opportunity to build their own amps and effects pedals. All kits come with easy to follow instructions and use point to point wiring. Pre-drilled enclosure and all parts are included. All you need to provide are hand tools, a soldering iron and solder. All of our kits have a build difficulty rating to help you determine which kit is right for you.

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Now, you may be wondering if there are things to love about Guitarist and there certainly are. The GUI is incredible and simply one of my favorites around. And if you need funk or jazz rhythms fast, then this is your guy — the auto-wah feature saves this plugin. The more you put realism out of your head and strive for interesting tones, the more you’ll like Guitarist.
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.

In 1995, an effort was made to re-introduce Rickenbacker acoustics, with factory production beginning in their Santa Ana manufacturing facility in 1996. Four models of flat top acoustic Rickenbackers were depicted in factory literature (maple or rosewood back & sides, jumbo or dreadnaught shape). Each of these four models was also available in both six- and twelve-string configurations, yielding a range of eight distinct instruments.[11] (The 760J “Jazzbo,” an archtop model, was only built as a prototype, with three examples known to exist.) It is estimated that fewer than 500 Rickenbacker acoustic guitars were built before the factory shut down the acoustic department in mid-2006.
Despite its high production figures, Fernandes is better known in the United States for its Sustainer system, which uses electromagnetism[1] to vibrate a string for an extended period, so long as the user continues to fret a note.[2] Unlike the similar manual E-Bow sustainer, the Fernandes Sustainer can be used with a standard plectrum, because the sustainer is imbedded in the body of guitar. Fernandes' custom shop has installed numerous Sustainers into guitars built by other manufacturers.


The 2008 Les Paul Standard debuts Gibson’s newest neck profile—an asymmetrical design that makes it one of the most comfortable and playable necks ever offered on any guitar. The new ergonomically-correct profile is tapered, and designed to be thicker on the bass side, and thinner on the treble side, closely outlining the natural form of the hand as it grips the neck. The 2008 Standard necks are machined in Gibson’s rough mill using wood shapers to make the initial cuts. Once the rosewood fingerboard gets glued on, the rest—including the final sanding—is done by hand. That means there are no two necks with the exact same dimensions. So while it still has the basic characteristics of its respective profile, each neck will be slightly different, with a distinct but traditional feel.
This fully analog simple plug and play guitar amplifier is enjoyable to play with. It has a switchable clean and dirty channel with separate volume knobs that shares a 3-band EQ treble-mid-bass and gain control to add more grit so players can arrive on a crunch and lead sounds. Other useful attributes on the amp are set of input jacks for a headphone and audio source to play along with a backing track.
This is not a complete list of former or current American guitar companies. Among the omissions are Steinberger electric guitars and basses, now part of Gibson and Carvin, who is still independently owned and sells only direct, not through distributors or stores. I have not included the past great archtop luthiers such as D’Angelico, D’Aquisto or current archtop makers such as Bennedetto. Nor have I included the many smaller USA luthiers who are currently building excellent guitars such as Huss & Dalton, Foggy Bottom or Collings.

Many artists discovered that the 3-way pickup selector could be lodged in between settings (often using objects such as matchsticks or toothpicks to wedge it in position) for further tonal variety, resulting in a unique sound when two pickups are combined. Jimi Hendrix would also move the switch across the settings while sustaining a note, creating a characteristic ‘wobbly’ sound, similar to that created by the wah-wah pedal. This effect can be heard in the Woodstock recording of Star Spangled Banner. Since 1977, the Stratocaster has been fitted with a 5-way switch to make such switching more stable. This switch is the same electrically as the original 3-way, but with extra detents for the in-between settings. Other subtle changes were also made to the guitars over the years, but the basic shape and features of the Strat have remained unchanged. In the 1970s and 1980s, some guitarists began modifying their Stratocasters with humbucking pickups, especially in the bridge position, to create what became known as a Fat Strat. This was intended to provide a thicker tone preferred in the heavier styles of hard rock and heavy metal. The popularity of this modification grew and eventually Fender began manufacturing models with a bridge humbucker option (HSS), denoted and separated from the original triple single coil by the title of “Fat Strat“, as a reference to the humbucker’s distinct sound, as well as models with dual humbuckers (HH), better known as “Double Fat Strats“. Fender also started making Stratocaster pickguards specially designed for guitar bodies routed for HSH (humbucker-single-humbucker) and HHH (humbucker-humbucker-humbucker) pickup configurations.

In the early 1960s Rickenbacker history became forever wedded to one of the biggest music upheavals of the 20th century: the invasion of the mop-top Beatles from Liverpool, England. The Beatles used several Rickenbacker models in the early years. Before the group broke up, John Lennon would own at least four. This love affair began in Hamburg, Germany in 1960 when he bought a natural-blonde Model 325 with a Kauffman vibrato. Lennon played the original (which was eventually refinished black but still easily identified by its gold-backed lucite pickguard) on all Beatle recordings and in all concerts until early 1964.
I’ve played Martin D35 and O18 for decades and fooled around with Maton and Cole Clarke’s for a bit, but switched to James Goodall’s ( 6 and 12) which are simply stunning instruments. Why they’re not mentioned here is a mystery to me – especially if it’s quality of woods and craft and tone you’re chasing. I love the Martin’s but Goodall stole my soul.
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
Okay, getting down to brass tax - how do the effects and amp models sound? In a word, great! It’s not secret that Boss makes some fantastic pedals, many that have reached legendary status over the years. It’s nice knowing that you’re getting a multi-effects pedal from a brand that has really dominated the guitar and bass effects field. Boss uses some technology terms like COSM modeling and MDP (Multi-Dimensional Processing) which sound fancy but might not mean much to many guitarists. Truth is, given that this is a digital unit, some things sound really great, and some sound not so great. The overdrives are hit and miss. This user review hits the nail on the head:

Hi Paul, sorry you’re having trouble. If you’ve got one of the ‘import’ type switches described above you have 8 contacts (lugs). The “5 positions” are the 5 resting positions the switch lever can be set to (which correspond to your 5 possible pickup selections). You need to get the hang of switches before you attempt to rewire one of these so if the idea of a 2-pole 3-way switch doesn’t make sense then you should probably put the soldering iron down and look for a local guitar tech who can help you, your local guitar shop is a good place to ask.

FU-Tone is very excited to welcome the amazing Zakk Wylde to our list of fine artists. Zakk, of course, needs no introduction and has a established career with Ozzy and his own band Black Label Society. Here are some photos of Zakk with Adam at a recent show with the FU equipped Dean Dimebag Razorback Vertigo guitar! Check out some of the new photos with Michael Wilton from the current Queensryche Tour with his ESP Signature model guitar featuring FU-Tone Big Block and other upgrades. Check out Nuno Bettencourt on the cover of Young Guitar Magazine with his Washbun N4 Equipped with FU Titanium saddles, 42mm Brass L Block, and EVH Dtuna! Also, FU-Tone is really excited to introduce some really cool new bridge parts and accessories for Telecaster Guitars from Vibramate and Bigsby! Enjoy!
A note on acoustic guitar pickups (piezo, in particular): Making crazy 10 dB cuts? Contemplating making some absurd boost? You're probably not wrong – the acoustic pickup world can be the Wild West when it comes to tone. Some are great, and some are downright questionable. There are too many variables to even begin suggesting frequencies, so use your ears to guide you home on this one.
When guitarists who play jazz and other more complex styles improvise, they use scales, modes, and arpeggios associated with the chord progression. The must learn how to use scales (whole tone scale, chromatic scale, etc.) to solo over chord progressions. Soloists try to imbue melodic phrasing with the sense of natural breathing and legato phrasing used by players of other instruments. Jazz guitarists are influenced by trumpet, saxophone, and other horn players. Celtic fingerstyle players are influenced pipes and fiddles.
3) The pedal switch. Placed on the top of the pedal, pressing it with your foot turns the effect on and off. This is where the name “stomp boxes” comes from – you “stomp” the box to turn on the effect. Pedals are most commonly placed on the floor next to each other so they can be toggled with your feet while you play with your hands, but larger units are often placed in large racks on top of one another, as otherwise they would take up too much floor space.
Of course, this top-down lecturing is all very abstract without examples. Let me give you the worst case scenario. My school talent show, 2008. Two friends of mine performED an ambitious but utterly inappropriate Metallica cover in front of the other students, their parents and the faculty. It was excruciating. Although the solos (presumably the only thing they had bothered to practice) were technically flawless, the whole song was undone by their terrible rhythm. The timing of the song became displaced, the chords were so badly fingered that it was difficult to hear the riff and consequently the whole performance fell apart. They looked like morons. They had sacrificed learning basic rhythm and paid the price. Make sure you don’t do the same.
The Science of Electric Guitars and Guitar Electronics considers the electric guitar and related accessories from a scientific point of view. The majority of books about electric guitars try to avoid using mathematics when describing the scientific phenomena related to the electric guitar. However, mathematics is an invaluable tool in the design processes of all areas of technology, even when designing musical instruments and audio electronics. This book presents simple mathematical methods for modelling the electric guitar as a signal source for electric circuits such as effect pedals and amplifiers. In addition to modelling the electronics inside the electric guitar, the principles of operation of some vintage guitar effects and amplifier circuits are explained and analysed using systematic methods of circuit analysis. The book is intended for everyone who is interested in the design and analysis of basic analogue electronics used in the electric guitar and guitar-related accessories. The presented topics cover the whole signal chain from the guitar strings to the loudspeaker. Therefore, a solid foundation is established for creating own designs in guitar electronics using basic components of analogue electronics. is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to Amazon, the Amazon logo, AmazonSupply, and the AmazonSupply logo are trademarks of, Inc. or its affiliates.

I think that a good EQ in the loop is awesome. If you find an amp that has a great overall sound, but you wish that it was a bit brighter, darker, etc, but you find that you loose the character of the distortion when you get the tone you like you can play with both EQs to have a lot of controll over the final sound. It won't make up for a crap amp, but it can make a great amp a whole world of awesome.
A compressor “compresses” the signal that your guitar produces by normalizing the dynamic range of the audio input signal based on a threshold value. This effect is used virtually everywhere in recording. Everything you hear in music that is produced today is compressed in some way–and it can sound anything from a subtle barely noticeable effect to a thick, dampened squish.

I have a Dover, it was my great uncle’s guitar. It has seen better days but considering its age its in pretty good shape. Some one did some custom wiring inside so I had to replace the pots. One of the pickups was glued back together but it wasn’t done properly so now it doesn’t quite sit right. The plastic cracked at most of the corners where the screws hold the pick ups down.
Rock On Good People (it’s actually rockongoodpeople) is another YouTube channel really designed to funnel viewers towards the creator’s website, which—no surprise—has heaps of stuff you can buy. But that doesn’t mean that Rock On Good People doesn’t provide a long list of free videos ranging from lessons for beginners through to how-to-play-techniques aimed at experienced players. What I like about Rock On Good People is the cool vibe you get from all the presenters, no matter the style or subject of the lesson, and some of the videos take you further down the guitar-playing track with themes like “Tips For Improving Your Live Shows”. That might seem a long way off, when you’re currently trying to get your head around playing basic barre chords, but these videos have hints and advice that are good seeds to plant in your mind early, even if you’re still some years off jumping off your first Marshall stack and into the mosh pit.
As similar as the two instruments are, bass guitars have enough differences from electric guitars that bassists should definitely look for effects designed specifically for their instrument. By doing that, you’re getting a pedal balanced for the low-frequency dynamics of the bass, and built to help it blend better with the other instruments in the band. Many bass effects have the same purposes as guitar effects described above, including chorus, reverb, delay, phaser and tremolo.
In the Guitar Setup course, the third DVD is devoted to acoustic guitar setup. Acoustics are very, very different than electric guitars, when you get right down into the mechanics of them, and as such they truly do need a section of their own in any guitar setup guide. You’ll learn how to setup the action and intonation properly on your acoustic, as well as many other tips and tricks that will help you keep it in top working order.
Twelve-string guitars produce a brighter and more jangly tone than six-string guitars. They are used by guitarists for chord progressions that require thickening. The twelve-string is mainly used as a rhythm instrument due to the extra effort involved in playing lead guitar using paired strings. Twelve-string guitars have twelve tuning pegs and double truss rods and are slightly more expensive than their corresponding six-string version.
Hum cancelling: hum cancellation is caused by reverse polarity, reverse winding keeps a revrse polarity pickup in phase with a non reverse polarity pickup. To reverse the direction of the winding, simply swap wires, using hot as the ground and ground as the hot. Polarity can be changed on many pickups. If the pickup has bar magnets, simply flip them over. If the pickup uses alnico polepiece AND has the new plastic bobbins such as is common on Fenders, the polepieces can be pushed out with a screwdriver and reinserted "upside down". If the bobbin is fiber DO NOT attempt to flip the polepieces; the wire is wrapped directly around the polepieces and will almost certainly be damaged.
Compared to the guitar amp rankings, the bass amp list is largely dominated by heads rather than combos. Notably, many of the entries on this year's rankings come from the recent wave of ultra-portable, Class D bass amp—a topic we've covered before. Clearly, this subcategory of bass amp is dominating the market, and it's likely that there will be at least a few new entries under that heading at NAMM next month.
Phasers work in a way similar to flangers, but this time the copy of the signal is filtered to bring it slightly out of phase. This creates a sweeping, futuristic sound at cranked-up settings, but dialed down will get a chewy, textured tone that’s even suitable for rhythm playing. Eddie Van Halen is one guitarist well-known for his application of the phaser. Today he employs his own signature effects pedal, but his classic MXR Phase 90 is legendary among guitar tone nerds.
The Les Paul SL from Epiphone is a great choice for a beginner guitarist looking for classic LP vibes. With two single-coil ceramic pickups and a lightweight body, this model should be able to cover a variety of musical styles and genres while coming in at a very attractive price point. The Les Paul SL is available in 6 distinct styles including Heritage Cherry Sunburst, Pacific Blue, Natural Yellow Sun, Turquoise, Vintage Sunburst and Ebony.
you put in a lot of work, its not biblical correct, pretty good...but take with a grain of salt. but some guitars are made in Korea. I bought a Yamaha 3 piece back like a Kiso Suzuki, I would it was made in Japan The tuners said made Japan. I thought the pawn shop was crazy. I got it for $100 Love this guitar and then one day I looked at the the decal in the sound hole and in the tiniest print "Made in Korea" I felt a pang like o' crap I bought a Korean guitar. But I have a few Acoustics High end a Guild made in the 80's and this Yamaha is incredible. better or just as good as my old Suzuki

This site is dedicated to all you guitarists out there who ever owned an old Japanese Teisco guitar, especially those of you who started out with one and still have it today. I created this site out of frustration at not being able to identify the model of my first Teisco despite my best online and off-line efforts. I found out (eventually!) that it's an SS-4L made some time in the early/mid 60s.
: : : Does anyone know for sure where these originated. I have been told Vox (the England years) made this flat bodied plank guitar in the skiffle days of early 60's/late 50's. Mine is painted white(by hand) with a large black pick guard that curves to envelope the two chrome "toaster" pickups ,bottom of neck, and three control knobs.The strings have a moveable maple bridge(not secured) and a small chrome hardtail heel.The neck has a zero fret at top and 19 more playing frets.There are dot inlays at the 3rd,5th,seventh,ninth,12th,and 17th frets.The headstock is of natural finish light maple with a top edge cut at a sloping angle like Hofner.It has brass tuning pegs,gears and gear plates and the keys are white plastic.The beautiful short neck is true ,natural maple.Along one of the tuning gear plates is the numbers: 35515 which are etched into the wood. Four bolts without any plate hold the neck base to the plain body and a green decal above the pegs at top face of headstock reads: Shadow. The fret board is rosewoodand is laid on neck without bindings.It has six strings and sounds like a short scale Baritone guitar. It also only has one strap peg at bottom since they used to put the other end of strap on a tuning key. No other holes are seen for any former peg at other end of body(where normally found). Please send any info on this small,early,simple but awesome sounding electric skiffle guitar from England(Vox?).Thanks!!!!! VoteinNovember