Besides insulting Taylor Swift in a way even Katy Perry would bristle at (“Nobody would confuse the pop star’s chops with Bonnie Raitt’s. But she does play a guitar.”), Edgers manages to make it through an entire history of the electric-guitar industry as it stands without quoting more than one female guitar player — the Runaways’s guitarist Lita Ford. Any person who has actually interrogated the music landscape deeper than, say, an Eric Clapton record would recognize that the electric guitar isn’t dying. The throngs of women who play electric guitar just don’t get exalted or celebrated in the same way as aging men. But there are legions of women playing guitar — maybe Edgers just hasn’t been paying attention.

I bought my Norma accoustic in 1971 from a lady dealer who bought-out other stores going out of business. I paid $50. for guitar,case and strings. Best $50. I`ve ever spent. The sound gets better everyday. I have played the local market a lot, and fronted a Jamboree stage for 12 years (did the microphone work and sang), where I saw many a performer and their guitars come and go. Everyone was envious of my good sounding guitar. I applied a Dean Markeley electric pickup into the round hole and "wow" what a sound. Wouldnt take nothing for it. I own 7 accoustics,4 ele and three ele bass` guitars. I take my Norma everywhere. I am in the Georgia Music Hall of Fame and get lots of opportunities.

Martin’s first era of flirtation with electrics ended with its GTs, and, in terms of American production, wouldn’t resume until a decade later. However, in 1970 Martin joined the growing list of American manufacturers to begin importing guitars made in Japan, introducing its Sigma series. In around 1973, Martin, like competitors Guild and Gibson, began importing a line of Sigma solidbody electrics made in Japan by Tokai.
• How to check frets: The easiest and quickest way to make sure a guitar’s frets are in good shape is to look straight down the neck of a guitar, from body to headstock. If the frets are at different heights (improper installation is the culprit here with new guitars) or askew, there are problems. They should look uniform and exhibit as little denting or wear as tolerable. 
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Gibson announced the new 2012 Les Paul Standard at Winter NAMM 2012. The new Standard features two Burstbucker Pro humbuckers with coil splitting, and Pure Bypass. Pure Bypass gives the option of bypassing the volume and tone potentiometers, sending the signal directly from the bridge pickup to the output jack. The 2012 Standard also features Gibson’s “modern weight relief” as opposed to the chambered body of previous Standards. Other changes include a phase switch and compound fretboard radius.
One notable exception is a pitch shifter or harmonizer, particularly if you plan on using a pitch shift and envelope follower together as the pitch shifter may have greater difficulty accurately tracking an envelope follower-processed signal. Similarly, a standard wah pedal generally sounds best in the very front of the signal chain, but once again I recommend placing pitch shifter/harmonizer effects in front of a wah if you plan on using both together. Also, many players prefer the sound of a wah with a distortion pedal placed in front of it as this configuration can produce a more dramatic or more refined sweep depending on the distortion pedal’s tonal character (See Example 1, below).

Gibson guitars are usually equipped with dual-coil pickups. They have a higher output level than single-coil pickups and produce a fatter sound, which is usually an advantage for distortion, but not only! Gibson has many other successful models, like the Explorer (The Edge), the Flying V (Jimi Hendrix) or the ES-335 (B.B. King). Epiphone, founded in 1915, was bought by Gibson in 1957 and became Gibson's sub-brand, even if a few custom designs of the 1960's are still mythical (Casino).

Launch price: $2,799 / £2,399 | Body: Laminated maple | Neck: Maple | Scale: 24.6" | Fingerboard: Ebony | Frets: 22 | Pickups: 2x Full'Tron humbuckers | Controls: Bridge volume, neck volume, master volume, tone, 3-way selector switch | Hardware: Anchored Adjusto-Matic bridge, Gotoh locking tuners, Graph Tech TUSQ XL nut | Left-handed: | Finish: Cadillac Green
Dan Erlewine first saw this Tele back in the 1960s, before Mike Bloomfield recorded with it on Bob Dylan’s Highway 61 Revisited album. That was also before Bloomfield and Dylan were booed for going electric at the 1965 Newport Folk Festival. And before Bloomfield recorded the first Paul Butterfield Blues Band album with this guitar. There’s a lot of history in this Telecaster!
As Jay Verkuilen, has already noted here (no pun intended!), be careful not to hammer too hard on the unplugged guitar as you can be fooled into thinking you have to play much harder that you really do. Fretboard exercises & scales, practicing chord forms, and the like while unplugged is beneficial to your playing, "muscle memory," and aids your relationship with your housemates and neighbors.
Keep It Reel: Perhaps because a humble tape echo was the first effect I ever owned, delay has always been my primary effect. Whether to liven up repetitive loops or add apparent complexity to simple solos, it's worth getting to grips with delay the old-fashioned way. This means daring to switch off MIDI sync and manually setting delay time, driving feedback to the brink of madness, or routing the pure delay output through equalisers, filters and so on. Many of today's digital delays allow you to darken the delay iterations, but there's no reason not to find your own method to achieve this: adding alternative colours and discovering your own favourite processes. I find precise, perfect digital delays can be rather generic and characterless — so the more I delve into additional treatments, the more interesting and organic the results are. Paul Nagle
The Hal Leonard Bagpipe Method is designed for anyone just learning to play the Great Highland bagpipes. This comprehensive and easy-to-use beginner's guide serves as an introduction to the bagpipe chanter. The accompanying DVD includes video lessons with demonstrations of all the examples in the book! Lessons include: the practice chanter, the Great Highland Bagpipe scale, bagpipe notation, proper technique, grace-noting, embellishments, playing and practice tips, traditional tunes, buying a bagpipe, and much more!.
Our very first impression of the American Special Telecaster was that it’s such a good guitar. There is just something about it that feels remarkable. It’s hard to point to one particular thing, what does it is the combination of design, sound and feeling. We love the alder body and the maple neck that makes your music sound great, and the Texas Special pickups make everything we play on this guitar sound amazing.
At some point, I'm guessing near the end of the Buegeleisen & Jacobson ownership-era, a few hollow and semi-hollow body guitars were sold. They shared some of the hardware and necks of the 7-800 series guitars but had symmetrical bodies and no tilted pickup. The bodies resembled the Gibson ES-335 and ES-175T. They appeared to be equiped with humbucking pickups. I'm not following those, but I'd love to have that 175T copy. See the very end of the Varieties page for some photos.

Now, if you are an electric player who doesn’t like using any pedals, that’s perfectly fine. Just be honest about the reasons. If you just like the sound of your guitar and your amp, cool. If you just want to keep things simple, I understand. That’s your preference, and it doesn’t make you better in any way than someone else who does. If you’ve been a genuine listener of music, you’ve seen and heard players who’ve blown their audiences away on un-amplified classical guitars, and players who blow us away with lots of pedals on their boards.
Gibson announced a new interactive computerized Les Paul that produces more sounds, named the Dark Fire. It was released on December 15, 2007. The guitar has a computer integrated into the body and controlled by the “Master Control Knob” (MCK). The MCK allows players to change the pickups and coils, adjust each tone and tunings automatically and simultaneously, even during a song being played. Like the Robot, the Dark Fire features the ability to tune the guitar; however, in an improvement over the Robot, the player can tune it up to 500 times per battery charge, allowing the tuning pegs to adjust themselves to different tuning styles. Using the “Chameleon Tone Technology” Gibson claims this guitar will produce every imaginable guitar sound. In addition to the improved and advanced tuning features, the guitar has three types of pickups which include Burstbucker (humbucker), a P-90 single-coil and a bridge-mounted piezo acoustic, all of which contribute to organic blends of original sounds.
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.
Without a doubt, dont even entertain the idea of getting one, I was given one by an unfortunate friend who bought one, to try and get it to at be semi playable.. the necks are not even straight, in fact , you could ski off them.....the frets stick out from the side of the neck, the strings are so far off the neck you cannot even fret them down.... There must be no quality control whatsoever in the factory..
While hollow guitars are best suited to jazz, there have been a handful of cases where rock musicians have utilized fully hollow jazz box guitars in rock and roll. Chief among these would be Ted Nugent, who actually used the excess feedback produced by his Gibson Byrdland as a musical tool. Hollow ES-335 style guitars are used in blues and rock more frequently than the jazz box (the Beatles used the Epiphone Casino extensively), though because of the feedback they produce most musicians stick with semi-hollow instruments.
Madbean Pedals provides schematics and circuit boards so you can create your own pedal kits. As the creator, Brian, describes it, “I love making music and I love making things, so pedal building is a happy accident for me. Mostly, it came from being too broke to buy any gear. I owned and used only two pedals for about a decade: a TS-10 and a Digitech PDS-1000 Digital Delay. I used those for both my bass and guitar gigs. Even my drum gigs, I think. Anyway, rather than spend money I didn’t have, I decided it would be more fun to take a “peek under the hood” and see what the whole effects thing was about. That was about six years ago, and the obsession grows a little more every day! “
But how do you find a guitar master? It's not like he's listed in the phone book under "Guitar Master," although you can buy a Guitar Master Certificate for $10,080 from the Berklee College of Music. (Let me know how that goes.) And when you do find one, how do you know he can handle the job, making the right repair in the shortest amount of time? A guitar master must know how to diagnosis the problem when the only explanation he's offered involves slurring through a mouthful of tears, or an, "Oh, my bad, man, do you think you can fix her by tomorrow?"

To quote the super-helpful, "The Hiwatt DR103 is notably louder and can also run much cleaner than 100-watt Marshalls when needed, and they also have tremendous headroom available. Playing a Hiwatt at a loud volume is, well, an experience." The site adds, "The Hiwatt DR103 design is based around the use of four EL-34 power tubes and four 12AX7 preamp tubes. The transformers are set up so that the amp can be used with various line voltages around the world and speaker impedance can also be set to 4, 8, or 16 ohms with two speaker outputs wired in parallel."
The V40 expands the elusive low-to-medium gain range, putting a wide spectrum of subtly shifting overdrive textures under your fingers. There are rotary controls for gain, EQ and master volume. The real fun starts with a two-position voice switch, which subtly changes the V40's character. Voice 1 is centred more on the early 60s 'blackface' tone; Voice 2 is edgier and a touch more aggressive, evoking the tweed amps of the 1950s. A small toggle switch called 'mid kick' adds a touch of extra gain in the midrange, not least to give weedy single coils a lift for solos. There's also a digital reverb with a front-panel level control and on/off switch. Then there's the standby switch, which has two 'on' positions for high power (approximately 40 watts) and low power (seven watts). This switch also works in the V40's single-ended mode, offering a choice of around 1.5 watts in the high-power position and 0.5 watts in the low-power setting. The V40's sonic palette made us sit up and take notice. By reducing the gain, all the mildly overdriven and chime effects normally squeezed into a fraction of the gain knob's travel now occupy the whole range. The V40 Duchess is a unique design - many of its competitors feature high-gain lead channels, teamed with high headroom and often uninspiring clean channels. By focusing on those often-overlooked but highly effective low-to-medium overdrive sounds, the V40 has effectively carved out its own niche, and looks set to become popular for blues, roots, jazz and country players.
Tube or solid-state? One has the nice warm vintage tone, but the other is just so much simpler and free of hassle. Vox make one of the best hybrid amps, which heats up your guitar signal with a proper 12AX7 tube in the preamp before it becomes amplified by conventional transistors to deliver up to 30 Watts. A warm tone with smooth overdrive, but without the aggravation.
yeah i know the GSP has 2 EQ ( well 3 if i wanted to use up a slot in the OD section ) but i use both EQs on the GSP and i prefer a external eq, that i can adjust on the spot depending on that patch, rather then going in and changing the EQ each time on that patch. I use 3 different guitars each one is totally different in sound, so the external EQ really helps.
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Over the years, the Gibson Memphis factory has become synonymous with creating some of the most accurate recreations of timeless classics. From the ES-335, ES-345 and ES-355 to the compact magic of the ES-339, the Gibson Memphis factory has built legendary instruments that pay tribute to the vintage masterpieces of yesteryear. To up the ante, the Gibson Memphis factory is now offering Limited Edition runs, showcasing the creative talents of their phenomenal crew, while boldly moving forward into a bright future.
As cool as these little amps are, they only have a fraction of the features you’ll find in their larger, more powerful big brothers. But, they are more than enough for a newbie to get started on, and they meet and exceed the criteria I outlined in the beginning as what to look for in a good starter amp: They sound good, they are flexible with good overdrive, multiple channels, solid EQ sections and some even have built-in effects.

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.
As Jay Verkuilen, has already noted here (no pun intended!), be careful not to hammer too hard on the unplugged guitar as you can be fooled into thinking you have to play much harder that you really do. Fretboard exercises & scales, practicing chord forms, and the like while unplugged is beneficial to your playing, "muscle memory," and aids your relationship with your housemates and neighbors.

I’m Björgvin Benediktsson. I’m a musician, audio engineer and best-selling author. I help musicians and producers make a greater impact with their music by teaching them how to produce and engineer themselves. I’ve taught thousands of up and coming home studio producers such as yourself how to make an impact with their music through Audio Issues since 2011.
After steel strings were the norm, rectangle bridges were still used on the lower end Martin models and smaller body models. Bridges don't last forever unfortunately, and the rectangle models are easy to reproduce. Hence here's some specs that may help you determine if a rectangle bridge is original. A Martin rectangle bridge should be 6" long and 1" (or slightly less) wide. The top of the bridge should have close to a 16" radius lengthwise. The tallest point of the bridge should be between the A & D strings, and the lowest at the high E string. The wing thickness is about .095".
A chorus effect alters the duplicated waveform in a more subtle, nuanced way. The altered waveform will sound much like the original, but just different enough to sound like multiple voices playing the same note or notes. As it is usually applied, chorus sounds like the same signal running through two amps with a very slight delay between them. In fact, Pat Metheny's famous chorus sound is produced in exactly this manner, using no actual chorus effect at all.
In the following years both Dobro and National built a wide variety of metal- and wood-bodied single-cone guitars, while National also continued with the Tricone for a time. Both companies sourced many components from National director Adolph Rickenbacher, and John Dopyera remained a major shareholder in National. By 1934, the Dopyera brothers had gained control of both National and Dobro, and they merged the companies to form the National-Dobro Corporation.
Tribute Legacy Electric Guitar Candy Apple Red Rosewood Fretboard. The G&L Legacy blends contemporary refinements from the Leo Fender-designed S-500 and Comanche models with classic Alnico V pickups. If your holy grail is faithful Alnico single-coil tone with modern refinements and superb craftsmanship, the Legacy makes for an excellent choice. The Legacy's vintage-spec CLF-100 Alnico V pickups have that unmistakable chime and quack reminiscent of the best examples from the late ˜50s, thanks to the work of Paul Gagon, G&L VP Engineering. Gagon found his inspiration reviewing original prints stored in Leo's private laboratory at G&L, but that was just the start. About 30 years ago, Gagon was an R&D engineer at another company when he was tasked with finding out what was so special about the early bolt-on guitars many players raved about. Gagon tirelessly analyzed many examples of what were considered holy grail guitars, spending time out on the shop floor talking to builders still working in the pickup department since the ˜50s, all on a quest to discover where the real mojo was - and wasn't. What he learned from the builders matched his own engineering analysis. You see, back in the day, the actual spec of pickups coming down that old production line varied considerably. That meant coming up with the right specs for the Legacy pickups was more challenging than simply following the prints. Gagon's persistence paid off as the Legacy garnered rave reviews from both players and magazines like Guitar Player and Guitar World. This axe is no slave to the past, however, starting with Leo's PTB (Passive Treble and Bass) system which functions on all three pickups for dramatically more variety than the vintage setup. What's more, the Legacy features a Leo Fender-designed Dual-Fulcrum vibrato, a work of engineering art which allows bending up or down with unsurpassed stability, while offering a silky feel through its beefy aluminum vibrato arm. The Legacy is...
Since they entered the electric market, it didn't take long before Ibanez became the patron saint of those who appreciate a heavier sound. Their RG series won the hearts and minds of budget crowds all around the world, mainly due to its great tone and overall performance. Today we are looking at an Ibanez RG421, which follows this core policy precisely.
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Chorus is a great way to thicken up the sound of a bass (especially in a 3-piece band), rhythm guitar, or solo guitar. It is often used with distorted sounds but is a fantastic way to create full-sounding clean sounds as well. Stereo output (from two separate speakers) enhances chorus a great deal. Many acoustic guitar amps include a clean-sounding chorus effect adding depth and character to the amplified signal. Chorus pedals can be very helpful in fattening up the tone of acoustic-electric guitars whose piezo pickups tend to sound a little thin.

An American company that makes some amazing acoustic and electric guitars, Taylor guitars are considered as one of the best in the world. Like Martin, they can be expensive, but surely worth every penny. Taylor and Martin have the upper hand when it comes to acoustic guitar brands in America. One of the popular series is the 200 series and is of great value. For beginners, Baby and Big Baby, and the GS Mini are perfect choices as they are small-bodied.
Whether you are a beginner or a professional, you can find the right strings for your level and guitar type. Thinner string gauges are typically better for beginning musicians because they are easier to bend with an uncalloused hand. If you are looking for strings to stand up to heavy shredding and produce more volume, then thicker gauges are what you are after.
1976 Fender Stratocaster, Some changed parts to include,pickguard, tuners,possibly knobs. Original factory natural finish, fret wear, plays but will need a refret at some point,Comes with a non original black tolex hard shell case. No backplate or tremolo arm. Overseas clients PM me for accurate shipping quotes as free shipping is only to a lower 48 US address. Trades may be considered.      SEE MORE HERE .
The volume pedal is about as simple as a pedal can get. It is basically an external volume knob that you work with your foot. They are an excellent way to control the volume of your rig and can be placed at different places in your guitar chain. When placed first for example it can be great for volume swells (as we will see), reducing your amp gain by acting like your guitar’s volume knob. If placed after your gain section it will bring down your overall volume without reducing changing your tone or gain. You can really experiment with the placement of a volume pedal to see what matches your needs.
Then, as the most popular version goes, a young, jack of all trades guitarist named Les Paul got tired of all that. So, he set out to create a guitar that could be heard just as much as the louder instruments. He fiddled with a lot of electronic means to boost his sound. Some worked better than others. His piece de resistance at the time would come to be known as "The Log". It looked like what you see up there on the left:
Ovation are relative newcomers to the world of vintage guitars, only launching their range at the 1967 NAMM show in Chicago. Ovation started as an off-shoot of founder Charles Kamen's work in the aviation field, studying vibration and resonances in helicopter blades. Whilst other respected American manufacturers relied heavily of quality nautral products and the artistry of their master luthiers, Ovation came very much from a science and engineering perspective: they used oscillographs to test existing instruments, and came up with the famous Ovation rounded back design, and suggested the use of a synthetic material, Lyrachord, claiming it to be more resonant that any wood.
The Yamaha Pacifica has long proved a benchmark for quality and specification, and the 112V remains one of the best electric guitars for beginners. The 112 is far from fancy and simply concentrates on the bare necessities. Yet the construction is of excellent quality. Trust us, if looked after this will be a guitar for life. By design it's an altogether more modern, brighter and lighter take on a hot-rod Strat. But when we say brighter that doesn't mean overly shrill. In fact the bridge humbucker will surprise some, it's beefy without being too mid-range heavy and although the coil-split proves a little bland played clean, with a distortion boost it's a pretty useful gnarly and wiry rhythm voice. It's good to have the choice too when mixed with the middle pickup - switching between the full and split coil here is subtle but, especially with cleaner 'class A' amp voicings, there's enough character difference to be useable. The solo single-coils impress - plenty of percussion and with a little mid-range beef added from the amp these get you to the correct Texas toneland. Neck and middle combined produces a fine modern Strat-like mix - the added brightness will cut through a multi-FX patch nicely.
Recently had an Epiphone acoustic...irritating twangy sound and always falling out of tune. The body of the guitar is so large it's uncomfortable, even holding down the strings felt as though I would be drawing blood any minute. I hated to practice because of the sound & pain, traded it for the warm sound of the fender. Not only am I playing better, but holding down the strings doesn't hurt nearly as much (a little expected) and I can't wait to hear it. Now I understand how the phrase "it's music to my ears" came about. I'm in love with my Fender.
With a 25.5” scale length, the 314ce features a Grand Auditorium body shape with a playability-enhancing Venetian cutaway, allowing good access to the highest of the 20 frets. The top of the body is made from solid Sitka spruce, along with solid sapele back and sides, leading to a beautifully rich and powerful tone that’s well balanced between warm and bright.
Next up we have the specialty electric guitars. This category consists of several different types of electric guitars, but we’ll start out with 12-string electric guitars. The fact that the low E, A, D, and G strings all feature higher octave strings while the B and high e strings both have additional strings that are tuned the same, electric guitar 12-string models have a distinctive shimmer and richness to them that guitar players love. Guitar players who favor heavier genres like death metal or hard rock may want to add a 7-string, an 8-string, or even a 9-string electric guitar to their rig for when they need some extra low-end growl and power. Other specialty guitars include baritone guitars, double neck electric guitars, and pedal steel guitars & lap steel guitars.