Arch top body 16" wide across the top, carved spruce top, back not carved by arched by braces, rosewood back and sides, f-holes, style 45 backstripe, bound ebony fingerboard, 2 white/black/while lines inlaid down length of fingerboard at the edges, abalone hexagonal fingerboard inlays on 8 frets (a few make with pearloid), vertical "Martin" pearl peghead logo, gold plated parts, sunburst top finish.
I have a Lyle Acoustic Guitar Model 690 purchased about 1966 or 67. It appears to be in near brand new condition as I've rarely played it and it has been stored in a felt lined case its entire life. All the keys still turn, it has steel strings. I'm ready to part with it and want to ask a fair price and not get soaked. Does anyone have any idea what this beautiful instrument is worth?

For example, bass guitar frequencies are on the relatively low end of the tonal spectrum. However, plucking a bass string can create a sudden, short burst of high and mid-frequency sounds. You need your bass amp to be loud enough to make those low-frequency sounds strong and audible in the mix, but you don’t want to flatten your band mates or blow out your speakers by sudden pops of high-frequency sounds.

The XB-40, (short for Extreme bending-40 reeds), is unlike any other diatonic made. Released in 2003, it was specifically designed by harmonica specialist Rick Epping to simplify proficient bending of the notes. To make this possible, the XB-40 uses forty reeds as opposed to the usual twenty found in most ten-hole diatonics. With these bending capabilities, the XB-40 gives access to all the notes on the chromatic scale through bending the natural tones of each hole. This model was discontinued in 2013. Shortly before production officially ceased, Suzuki Music released a similar model the SUB-30.[28]

 The type of guitar strings you choose, and how often you change them will not only dramatically affect your tone, but also impact the playability of your guitar. By learning about the different string options available for your guitar, you can find the strings which strike the best balance between great tone and playability. The key components affecting tone and playability come from string gauge, string winding method and the string construction material.
Second, you might be wondering if it’s just better to get a cinematic VST or one that takes from a range of instruments. Fractured does have cymbals and bass kicks but, of course, the guitar creates these and this gives them a lot of offbeat character. You could easily get a more rich and deep bass kick with a drum VST, but then you lose that quirkiness that propels and highlights Fractured.  
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.

For more balanced tone and increased sound quality, the Agile AL-3010 comes with two tone and two volume controls, plus three-way pickup switch.The guitar comes with professionally installed strings sitting tight on an ebony fretboard with 22 jumbo frets and solid abalone trapezoid inlays. This gorgeous guitar is highly recommended for the beginner and even the professional alike.
SOLD OUT : A real find this one is... not your average vintage Takamine you will soon see its also in amazing original superior condition .. this premium example was hand built by the finest Japanese Luthiers at Takamine Gakki. This prime example is the finest Exotic Brazilian Rosewood we have had in yet and we have had some duzies for sure this true Law Suit era Takamine F375S acoustic guitars we have ever had! wow.. and exact copy of the Genius original Martin design of the D-28 exotic....WoW.. the frets look almost new, Martin bone nut and saddle the "s" stands for solid construction and the Solid Sitka Spruce top is super nice amber with age now over the past 37 years and taken care of this California native guitar exhibits its premium exotic woods very proudly just have a look all round everywhere you look...from the amazing Brazilian rosewood sides & the back is A Gorgeous 3-piece back with intricate inlay work to the premium solid mahogany & finish is simply put gorgeous. The neck is nice & straight with a perfect Martin like medium V profile 1-11/16ths @ the nut - the action is very good 3-16th @ 12th fret you can adjust either way to taiste no problem and with the bone nut and saddle this guitar has wonderful tone right up there with the Martin or Yairi this guitar is AAA professional grade vintage and is in 100% condition it is not new or mint with minimal dings its condition is JVG Rated as 9.5 / 10 - excellent vintage = beautiful and exotic... please see the pictures for the cosmetics..these Takamine are built as good or better than the Martin it copies the back is quad braced and the reinforced crossbracing of the top should make this finely built instrument last several lifetimes.. Your looking at the best of the best in Japanese vintage exotic & solid construction in astoundingly nice simply must play and hear this guitar we love it and so will you.. I can't amagain a cleaner example of this vintage you will not be sorry... exotic Brazilian Rosewood tone woods are the best of the best. No need to spend $3000 or even $5000 or more for such an exotic vintage 40 + year old Martin d28....Find it here Email: ..

Hollow: Although a bit more rare than the previous two, it may be exactly what you’re looking for if it fits your style. Hollow body electric guitars sound a lot like acoustic guitars, giving us that brighter sound but having trouble with higher volumes since feedback is likely to occur (especially in medium to higher volumes). It has a round and full tone with great bass response, giving jazz players a big grin when they hear it.

Okay first of all yes, John Mayer deserves to be on this list. I would've probably put him even higher. I understand if you don't agree but go listen to his Where The Light is album and get back to me on that. I think Eric Clapton should've made the list though. And, although I'm not a big fan of metal I can say as a guitarist anybody can go up and down scales and embelish notes and sound like a metal genius. The artists above put real soul into their music. I think you have an amazing list though. Many people probably would've have thought of some of the people on here… but what about Derek Trucks?
This Duo-Jet has the typical brown back and neck finish, original tuners, bone nut (which has never been off), ebony fingerboard and original frets, lefty thumbprint inlays, original Pat. Applied For Filter’Tron pickups with original wire harness including switches and capacitors. All solder joints are original. Original bar bridge. The lefty Bigsby tailpiece does not appear to be original to the instrument, and is probably a late 60s Bigsby, as there are screw-holes from another tail-piece on the bottom. The second to most recent owner acquired the guitar with its current tailpiece in 1971, and the only change he made to the Bigsby was in removing the black paint. The guitar was recently sent to Curt Wilson at Old School Guitar Repair( at the recommendation of Gretsch guru, Edward Ball, where the front of the headstock was refinished to the correct black(previously Orange) and the center portion of the Bigsby was repainted black. Sadly, the previous owner removed and discarded the original lefty pickguard many years ago.
The problem of the recent Gibson bashing is well-founded. There were quality issues over the last maybe 15 years. The thing is that a Gibson is still a dream for a lot of people. They get better and giving themselves a present after putting money away. Then, after several years, maybe decades of anticipation they get crappy quality for several thousand dollars. The brand is alive, they can bounce back, but the managment...instead of the elevator, they should take the japanese business shortcut. As soon as the quality and passion is back, people will love to buy one. Hope they'll get back on track before 2020. - MountainGoat
For a guitar that sits comfortably in the mid-range segment of the market, Yamaha RevStar RS420 packs a decent punch. Body shape is more reminiscent of a PRS than anything else, but Yamaha definitely infused it with their unique details. The sound is tight, very flexible, and I had no issues dialing in the type of tone I was looking for. A well rounded model, that’s for sure.
The interface does get the job done well, it’s just that I’ve seen better looking free VSTs. But for me, this is completely fine because while flashy interfaces are nice, problems like software issues and hard to see text occur.  None of that is here, and within a few hours, most users will feel fairly comfortable creating moderately difficult, but realistic sounding guitar parts.
Since guitar players are automatically cool, that means cool guitar players are the coolest of the cool. In this issue, we exalt this elite class of cold—the players who even we would sell our wives and first born just to have some of their mojo rub off on us. Some of them are pioneers who paved a bold, daring path to define new styles of cool, while others are simply the kind of guitarists we want to be when we never grow up (which is part of being cool).
6. Bugera V5 Infinium 5-watt 1x8 ($199.99): This little amp delivers pure all-tube tone at a fraction of the size of its larger counterparts. Bugera has utilized the Infinium Tube Life Multiplier technology to make sure your tubes stay healthy over the lifetime of the amp. If you want to get into the world of tube amplifiers but don’t care about a lot of bells and whistles, this little amp is a great option.
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By 1961, at least, the makeover was complete. The old mini Les Paul, the J-1, was changed to become a sunburst double-cutaway solidbody. These had widely flaring equal cutaways, a single rectangular neck pickup, a large pickguard which covered most of the treble side, a wooden adjustable bridge, covered tailpiece, volume and tone. The bolt-on neck now had a more Gibson-style open-book head shape (with round logo sticker). The fingerboard had the old large dots with two small octave markers. The J-1, in a number of forms, would survive at least through 1966, if not longer. It is presumed that the J-2 was still around and that it had also become a double-cutaway; it most certainly was still in the catalog, as a double-cut, in ’62.

Fingerboards vary as much as necks. The fingerboard surface usually has a cross-sectional radius that is optimized to accommodate finger movement for different playing techniques. Fingerboard radius typically ranges from nearly flat (a very large radius) to radically arched (a small radius). The vintage Fender Telecaster, for example, has a typical small radius of approximately 7.25 inches (18.4 cm). Some manufacturers have experimented with fret profile and material, fret layout, number of frets, and modifications of the fingerboard surface for various reasons. Some innovations were intended to improve playability by ergonomic means, such as Warmoth Guitars' compound radius fingerboard. Scalloped fingerboards added enhanced microtonality during fast legato runs. Fanned frets intend to provide each string with an optimal playing tension and enhanced musicality. Some guitars have no frets—and others, like the Gittler guitar, have no neck in the traditional sense.
Description: Body: Maple - Flamed - Body Construction: Semi-Hollow (Chambered) - Neck Wood: Maple - Fingerboard: Rosewood - Frets: 20 - Inlay: Block - # of Strings: 6 - Scale Length: 25.5" (65cm) - Headstock: 3+3 - Bridge: Tune-O-Matic - Bridge Construction: Rosewood - Cutaway: Double - Hardware: Diecast, Gold, 2x Volume Control, 2x Tone Control, 3-Way Switch - Pickups: Humbucker - Pickup Configuration: H-H - String Instrument Finish: Sunburst, Orange
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When speaking of electric guitars and pickups we are usually talking about magnetic pickups, as they use magnets to convert the vibration of the string into an electric signal, and these can be divided into 2 main types: The Humbucker (Double-coil) and the single coil pickup. Double-coil pickups are basically single coil pickups mounted side by side and the sound they pick up is "integrated" through to the output.

Recently Vox has emerged as a leader in the digital amp modelling market[citation needed] with the release of its Valvetronix line of digital amplifier modellers. Utilising Korg's REMS modelling software, the Valvetronix are driven via a low-power tube preamp stage and a solid state power amp. The latest line, the AD15VT / AD30VT / AD50VT / AD100VT, has received awards and praise[citation needed] for its recreation of eleven classic guitar amplifiers. The company did not reveal which non-Vox amplifiers were modelled in the product manual. The eleven amplifier types as named on the dial are:
It also includes a -6dB/oct low-pass filter that’s built into the plugin’s tube/valve modeling equation, and can imitate a lower-quality tube triode.  There’s a switchable output saturation stage, which can be used to overdrive the output signal and all the standard Voxengo plugin features, such as full multi-channel operation, channel routing and built-in oversampling. It’s great for guitars and for dirtying up sounds such as vocals, drums or synths.

Hold on now, this is my story, right? Anyways, realizing that I don’t use multiple amps live, and that I tend to stick with 1 basic amp sound, this was going to be easier than I thought. The amp sound I use is more of a Fender Twin sound with a little more mids, but not as much as say, a Deluxe. The gain is something I get from my pedals (like an 805 Overdrive and a Vapor Trail Analog Delay).  I didn’t need a device for live playing that replicated dozens of amps, cabs, and microphones. My setup is simple: Good pedals plugged into a simple modeler like the Tech 21 Fly Rig 5.  It is a simple amp modeler with reverb that I can even use as a full pedalboard if mine goes down. Getting use to IEMs with a well-mixed band took a little bit of doing, but after a few gigs, I had adjusted just fine. You can change your own balance of the band in your own ears, but it is sort of like listening to a CD and playing along with it. It is not much different than what I do at home, anyway, so once I got over the ‘hangup’ of not carrying my amp (my back thanks me), and not seeing my amp behind me, it made a lot of sense. We take 50% less gear now to gigs, and the recordings (and reviews) are much, much better. My ears don’t ring for 2 days after. I can still get glorious feedback (from my pickups hearing the PA sound), and all of the little tricks I do on guitar remain in tact. The pickups on my guitar still deliver the same sound. To my ears, it is easier to mix out front, and much, much easier to balance all of the instruments without all of the stage volume. We also have a lot more room onstage to move around. 
In 2003 Fender offered Telecasters with a humbucking/single coil pickup arrangement or two humbucking pickups featuring Enforcer humbucking pickups, and S-1 switching. These models were discontinued in 2007. As of 2008, all American Standard Telecasters came with a redesigned Tele bridge with vintage-style bent steel saddles. In March 2012 the American Standard Telecaster was been updated with Custom Shop pickups (Broadcaster in the bridge, Twisted in the neck); the body is now contoured for reduced weight and more comfort.
The headstock does not come pre-carved, which is good for those who want to personalize its shape, and bad for those who can't do wood work. All needed parts are included, along with hex wrenches for the truss rod and saddle adjustment, it even comes with some solder, so you'll just need a soldering iron and a Philips head screwdriver to complete the assembly.
I have owned Fender amps and Line 6 amps and while they have been "ok" amps, none of them come close to my newly acquired Mesa Mark V 90watt and 4� - 12 rectifier cab. Amp is super versitile and the time is out of this world. I knew I'd hit the jackpot the first time I plugged up to one. Mark V pairs nicely with my variety of guitars including PRS Holcomb sig, Fender Tele and Strat, Schecter Hellraiser, and Epiphone Les Paul. There's a tone in there for everyone, every guitar and every style of music... you just have to be willing to sit down and get to know the amp. Mesa Boogie is definitely the brand for me so I cast my vote in with them. Great company with quality amps and super friendly/helpful custom service.
Hohner Musikinstrumente GmbH & Co. KG is a German manufacturer of musical instruments, founded in 1857 by Matthias Hohner (1833–1902). Hohner is identified especially with harmonicas and accordions. The Hohner company has invented and produced many different models of instrument, particularly the modern melodica, and most of the harmonicas used by professionals. The company also makes kazoos, recorder flutes, melodicas, banjos, guitars, bass guitars, accordions, and ukuleles (under the brand name Lanikai), along with its one million harmonicas a year.
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While it’s not the most refined thing out there, Jackson Pro Series SL2 is definitely a force to be reckoned with. Minimalist design combined with bulletproof components is the type of recipe you want if you’re looking for a solid guitar. Playable, with great tone, this Jackson definitely spiked my interest in the brand again. Best of all, it’s reasonably priced considering what it offers.
Choosing guitar strings is like choosing lenses and frames for your glasses.  There is a right strength of lens for you and when you switch frames it may take some adjusting to get used to.  This analogy is referring to the bridge height, nuts, and truss rod tension.  Do take your time to experiment but once you settle it's best to keep using the same gauges so you can dodge the lengthy set-up process from happening again.
On the way folks arriving soon stay tuned pics of this made in Japan hand crafted beautiful Exotic Vintage Martin copy will be uploaded soon ... in great players condition original and stock Takamine pickup installed you can plug in at the strap pin jack and go electric and sounds amazing or fully acoustic of course unpluged. You know theses are know for the ultimate beauty of them as well as the Rich complex tone they offer well seasoned instrument of this caliber Japan had to offer in the Lawsuit series days 70-85 or so that have been discontinued decades ago as they say they don't make um like this any more... Stay tuned for another exotic Brazilian Rosewood guitar at any questions for Joe email:
Arch top body 16" wide across the top, carved spruce top, back not carved by arched by braces, rosewood back and sides, f-holes, style 45 backstripe, bound ebony fingerboard, 2 white lines inlaid down length of fingerboard at the edges, hexagonal fingerboard inlays on 6 frets (sometimes pearl, sometimes ivoroid), vertical "Martin" pearl peghead logo, nickel plated parts, sunburst top finish.
The Squier Affinity series is a great beginner instrument. All of the bodies & necks have been CNC manufactured, so they are consistent and solidly built. In recent years, Fender has completely re-hauled the Squier series of instruments to make them decent introductory level instruments, at a great introductory cost to the beginner player. You can choose from Strats, Teles and even Jazzmaster style guitars!
The Kay Gold Line professional series became synonymous with that rich gutsy Blues/Jazz sound that eventually became rock. This unique blues sound was not available from any other guitar of that time. For the past decade vintage Kay instruments have been fetching high prices and have had increasing interest from collectors and players because of the cool, campy look and that unique Blues/Jazz sound.
: Values? Well, with the prices of 1960s American and British guitars through the roof, collectors and musicians turn to the next-best-thing, and that would be European and Japanese guitars. In general, any made-in-Japan solid-body electric guitar in good cosmetic shape, that's complete and playable, is worth at least $100, and any acoustic-electric, at least twice that. The more pickups it has, the more elaborate the controls, and the more flashy the pickguard, the more it's worth. Same goes for the body and headstock shape. The standard shapes that copy Fender and other manufacturers aren't as desirable as some of the weirder shapes. A Decca solidbody with an unusual body shape, with 3 pickups and an unusual original finish would probably be in the $250-350 range to the right person. An acoustic-electric with the same specs would probably be worth $100 more than that. I've seen some of the exceptional Teisco solidbodies go for $500-600, but that's uncommon. In about 2006, I saw a Teisco (one of their Mosrite copies) from about 1967 that was in flawless condition for sale in an instrument shop in Tokyo for 200,000 Yen (about $1,900). I wouldn't be surprised if it sold for that.
The extra-versatile twin-channel layout with independent controls delivers a wide variety of tones from clean to overdrive. The Sonzera 20—which we recently reviewed—packs a hell of a punch for players who need a versatile workhorse amp that pairs well with pedals and sounds incredible on its own for any style of music. While the Sonzera 50 Combo is well suited to the stage, the 20 is easy to haul to gigs, has a lower output that’s better suited for the studio—and its “American style” voicing thanks to its 6L6 power tubes (the Sonzera 50 features EL34 tubes).

Jacob - it really depends on several factors: how much money you have to spend, type of music you like to play, electric or acoustic. You can get started with a $100 acoustic of various branding with decent quality or a basic Squier Strat for $100-150 if you want electric for many styles. Epiphone makes Les Paul and SG models for $100 and up for a little more rock and roll edge - its all a choice of your style.
Usually considered the big brother to the phaser, the flanger is indeed related in a sense, but achieves its heavier, some would say more oppressive sonic results by imposing more control over its placement of the notches created by the phase relationship, rather than spacing them evenly as the phaser’s sweep does. Much of the basic circuitry behind flanging, very simply put, follows the template as given above, but requires far more complex engineering to take it where it’s going. Pedal-sized units designed to replicate the sound of two big reel-to-reel tape machines sliding in and out of sync weren’t made possible until larger, more complex ICs became available to help do the job. This extra technology is needed to harmonically tune the out-of-phase notches, and therefore, relative to these, the peaks, and it’s this harmonic spacing of the spread that can make a genuine flanger pedal sound almost like it’s actively participating in the note selection of a sequence you are playing. Whereas phasers have from four to ten stages, the individual chips within proper flangers may carry hundreds of stages in themselves. Dizzying stuff.
Juszkiewicz, 64, is known for being temperamental, ultracompetitive and difficult to work for. A former Gibson staffer recalls a company retreat in Las Vegas punctuated by a trip to a shooting range, where executives shot up a Fender Stratocaster. In recent years, Juszkiewicz has made two major pushes, both seemingly aimed at expanding a company when a product itself — the guitar — has shown a limited ability to grow its market.
The Boss Katana KTN-HEAD Amp Head has become one of the most talked about amplifiers as it features the coveted Waza technology found in the beautiful BOSS Waza Craft Pedals. The same care and attention that goes into these pedals has gone into the BOSS Katana head to produce a versatile and highly  aerticulate amplifier. Packed with Five unique amp characters: Clean, Crunch, Lead, Brown (derived from the Waza amp), and Acoustic (for acoustic-electric guitars), the Katana head ensures you have enough sonic diversity for all genres. You can choose from 55 BOSS effects and load 15 on to the amp via BOSS Tone Studio editor software and you can actually use it without a cab thanks to the monitor speaker - making it a great practice amp that you can use to get your sound and hook up to a cab later on at your gigs.
I have never had a negative experience here. The staff is genuinely pumped about guitars. Every time I have gone in, I have always been greeted in a friendly manner and I have never felt that I had asked a stupid question. I really appreciate that they are able to take some of the intimidation out of purchasing a new guitar and put no pressure at all to buy. I'm so glad this store exists here in Seattle! Thank you so much guys!
If they're properly stretched it's usually not a big problem. Usually you can just push down on the new strings around the bridge and the nut and retune a few times to get the slack out, or do the push down/pull up technique to stretch them. I find that most players have more tuning issues from holding down the strings too hard or inadvertently slightly bending them with their fretting hand.
The F Series Martin electrics were before my awareness of the diversity of the guitar universe, but I recall the appearance of the GTs, which got to stores in Wisconsin in the summer of ’67. I recall admiring the cool shapes and burgundy finish, although I’ve never been a fan of DeArmond pickups and, rightly or wrongly, always considered them a weakness. As already indicated, the GT Series was hardly a winner and fell victim to the general guitar malaise that swept the world guitar markets in around 1968. The same guitar bust that did in Valco/Kay and a host of Japanese guitarmakers did in Martin’s archtop electrics.
The double-neck guitar is designed so that two guitar necks can share one body. This design allows the guitarist to switch between either neck with ease. The double-neck guitar will normally have a standard six-string neck and a twelve-string neck. Other combinations, such as a six-string neck and a fretless neck, are available. The double-neck guitar may be used in live situations when a guitarist needs a twelve-string guitar for the rhythm part and a six-string guitar for the solo break.
In 1978, Michel Chavarria, guitarist, singer and songwriter for French band Madrigal, decided to create a guitar shop with his friend Daniel Delfour. The shop was on a street called "rue de Laganne," which inspired the name Lâg. Like in many other cases, the small business started as a repair, setting and customization shop before creating its own models. Due to the quality of their instruments, they sell custom-made guitars to French and international musicians like Jean-Jacques Goldman, Phil Campbell (Motörhead) and Keziah Jones. Among the best-known models we have the Arkane (a Super-Strat available with different pickup combinations) and the Roxane (with Gibson-like humbuckers).
In the 2010s, virtually all of the sound reaching the audience in large venues comes from the PA system or sound reinforcement system, the huge speaker systems pointed at the audience. As well, in the 2010s on-stage instrument amplifiers are more likely to be kept at a low volume, because when band members have their onstage amps "cranked" to high volume levels on stage, this makes it harder for the audio engineer to control the sound mix and blend. For example, if a heavy metal bassist had two 8x10" cabinets and several 1x18" subwoofer cabinets and several thousand watts of bass amplifier heads, and these amps are set to a very high volume level, this bass player will be creating very significant onstage bass volume. If the sound engineer wished to turn down the bass in the PA/sound reinforcement system, this bassist's loud onstage volume would make it hard for this engineer to control and/or reduce the volume of bass in the FOH (Front of House) sound mix. Another issue that can develop with bass players who have very high onstage volume is that it can be hard for the audio engineer to produce a clean sound through the PA/sound reinforcement system. For example, if a bassist was driving her bass amp speaker stacks into clipping to create a fuzz bass tone, if the audio engineer wished to have a "clean" bass sound, this could pose a challenge.
While some Supros were more or less re-branded Nationals, many represented totally unique designs in the Valco line. When the Supro equivalent to the National Grand Console was introduced in 1958, it featured a radically different body design. In place of the National’s conventional all-wood construction, the Supro 1475B Console Sixteen featured two wooden necks connected by three chromed metal rods that ran all the way through each neck. It’s not obvious why this design was chosen; it doesn’t have any advantages other than its unique aesthetics, and I don’t believe it could have made construction any cheaper. The Supro was cheaper than the National – $175 vs $235 – but the difference was likely due entirely to the more “exclusive” name on the National.
In Cleveland power trio the James Gang, Joe Walsh combined Who-style fury with Yardbirds-style technical fireworks and R&B crunch, notably on 1970's "Funk #49." The humor in Walsh's bluesy facility came out in the talk-box flight on his '73 solo hit "Rocky Mountain Way." But it was when he joined the Eagles in 1975 that he truly lodged himself on classic-rock radio. Walsh brought a hard-rock edge to the Eagles' easygoing pop songs, creating a series of indestructible licks in the process: See his staccato-snarl riff in "Life in the Fast Lane" and his elegant aggression in the dueling-guitars section of "Hotel California." Walsh influenced the Who's 1971 classic, Who's Next, although he didn't play a note on it: He gave Pete Townshend, as a gift, the 1959 Gretsch Chet Atkins guitar that Townshend played all over that album. Townshend later repaid the favor while talking to Rolling Stone in 1975: "Joe Walsh is a fluid and intelligent player. There're not many like that around."
But the guitar store? They always remember me and treat me like a guest even if I'm not there to buy shit. Everyone there is a genuinely good dude. They're all honest too, which can be hard to find in this industry. I took my guitar in for a check up and they told me doing anything to it would be unnecessary. They could have easily charged me $80 for a set up and taken my guitar. 

Chorus: Generally you won’t hear delay during the chorus, though guitarists who strictly play lead can still find ways to utilize it.Verse: It’s probably the most “delay friendly” portion of a song, providing the lowered intensity that makes room for the extra noise of the delay effect.Bridge: A short solo or lead guitar segment will usually be pretty tame in Christian songs, allowing for the use of heavy delay, as well as other effects.

Emerald City Guitars is the professional’s choice for guitar repair in Seattle! A partial list of some of our more well known clients: Bill Frisell, Billy F. Gibbons, Jimmie Vaughan, The Black Crowes, Pearl Jam, Jessica Dobson & Deep Sea Diver, Telekinesis, The Walkmen, Lynval Golding, The Supersuckers, Mudhoney, Randy Hansen, Death Cab for Cutie, Clinton Fearon, KD Lang, Henry Cooper, Alien Crime Syndicate, Orbit Studios, The Lonely H, Mars Hill Church, Fleet Foxes, The Magic Mirrors… and YOU!
If straightforward lessons aren't what you're looking for, fear not: Rocksmith 2014 tries to refresh your picking skills through games that veer into the ridiculous. I tried out Return to Castle Chordead, which revels in delightfully bad NES-style graphics (the game challenges the player to zap the hungry undead by playing the correct chords). Scales Racer—which, you guessed it, teaches the major and minor scales—puts the player in a car fleeing the police. Pick the right notes and you zip between lanes, eluding the fuzz.

The aim of Audio Issues is to help interested newcomers get started in the world of audio production with easy to use practical audio production tips for beginners and advanced. If you are just starting out doing some home recording or have been engineering for a while, these quick and easy audio tips are guaranteed to be of interest and use to you.
Some Korean Ibanez serial numbers are purely numeric with no alphabetic characters. According to Jim Donahue these guitars were manufactured in the Cort factory, in which he had the supervision. Because they had no date stamps available when they started, the serials numbers of Artstar models in this factory were written by hand. These handwritten serial numbers are hard to decipher. The production of these Artstar models at the Cort factory was discontinued in 2003.
Our flagship guitar. Customers have been asking Denny to build this instrument for such a long time that he finally gave in and designed what many are calling the best acoustic on the market today.  We’ve had players put this guitar up against the best from Taylor, Martin, Gibson, Fender, Santa Cruz, Bourgeois, and we never get them back, even with our 100% money back guarantee. If you’re looking for your last guitar you can pass onto your children this is our #1 guitar. We’re sold out and back ordered on them most of the year so when you see one grab it as Denny builds only a few annually.
The MC5 was founded by guitarists Wayne Kramer and Fred “Sonic” Smith, friends since their teen years and veterans of the Detroit garage rock scene. They honed a two-guitar attack that owed much to the heavy rock sounds being popularized at the time by acts like Cream, the Jimi Hendrix Experience and Led Zeppelin. But Kramer and Smith laid down their riffs with more reckless abandon and a greater sense of desperate urgency than any of those groups.
In 1974 Martin Sigma electrics included two SGs, a Tele and a Fender bass. The SBG2-6 was pretty much a straightforward SG copy with a bolt-on neck, center-peaked three-and-three head, block inlays, large pickguard, twin humbuckers, finetune bridge, and stop tailpiece, in cherry. The SBG2-9 was pretty cool, with a natural-finished plywood body, white pickguard, rosewood fingerboard with white block inlays, gold hardware and Bigsby. The SBF2-6 was a Tele with rosewood fingerboard, three-and-three head, block inlays, neck humbucker and bridge single-coil. The SBB2-8 was the bass, with natural finished body, three-and-three head, rosewood ‘board, block inlays, white ‘guard, and two humbucking pickups.

Originally this effect used 1/4″ tape going round a machine like the Echoplex. It then recorded whatever you were playing and played it back to you a set time later.Since its launch in the 1950’s tape based delay started to appear in more and more recordings. Its saturated sound and imperfect repeats gave it some stunning character that is still loved today.Now tape is dwindling so most people have moved on to emulated digital pedals. These get close to the sound of an original tape unit without any of the added maintenance.
Although there are now several digital guitar recording preamps which model amps and cabs, the Roland VG88's split pickup system allows you also to experiment with modelled guitars and pickups.Digital noise removal plug-ins (again best used before delay effects are added), produce even fewer side-effects and so may be the best option when recording into a computer-based system. However, you can often achieve a worthwhile improvement using simple low-pass filters — before I moved over to working almost exclusively on the computer, I often used the side-chain high-cut filter in my Drawmer DS201 gate to remove hiss from guitar tracks. The sharper the filter, the less the wanted sound will be affected, so a plug-in with an 18 or even 24dB/octave slope should be even more effective than the 12dB/octave filters the Drawmer uses. The trick when setting them up is to pick the lowest shelving frequency that doesn't materially change the original sound, other than to take the edge off the hiss. Using filters in this way also helps reduce finger noise and squeaking on acoustic guitar parts and can even help disguise moderate clipping distortion caused by recording at too high a level.
There are several kinds of bridge (located at the bottom of the guitar, where the strings are attached), but to keep things simple you’ll usually find either a fixed bridge or a tremolo bridge. Both have their pros and cons. A tremolo bridge will allow you to experiment with everything from vibrato effects right up to full-on divebombs, and can sound amazing when playing high lead solos. However, tremolo bridges can affect tuning, unless the bridge and nut locks. A fixed bridge is excellent for sustain and tuning stability, although there’s no vibrato. Again, it’s all down to personal preference.

Woofer enclosures must be larger and more sturdily built than cabinets for mid-range or high-frequency (tweeter) speakers. As such, in the 1950s, when Ampeg introduced bass amplifier and speaker systems, bass guitarists began to use them. Similarly, Hammond organ players used a specialized keyboard combo amplifier, the Leslie speaker cabinet, which contains a woofer for the low frequencies and a horn for the high frequencies. The Leslie horns rotate and a baffle around the woofer rotates as well, producing a rich tremolo and chorus effect.

The EG-6N had a similar profile but tuners were mounted on a square-topped head with the buttons facing up. This had a dark square-ended fingerboard with dots and a single chrome-covered pickup with black center insert and exposed poles (same as on the SD-2L/4L), volume and tone control. The EG-8N was similar except for having a light fingerboard with black dots, and two of the chrome/black insert pickups, volume, tone and threeway select. A folding stand to hold the steels was available (this was a standard Teisco product from the mid-’50s on).
SOLD OUT Here we have a great 45 Year old Japanese Vintage 1971 Yamaha FG180 Red Label Nippon Gakki Martin like vintage tone for a fraction shes a Boomer low action plays easily WoW! ... Just in and AVAILABLE JVG- Fresh Release: I can tell you this is a real good one folks! No structural cracks or checking in finish, its a beautiful Solid Spruce Top and it is pretty flat with no noticeable bellying and its bridge is tight, action is excellent within Martin specs... This guitar received the JVGuitars SET -UP upgrade to bone nut and compensated martin saddle as well as the brifg pins upgraded to very nice Rosewood with abalone dot detail as well as a new set of Martin Marquis strings ( 12’s ) 80/20 Phosphorus bronze . The neck has a classic feel to it with an excellent vintage finish still shines like glass …excellent with a classic Martin like feel in a soft V Medium Profile and has the correct relief set to within M spec frets are still good - we leveled and dress them. We first took off the old strings and fully clean the fingerboard and re-hydrate the woods before polishing all surfaces and lubricating the excellent upgraded Ping Deluxe tuners, Not to be confused with the similar model made in Taiwan this the famous Nippon Gakki made in Japan one and this is a really good one at that folks. Never abused, well cared for, no cracks, great neck alignment to this day, action excellent, plastic tone robbing parts - GONE! Bone & Rosewood sustains better than ever…. these are know for great “ M” Like vintage tone and is in great vintage condition,
Someone is going to be very pleased. For a Song Any questions or to contact Joe to buy this contact Joe at: Thank you for your interest Joe ..
When it comes to acoustics, you can’t beat Taylor’s eco-sourced Tone Woods. The 114e features a solid Sitka Spruce top and layered Sapele back and sides, giving the Taylor a rich and full-bodied sound that is hard to tell apart from solid wood bodies more than twice the price. The electrics and built-in preamp are top notch and you can’t beat that Taylor neck for finger-friendliness if you’re just starting out with chords.​
Like the Strat above, the Fender Telecaster shares the title of being one of the most legendary electric guitars ever produced, and owes a lot of its authentic vintage sound to its unique pickups – which are both fantastic and frustrating at times. A Tele will usually feature two single-coils: a smaller one at the neck and a larger, slanted pickup at the bridge. They both deliver a twangy sound, with the bridge offering great treble tone and the neck a little more balanced. The neck pickup’s main complaint is that it is often muffled in output – unless you find a good set such as the Fender Vintage Noiseless Tele Pickup Set, which keeps things crisp and clear.
*VERY GOOD CONDITION, W/CD (NEVER USED)* PAYMENT is requested within 2 days or 48 hours of purchase.   FEEDBACK: Positive feedback and a 5 star rating is such an important part of the eBay rating system. Please contact me before leaving Neutral or negative feedback, I will try to help you. I will leave feedback when feedback is left for me!   SHOP WITH CONFIDENCE 😎   TRUSTED & ESTABLISHED SELLER!!

Looper – A time-based effect that records a “phrase” of your playing and loops it back repetitively. These phrases can play sequentially in a song-style format or overdubbed to create dense layers, as used by one-man band style performers, vocalists to beatboxers. Larger loop pedals have more than one pedal for multiple tracks and allow you to add in-built effects to your loops. Remember: If you want to record your chain of effects pedals, make sure your loop pedal is always at the end of effects chain.

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Harmoniser – a frequency-based effect that sounds like a second guitarist is playing in harmony with the original guitar signal. The effect is created by doubling the guitar input signal and then shifting the pitch of the double up or down at a certain interval (usually a 3rd, 5th or octave). The harmony effect is often used in the metal and hard rock genre to play solos.

In 2008 Squier released its Classic Vibe series, a series of electric guitars and basses mirroring classic Fender designs of the 1950s and 1960s—each roughly reflecting the hardware, woods, color variations, finishes, body contours, and tonal characteristics of their respective era; Squier states that they didn’t intend the series as completely era correct, but wanted to impart the ‘vibe’ of a classic Fender design—the vintage-quality feel, look, and sound of their first series of guitars in 1982.

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The Effect: Wah pedals are primarily based on inductors, and later on Fasel inductors – serving as integral parts which play a big role in the outcome of the sound itself. They work on a basic principle, by adjusting a wah pedal’s footswitch your sound frequency’s behavior is modified, resulting in a “wah wah” tone – for further clarification take a listen to “Voodoo Child” by Jimi Hendrix. Naturally, effects may vary slightly or greatly depending on the model in question. Some of the most popular modern wah pedals are Dunlop’s numerous Cry Baby iterations and Vox’ marvelous classic enhanced remakes. The thing that sets wah pedals apart from other types in a unique way, is the fact that they rarely feature any controls, it’s just the footswitch and a dynamic range of impressive funky tones at your disposal.
I have played a ASAT Telecastor Bass for about thirteen years. I keep purchasing other bass guitars for many other reasons. But I have sold them all. I am down to just one bass that's all I need with my G&L, it very responsive, it has many opitions with pick ups and the action is good. It took along time for me to figure out how to use the pick ups because there is so many different ways you adjust it. They are built with better quality parts than a fender. They are numbered from the factory in america. But watch out for the Tribute series that is fake or cheap want to be G&L. A real G&L will be a little more expensive but the quality is excellent
In the 1980s, digital rackmount units began replacing stompboxes as the effects format of choice. Often musicians would record "dry", unaltered tracks in the studio and effects would be added in post-production. The success of Nirvana's 1991 album Nevermind helped to re-ignite interest in stompboxes. Some grunge guitarists would chain several fuzz pedals together and plug them into a tube amplifier.[47] Throughout the 1990s, musicians committed to a "lo-fi" aesthetic such as J Mascis of Dinosaur Jr., Stephen Malkmus of Pavement and Robert Pollard of Guided by Voices continued to use analog effects pedals.[48]
:::I just bought one of these guitars at an auction. In Oregon U.S.A. It is a plank, with sunburst finish, 3 chrome toaster style pickups with one cover missing. The varnish has cracks in it like every other old Vox I have seen that date to the sixties or earlier. It has a white pick guard with 3 chrome knurled knobs and an old style switch that turns (not a flip switch) but is missing the knob that I assume is chrome like the 3 volume knobs. I haven't put strings on the guitar yet so I don't know if they are all volume or 1 volume and 2 tone. The roller/tremolo has VOX stamped in big letters and under that it says PAT.APP.FOR in smaller capitol letters. It has a plastic cover plate on the back that is stamped, Made In England. The neck is 19 fret with a fret just under the nut that has no use, as the string would never touch it and the neck is attached with a metal plate. Tuners are a single strap with gears steel not brass with plastic knobs. Just under the tuners on the back the headstock are the numbers 64523. A green VOX decal along with Shadow JMI Dartford Kent on the front. I was suprised to find this guitar, as I had never seen or heard of it before. I can't wait to play it and see how it stacks up to all the other VOX guitars I have and have played. Wish I could find out more about it but this is as close as I have come, so far.
Start with all of the mics clustered together three to six inches from the grille cloth, pointed at the center of the speaker. On a multiple-speaker cabinet, don't assume that all the speakers sound the same. Rather, listen to each of them at a sensible volume, and then mic the one that sounds best. If the speakers sound alike, a miking position close to the floor will generally provide a little more low end.
“The California Series captures the true meaning of a Fender acoustic guitar,” said Billy Martinez, VP Category Manager – Acoustics and Squier Divisions. “From the iconic 6-inline Stratocaster headstock to the original Fender body shapes and organic styling, everything about these guitars is uniquely Fender making them the ultimate tools for artistic creative expression. Whether you’re at the beach or rocking out with a band on stage, we’re offering players of all levels a chance to express their own creative style, standing out in the crowd with the bright colors and energy these guitars give off.

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Guitar scales free movie. Guitar Scales This lesson covers the basic ways to play chromatic scales on the guitar. Guitar scale reference - Here is a listing of some basic fingerings for many games. GUITAR SCALES guitar chords guitar scales chord progressions Search our collection of guitar scales, with charts and music playback jam contacts chord name reverse scales metronome forums tuner. Guitar Scales: Lookup guitar scales on
The Fender Mustang I V2 Guitar Amplifier Combo also features USB connectivity allowing you to hook it up to your computer or DAW software for easy recording. If you don’t already have a DAW, you can utilise the free downloads of Fender FUSE and Ableton Live software suites to create your own music and take advantage of all the great features within the amplifier when recording. An intuitive, easy to use control panel allows you to see and change your sounds and footswitch connectivity (sold separately) ensures you can have complete control without the need for a pedalboard. A fantastic amplifier for beginners and players of all levels.
One that I love listening to, and playing, is Under the Bridge - RHCP... also if you're not yet intermediate it's a good transition from beginner to more intermediate/advancey stuff. Anyways a lot of Beatles is good... same with Eric Clapton, John Frusciante and John Mayer. Really anything that is considered 'mainstream' is good to learn, 'cause odds are you already know it... making it easier to learn.
If you love the sound of both acoustic and electric guitars, but you want to play both at the same time without draping one of each over your shoulder, then an Acoustic simulator pedal is ideal. These pedals take your guitar signal – regardless of what electric guitar you’re playing and make it sound like it’s an acoustic. These are often used by guitarists on stage who want to switch between an acoustic and electric guitar sound during a set or even the same song. The Boss AC-3 Acoustic Simulator is a great option.

A passive pickup doesn’t produce a very strong signal, which can result in a small amount of volume and an anemic tone. However, the signal can either be boosted at the p.a., your amp, or the most versatile option' via an Acoustic Preamp. Active pickups don’t require any external technology to boost, though they do require a battery, but some people still use acoustic preamps for the tone shaping and DI benefits..
The MS-50G lets you use up to six of effects simultaneously, from its large pool of digitally modeled effects (47) and amps (8). And all of the settings and parameters are adjusted via its intuitive interface, albeit with just a single footswitch. You can save each preset you create or edit, just store them into the pedal's 50 memory banks. This flexibility gives you an unprecedented tone options. Other noteworthy features include its built-in chromatic tuner and its versatile power options, which include 2 x AA batteries or via a USB power source.
The Epiphone Les Paul Special II Vintage Sunburst has a mahogany body and neck which gives the guitar a nice thick sound. The quality of the tuners and pickups are okay, not superb, but good enough for any beginner. If you are into metal, rock or blues the two Epiphone humbuckers do a pretty nice job, they sound really good and give you a nice fat sound. A pretty reliable and solid guitar even for live playing.
Great playing and sounding bass. The Ibanez BTB series in a 'very playable' 4-string version. Huge tone is delivered via 2 active pickups that feature controls for volume, bass, midrange, treble and balance. We believe the pickups are actually made by Bartolini. 'Locking' 1/4 jack. Solid wood, natural finish body. Rosewood fingerboard on maple neck. Tuning is accomplished via quality, 'sealed' tuning machines. Rock solid and stays in tune. Set up great! Currently has 'nylon wound' strings for a softer 'jazz' tone. Frets show virtually no wear. Body finish has VERY little wear. Includes gig bag.
Among the most common rookie amp buyer mistakes is buying a big amp that's too heavy to gig with, or going the opposite and buying one that's too small. If you're gigging at different places and you don't have a roadie, then consider going with a smaller amp that has DI output so you can go straight to PA with your tone intact. In big venues where big amps are a must, some opt for amp heads because the separated head and speaker cabinet are lighter on their own, although you'll have to move more pieces.
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For the metalheads, Ibanez has their Iron Label series in addition to the signature models. These guitars are absolutely metal-oriented, with no-nonsense designs that provide exactly what you need for intense shredding without gimmicks. Ibanez Iron Label guitars are based on the S and RG platforms and come in 6, 7 and 8-string varieties, all with fast, shreddable necks. The RG models even have an onboard kill switch so you can do manual strobe effects without the need for a pedal.
Peavy amps are especially well appreciated by the metal community, thanks to their good overall reliability and the high volume of sound some models produce. The 6505 Series is a favorite of metal guitarists due to its power and versatility. This is most often used as a head for double stacks of speakers, but it can also be purchased as a 2×12” and 1×12” combo for convenience.

The Ampeg Bassamp Company, founded in 1949 by Everett Hull, responded to the growing demand for electric bass equipment by producing a line of bass amplifiers. Ampeg bass amps were widely used by electric bass guitarists in the 1950s and 1960s. The first bass amplifier offered by Ampeg was an 18-watt model with a single 12" speaker and a rear ventilation port called the Super 800. In 1951, they introduced a 20-watt version with a 15-inch speaker. In 1960, they introduced the B-15 Portaflex, a flip-top 25-watt tube bass amplifier with a single 15" speaker. While the Ampeg Portaflex had a pleasing bass tone, and was used by studio bassists such as James Jamerson and Carol Kaye, it was not powerful enough to be used in a stadium or arena concert.[3]

One of the very first things you will play is either an open C or and open G in standard tuning. These are chords and serve as the very fundamental unit of song construction. Getting a new player up and running with a few chords they can strum is one of the first sign posts on the way to playing. It’s pretty rewarding to get that G to ring out clearly. That said, the greatest guitar masters use moveable chord forms to construct thoughtful lead work and intricate guitar lines.
bought at a tiny store in holland, back then they said to me the guiter was already 20 years old. he was looking a new, and bought it for 1000,- dutch guildens. thats maybe...445,- euro now. thats nothing compared to the prices they ask for a vox guitar they make TODAY! thay are building guitars again and ask pricies beginning by: 2000,- euro's. I wanna know when my guitar was bild, he has a chrome plate at the back with made by japan on it too.

Its very obvious very few on this list have never picked up a guitar in their life as this looks like a what brand does my favorite band play list... Considering Gibson these days are garbage and only were good for a few style to begin with no way they're number one... Fender has very solid build quality, but to diversify them to play numerous styles takes heavy modification. As far as electric are concerned there is a number that can top the list, as schecter, esp and Jackson are too low on the list and I've heard good things about rickenbacker. Ibanez is also excellent. Its really a toss up for me...I haven't played much esp do I phased them out...I have extensive time with Ibanez schecter and Jackson... Ibanez is gone because the build quality is no better and the playability is pretty much the same as a Jackson but the Jackson gives you far more bang for the buck... As for schecter and Jackson they put out some fully loaded guitars that are only going to rock you maybe a weeks ...more
Make your next guitar one of a kind. Every luthier set sold by OregonWildWood is visually unique and distinctive - even sets within the same species vary greatly in color, contrast and figuring. You'll find the largest online selection of guitar woods available - all special within their own right. All are exotic, beautiful, unique and superior. Each set is individually pictured giving you the opportunity to choose the perfect one for your next guitar.
“To extend valve life, turn your amp off after a gig and let it sit for a few minutes before moving it. And vice versa: as soon as you’ve got a power cable to your amp turn the juice on and let it warm up for as long as you can. Tone-wise, you can notice the difference between an amp that’s been turned on for only five minutes and an amp that’s been sitting there [switched on] for 45 minutes.”
Run a length of wire (approx two feet is usually plenty) through the jack mounting hole and down into the cavity. When you see the wire in the cavity pull it up through the F hole. Make sure the wire is long enough for one end to stick out the jack hole, and the other to stick out the F hole. Tape the jack hole end of the wire to the guitar with masking tape, or tie it to the strap button. This will ensure it doesn’t fall through the jack hole while you’re working on the other end.
The Kent 800-series hollow bodied guitars all had asymmetrical bodies and the pickup closest to the neck was tilted. There are several Kents that had symmetrical hollow bodies and no tilted pickups. The pickups are either humbuckers or wide single coils with covers. They resemble Gibson ES-style guitars. The necks and headstocks are very similar to the Kent 800s. They're probably newer than the 700s and 800s. I won’t be covering those here.
Compared to other plastic exterior multi-effects, the RP360 XP feels solid and durable. And this is reflected in many reviews, which mention the pedal's reliability as one of its good traits. Versatility and value for money also came up a number of times, both from pedalboard owners that have downsized, and beginners who are just trying out multi-effects.
The first impressive thing about the Zoom G3X is its build quality. This unit is solid, which puts our fears to rest that Zoom may have sacrificed build quality since the G3X is more on the budget side of the price spectrum. In the reviews and recommendations we read, several owners make it a point to comment that it feels like a serious piece of equipment that could withstand some abuse because of its sturdy metal construction. The G3X can be powered with a 9V adapter (which is conveniently included), or four AA batteries. Zoom claims about 6 hours of battery life, but in our experience manufacturers tend to exaggerate battery life a bit. Still, battery power is very convenient if you’re traveling with the G3X and want to do some on-the-go playing, or just taking it from room to room in your house (to save some money in the long run we recommend rechargeable batteries).
As of 2012 Taylor Guitars has more than 700 employees. The company maintains two factories: One in El Cajon, California and the other, 40 miles away in Tecate, Mexico where the entry-level guitars of the Taylor line (the Baby, Big Baby, GS mini, and 100-200 series) are made along with the Taylor guitar cases. In early 2011, the company opened a distribution warehouse in the Netherlands. Also that same year, the company, along with Madinter Trade, S.L., partnered to purchase the Crelicam ebony mill in Cameroon. [6]
I am new to guitar but had played Baritone in grades school thru high school in a small school with a band teacher who went on to Iowa State. So I wasn’t finding where notes were and started watching guitar/music theory and found several who headed me to learn my Pentatonic E minor scale before I have finished with chords. I wanted to know where notes are on fretboard.
Another early solid body electric guitar was designed and built by musician and inventor Les Paul in the early 1940s, working after hours in the Epiphone Guitar factory. His log guitar (so called because it consisted of a simple 4x4 wood post with a neck attached to it and homemade pickups and hardware, with two detachable Swedish hollow body halves attached to the sides for appearance only) was patented and is often considered to be the first of its kind, although it shares nothing in design or hardware with the solid body "Les Paul" model sold by Gibson.
This is another really nice 12" 16 ohm guitar speaker from 1973, and is a matched pair with the one listed earlier, it has its original Pulsonic H1777 cone, and is in excellent condition, there it also has a tiny repair on the edge of the cone but this doesn't affect the sound in any way.Cash on collection preferred but carriage can be arrange if required.
Okay, it is a single-cut and dates back to a similar era, but this single-cut is very different to a Les Paul. The Pro Jet has a basswood body with an arched maple top, and like many of Gretsch’s solidbody electrics, it’s chambered, making it lighter, and, they say, more resonant. It sports a pair of Gretsch’s Black Top Filter’Tron pickups, giving you a bright snap and twang that’ll cut through any mix. In short, it’s incredible. Uncanny, even. For here we are in 2018, and yet you fret a couple of doublestops on the Pro Jet Electromatic and all of a sudden it’s like you’re the Fonz, just waiting for Richie, Joanie and Chachi to show up. The cleans are sharp and jazzy, but just take your amp into overdrive and you’re in rockabilly heaven. The tone is so hot you could grill hamburgers by wafting it in front of the speaker cone. Tex-mex shuffle, country, blues, jazz, rockabilly... You name it, and it’ll play it, retro-style. if you want the versatility and the kudos that comes with a Gretsch, it’s hard to look past that finish, that build, and that tone.
The cool thing about this setup is the EQ bypass feature. In other words, you can completely nullify any effects of the EQ and tap into the raw tone of the guitar. That works great for those who want that authentic tone or to let the mix engineer handle the rest. Overall, this Takamine is rock solid in all aspects. It is a great alternative for anyone who's looking to extract the most out of their money who wants to try something other than a Martin.
There are several good reasons why you might want to wire your Strat pickups in series. If you want more volume and midrange out of your pickups, the parallel/series switching may be the perfect option. As I mentioned, parallel wiring of two pickups is what you are used to hearing from a Strat. Parallel wiring adds transparency and clarity to the tone.
When I was a kid in the 60s, all of the Japanese brands (probably ALL made by Teisco) had a really bad rap and only kids ended up with them. Some were very cheaply made, with weak metal, thin chrome plating, funky finishes and thin pickups. I owned a Rodeo, which was terrible. But then, who knew much about guitars then? Nowdays, anything has character.

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.

The body of an acoustic guitar is composed of the top, also called the soundboard. The soundboard is supported by internal bracing; the sides, and the back that together form a hollow chamber. The upper body curves are referred to as the upper bout, while the usually larger lower body curves are called the lower bout. The area between them is referred to as the waist.
When you buy an acoustic guitar that you’re drawn to because of its aesthetics, you will become more motivated to play it. This is especially important for beginners who may find it tedious to do the same exercises over and over again, or who may be tempted to skip practice sessions. A good-looking guitar is something you will love playing again and again.

A common theme with these models is the capability to easily access the highest notes of the instrument, alongside dual humbuckers and massive sustaining bodies.  The Explorer, much like the V, is now a very common electric guitar shape in the heavy rock and metal genres, but was widely used in other styles as well.  This is evidenced by one of the most famous Gibson Explorer players, Allen Collins of Lynyrd Skynyrd.
The instruction covers both electric and acoustic guitars. The music part is thorough but progresses pretty quickly. It covers a few genres so that you can get the specific information you want whether you’re playing the blues or going classical. The best thing about it is that it is an all-in-one reference that even experienced players will appreciate.
The MG-100 has so many features, its hard to name them all. But, here we can list: 13 classic amp models via NUX's TS/AC technology, vintage 3-band passive EQ modeling for every amp model, 6-band graphic EQ designed specifically for electric guitar (120hz,250hz,750hz,1.6khz,3.2khz,6.4khz), 11 cabinet models, seamless and quick preset switching , loop sounds can be played with drum machine, rhythm beat synchronously. The aux in jack makes it easy to practice along with MP3, CDs and other inputs. Large color TFT LCD panel (160 x128), graphic interface making the overall operation easy and intuitive. A total of 72 presets, 36 factory + 36 user presets.
Spruce has historically been the wood of choice for acoustic flat-top guitar soundboards. However, Luthiers and other large guitar manufacturers very often choose more economical and readily available woods rather than top-quality spruce. Redwoods and cedar, for instance, are often used in soundboards by American guitar-makers to great effect. In some cases, two different woods are used together to give the guitar a distinctive appearance and tone.
As you know, like most guitars sporting more than a single pickup, your Strat lets you select any pickup by itself or choose certain dual-pickup combinations. The standard way to connect multiple pickups is to wire them in parallel. This generates the classic tone our ears know from countless records, when a guitarist uses the bridge and middle or middle and neck pickups in tandem (positions 2 and 4 on a normal 5-way Strat switch).
A Volume pedal is a volume potentiometer that is tilted forward or back by foot. A volume pedal enables a musician to adjust the volume of their instrument while they are performing. Volume pedals can also be used to make the guitar's notes or chords fade in and out. This allows the percussive plucking of the strings to be softened or eliminated entirely, imparting a human-vocal sound. Volume pedals are also widely used with pedal steel guitars in country music. It has also been used to great effect in rock music; the Pat McGee Band's live version of "Can't Miss What You Never Had" on General Admission illustrates what the pedal is capable of. Some volume pedals are:
I liked that the test used identical setups and that the results were captured on a high resolution display. Often the debunkers use either their ears alone (and in a MP3 format as well for us to compare) or an oscilloscope which is a terrible measuring device for real sound because it can only display time and amplitude where the amplitude is a summed view of all the frequencies at the same time. The FFT clearly showed much much more.
Fender came up with the California Series lineup of acoustic guitars to celebrate its Southern California roots. Every aspect of this guitar is uniquely Fender, from the Strat-style headstock and vintage-style slot tuners to the slim-taper neck and preamp, which is the product of the collaboration between Fender and trusted electronics brand Fishman.
Following the lead of Electro, which was having some success with their cast aluminum alloy bodies, Dobro – still a separate company – introduced its first cast aluminum Dobro Hawaiian electric lap steel guitar, probably in late 1934. Along with the aluminum lap, Dobro also debuted the Standard Guitar, and the Mandolin. Accompanying these was the Dobro Amplifier. All four listed for $67.50. These are all shown in the ’35 Tonk Brothers catalog.
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My interests are in the Kents with the script logo on the headstock, body, and pickups. The headstock is Gibson-ish with tuners on both sides. The pickup nearest the neck is tilted, regardless of how many pickups are on the guitar. One model, the 742 has four pickups with switches, volume and tone knobs for each. Overkill, to say the least, and I have read somewhere that they don’t sound very good. However, I have seen some youtube video where a 742 sounds pretty good in live performance. A lot of the sound comes from a proper setup and the hands of a skilled player. Hopefully I’ll be able to find out for myself someday. Regardless, the 742 is one funky-looking guitar.
It comes in arctic white, fiesta red, black and vintage sunburst, so there’s a healthy level of customization available. Finally, there are three classic Strat single coils, two volume knobs and a tone knob. Accompanying that is a five-way selector switch, so you can dial in your tone and fine tune it with the knobs. It all comes in a really nice package that will feel really good right out of the box. You really can’t go wrong with a classic like this. 
A direct line can be drawn from “Rumble” to “My Generation,” “Anarchy in the U.K.” and “Smells Like Teen Spirit.” The song is often credited as the origin of the power chord, but it also heralded the transformation of rock from the music of youth to the soundtrack of juvenile delinquency. Several radio stations banned “Rumble” because they thought it was too sexy, raunchy and violent. Wray even dressed like a juvenile delinquent, embellishing his greasy black pompadour with a leather jacket, jeans and shades at a time when most white rock and rollers still took fashion cues from Perry Como and Bing Crosby.
Thanks for this explanation. I have built a few electric guitars, but they have been in the Gibson style with two humbuckers. I am now working on a guitar with an HSH configuration, so for starters, I needed to understand the basic 5 way switch, which if you just looked at it, it makes no sense. Now I see that the wipers of each pole are on the opposite end of each side.
With the PAC112V there is no harm going with the crowds. The Pacifica is a crowd-pleaser precisely because of its versatility – and so whilst it might have a very recognisable look, this electric gives you the opportunity to craft a sound that is entirely your own. The only drawback is its weight, which is not much of a drawback at all – particularly for this price.
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The Model EP-17-T was a regular-sized thinline with a single round cutaway, bolt-on neck, non-dipped three-and-three head, dots, three pickups, adjustable bridge, plain trapeze tail, elevated guard, three rocker switches plate-mounted on the upper shoulder, and controls on a rectangular strip on the lower bout. All three were offered in shaded mahogany finish.
Launch price: $1,427 / £999 | Body: Mahogany with maple cap | Neck: 3-piece mahogany | Scale: 24.75" | Fingerboard: Ebony | Frets: 24 | Pickups: Seymour Duncan JB humbucker, Seymour Duncan Jazz humbucker (EMG 81/60 reviewed) | Controls: 2x volume, tone, 3-way selector switch | Hardware: EverTune bridge, Grover tuners | Left-handed: Yes (without EverTune) | Finish: See Thru Black, Dark Brown Sunburst
The Boss Katana Head is a full featured amplifier head that can handle stage, recording and practice duties. It does this with its built-in power attenuator, which lets you choose between 100W, 50W and a super quiet setting of 0.5W. To complement the 0.5W setting, Boss even added a built-in 5" speaker into the amp head - making the Katana head to be technically a combo amp in head form factor. Complementing its versatile power rating is its built in amp modeling, which gives you five voicings from acoustic, to clean to high-gain. As expected, this amp comes with essential effects from Boss, with over 50 of them to choose from, 15 of which can be loaded to the amp for quick use, albeit limited to just 3 effects running simultaneously. Finally, all these features are packed in sleek looking profile that feels really solid, as expected from Boss.

Every generation there's one guitar master whose touch can make a guitar purr; whose grasp of his skill is so complete that just by looking at the guitar, he knows her problem; and whose ears can pinpoint what your tone is lacking. They are legends. And the mystique that surrounds these guys is hard to penetrate. Swank is one of those guitar masters. "I think part of my mystique now is that I'm just flaky and don't return phone calls," he says. "It's not that I'm some kind of badass." Swank was first introduced to the business of guitar repairing when he saw another master's work. "I just thought it was a pretty noble pursuit."
Rack-mounted effects processors are another option, and are often used in pro and home studios as well as in stage rigs.. These effects units offer the same options as floor-based pedals and multi-effects units. They are simply mounted in a rack, and usually can be controlled with a foot pedal or the controls on their front panels. Newly developed iOS app-based and DAW-based effects add even more options to how you go about building an effects collection.
Another good reason to go with this type of acoustic guitar is the fact that there aren't really any significant reasons not to. These days, an acoustic electric model won't be that more expensive, and having the electric option available is priceless. You can get them really cheap, but just like with anything else, quality of the system will depend on the price. It's the little things that I appreciate, like the built-in tuners, besides the main feature. These tiny details bring so much convenience that traditional acoustic guitars lack that can save the day, like when you forget to pack your nice guitar tuner in your gig bag.
Ring modulation: In the context of signal reshaping, the ring modulator takes the signal from the instrument and adds a second signal from a local oscillator or signal source. The two signals are combined to produce the sum and difference frequencies, which are then the output of the device. This scheme was used in the electronic music of the 1950's. The output frequencies track the input signal frequencies, but do not equal them, so there is a shift from the original pitches. The ring modulator has been produced as a footpedal, and ring modulator type effects are included in some modern electronic effects boxes.
If, like me, you have a short fuse, you might find yourself cursing to yourself when unable to nail something on guitar. Indeed, you might get so frustrated that you feel like, literally, nailing something into the guitar. If you do get to this point, it's because you're trying to move too far, too quickly. Your mind and fingers will struggle to keep up with your expectations if you're too ambitious or impatient.
Most, if not all of us have at least given some thought to learning to play the guitar. It is, after all, an instrument which takes the leading role in virtually every genre of popular music. No matter what type of music you aspire to play, there is almost certainly an important part there for you as a would-be guitar player. Of course, learning to play begins with actually owning a guitar. 
Buddy Holly turned a generation of future heroes – George Harrison, Eric Clapton, Jeff Beck – onto the guitar, with an elemental style: an antsy mix of country and blues that merged rhythm and lead; check the push-and-tease phrasing on "It's So Easy," which echoes Holly's growl-and-hiccup vocals. Playing his Stratocaster and fronting a double-guitar-bass-and-drum quartet, Holly essentially invented the rock band. "Listen to the songs on the first three Beatles albums," says John Mellencamp. "Take their voices off and it's Buddy Holly."

We are going to start with a Fender amplifier. This Mustang I V2 is a 20-watt combo amp that has won over hearts of a lot of players because of its ease of use and versatility. With one channel that has 24 presets and eighteen amp models you won’t be scrambling for diversity. Apart from that, of course, you get some of the major controls like Gain, Volume, Treble, Bass, Master, Preset Select, Modulation Select, Delay/Reverb Select, Save, Exit and Tap Tempo. The size and price of this model really do not do it justice (I mean, don’t make it more pricey but still). You also will find that this amp features USB connectivity, chromatic tuner and black textured vinyl covering with silver grille cloth that accentuates the simple and elegant look of this model. While 20-watt, as you might know, is not much (unless it’s a tube amplifier) this baby is pretty great if you want it for practice.
The pickups on an electric guitar can only pick up the vibrations of the string and convert those vibrations into electricity, which is ultimately converted into sound waves that emanate from the speakers. Do the pickups shape the sound? Of course! Can pickups mask the characteristics and make two electric guitars with different tonewoods sound the same? Yes again. So, I guess the correct answer to the question if wood makes a difference in the sound of an electric guitar is “It depends”. A pickup that can’t pick up these subtle overtone differences, enough compression, or other kinds of dynamics-killing processing, will kill the dynamics of any guitar, regardless of tonewood. Does that make it a bad guitar? Not necessarily – it depends on what the musician is after.
A Wiki is a web page that anyone can make changes to. The job of maintaining accurate information is far too monumental for one person, but a community of enthusiasts can maintain many thousands of pages quite easily, each person adding a bit at a time. That's the idea behind iGuide?s "What's It Worth Wiki". The most famous example of a Knowledge Wiki is Wikipedia, of course. But, our vision is that someday iGuide?will become the Wikipedia of Art, Antiques, Collectibles, Memorabilia....and Guitars.
Compression is somewhat of a utilitarian effect, though I suppose some players see it as a key part of their sound. Essentially, compression is used to even out your sound. In recording situations this means helping instruments blend together by smoothing out the peaks and valleys inherent in the overall frequency spectrum. Louder sounds, like the crack of snare drum or a shout from a vocalist, become smoother, softer and woven into the overall mix.
While there's nothing necessarily wrong with plonking your mic right at the centre of the speaker cone if it gets what you're after, a lot of producers take the time to experiment with different positionings off axis, where the sound is typically warmer. Mike Hedges: "Depending on where you have [the mic] — outer speaker or inner speaker — you get the difference in tone from the edge of the speaker and the centre of the cone." In fact, Mike Clink also tries small changes in position even when working with basically on-axis sounds. "I'll point [the SM57] exactly dead on, though I might move it an inch or two to get the right sound."
A few years ago I wanted a mini/parlor guitar. I tried a few, did not like what I heard in the Taylor line and I did not want another Larrivee. The irony of it is, I did buy a Taylor and now realize it was because it sounded like a Larrivee, bright and even. This is an anomaly Taylor, I know that now. I bought a Larrivee Parlor which is okay but I also have learned that I am not a parlor, mini fan. They, for the most part, do not deliver an even enough sound for me. I have played Lowden, Martin, Gibson, Guild, Olsen, Huss and Dalton. I recently played an Irvin guitar. Wow, what a beautiful line of guitars. I want one. It is my next guitar with its sustain, consistency, brilliance and ease of ...more
It’s obvious. No two people play guitar the same, and for all the woodshedding you do on your own, you’ll learn more by playing with others. They might have new ways of voicing chords, a unique rhythm style, or simply turn you on to new influences. Playing dual-lead guitar, honing your rhythm while someone else plays lead (or vice versa) or swapping licks. A guitarist’s best friend is another guitarist.
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The metal guitars that emerged in the 80's were simply geared towards people into metal, aesthetically geared that is, since all guitarists in every genre want guitars that are easy to play. Their main benefit was in introducing better tremolo systems - the locking nut and fine tuners on the trem so you didn't have to unlock the nut to make fine tuning adjustments. I had one on my Stratocaster, you could go nuts with the whammy bar and it would stay locked in tune.

Does anyone know anything about Palmer based Magnum Series PGA-65 guitar amps? I live in Costa Rica and bought one new from a music shop but with the amount of moisture here the original box was destroyed along with any manuals, paperwork, etc.. The amp says it is manufactured in China and is solid state. It is supposedly 65 watts with 2 channels, clean and dirty with EQ sections on both channels. It also has send and returns and a spot to plug in your Cd player, etc.. It has a big badge on the front saying Magnum Series, Palmer Guitar Company, Fl Usa. I didn't pay alot for it and for the price it is a decent sounding amp although I probably will replace the speaker with a Celestion.
In the 2000s, new developments in bass amplifier technology include the use of lightweight neodymium magnets in some higher-priced cabinets and the use of lightweight, powerful Class D amplifiers in some combo amps and amp heads; both of these innovations have made transporting amps and cabinets easier. As well, some 2010s-era bass amps and heads have digital effects units and modelling amplifier features which enable the recreation or simulation of the sound of numerous well-known bass amps, including vintage tube amplifiers by famous brands (e.g., Ampeg SVT-Pro amp heads) and a range of speaker cabinets (e.g., 8x10" cabs). Digital amp and cabinet modelling also makes transporting bass amps and cabinets to gigs and recording sessions easier, because a bassist can emulate the sound of many different brands of very large, heavy vintage gear without having to bring the actual amps and cabs. Another trend for higher-priced and higher-wattage amps and cabinets aimed at professionals is providing Speakon speaker jacks in addition to, or in place of traditional 1/4" speaker jacks. Speakon jacks are considered safer for high wattage amps, since the bassist cannot accidentally touch the "live" parts of the cable end and they lock in, so there is less risk of accidental disconnection. As of 2017, a few digital amp and cabinet modelling amplifiers have a USB input or other computer input, to enable users to download new sounds and presets.
Gibson guitars are the produce of the Gibson Guitar Corporation which produces guitars and other musical instruments which sell under a variety of brand names. Gibson Guitar Corporation was founded in the year 1890 by Orville Gibson in USA. It is a mass producer of the Guitars and is the most widely used guitars in the world. Gibson guitars are exported all over the world and are considered as one of the best guitar brands in the world. Gibson Guitars actually are the giant guitar company which also owns other brands of guitars. Some of the popular brands which are owned by Gibson are Baldwin, Epiphone, Kramer, Maestro, Slingerlands etc.

Hi everyone! I have a quick question regarding string action. I have just gotten my 2003 Standard set up a few months ago, but I am having trouble with how low the action is; strings slip off of my fingers during bending now. If I just turn the screws on the Tune-O-Matic bridge to heighten the action a little bit, without touching or adjusting the truss rod, individual saddles, or tailpiece, will that screw up my intonation?
By the 1960s and 1970s, semiconductor transistor-based amplifiers (also called "solid state") began to become popular. This was in large part because for a given wattage level and feature level, solid state amplifiers are less expensive, lighter weight, and require less maintenance than tube amplifiers. As well, transistor amplifiers are more reliable and less fragile than tube amps. In some cases, tube and solid state technologies are used together, usually with a tube preamplifier driving a solid state power amplifier. There are also an increasing range of products that use digital signal processing (DSP) and digital modeling technology to simulate many different combinations of amp and cabinets.

As mentioned earlier, technically, magnetic pickups are small magnets with fine wire coils. These small magnets produce a magnetic field around them. When the metal strings of the guitar are strung by the user, a vibrating motion is generated inside this magnetic field which changes the magnetic flux of the field. According to the law of electromagnetism, this change in the magnetic flux produces an electric charge in the wire coil around the magnet.

While many electric guitar amp cabs have "open back" designs (actually partially open back, as part of the back is usually enclosed in panels), open back cabinets are rarely seen in bass amp cabs, except in the smallest, least expensive practice bass amps. The reason that open back designs are not used with bass amp cabs is that open back designs make it hard to reproduce low-frequency sounds, which are crucial for bass cabinets. On electric guitar amp cabs, the reduction of some very low-frequency sounds may be desirable, as it makes the cabinet less "boomy"; however, for a bass cabinet, this loss of bass frequencies is generally seen as undesirable.
However, even for recording experts who can discern if something was done at Columbia Records Studio A or Olympic or wherever, it’s challenging to define a percentage of influence that the studio provides. “I don’t know that you can measure it in any way. It’s really more an ineffable quality of sound and aesthetics,” Horning Schmidt says. “You can measure frequency response and you can measure decibels but in my research I’ve found that back in the thirties and forties, you had engineers saying ‘you can’t just go by the meters. You have to use your ears.’”

"Bring up one mic at a time and get it to optimum level on your board. To check that they're all in phase, make sure the signal is adding and not subtracting as you add in the other mics. If not... reverse the phase. Then start to put up each mic, one at a time... as you move the faders back and forth, you'll hear the greatest EQ, because of the phase relationship... Then if you flip the phase on one of the mics, you can really have some fun — it'll act like a filter."
The Telecaster is known for its ability to produce both bright, rich, cutting tone (the typical telecaster twang) or mellow, warm, bluesy tone depending on the selected pickup, respectively “bridge” pickup or “neck” pickup. The bridge pickup has more windings than the neck pickup, hence producing higher output, which compensates for a lower amplitude of vibration of the strings at bridge position. At the same time, a capacitor between the slider of the volume control and the output, allows treble sounds to bleed through while damping mid and lower ranges.[3] A slanted bridge pickup enhances the guitar’s treble tone. The solid body allows the guitar to deliver a clean amplified version of the strings’ tone. This was an improvement on previous electric guitar designs, whose hollow bodies made them prone to unwanted feedback. These design elements allowed musicians to emulate steel guitar sounds, making it particularly useful in country music. These characteristics make the Telecaster a versatile guitar, usable for most styles of music including country, blues, rock, and jazz.

thanks for your note. We are not drawing any conclusions whether one is better than the other, just that they are different, which I think is apparent from the samples. Also, we did use only one pickup that we moved between the samples, and mounted it in the exact same location in relationship to the bridge. I would claim that the only variable that could have been controlled to a greater extent is the picking attack.

Telecaster is considered to be the oldest solid body electric guitar in the world. Capturing that type of pedigree is not easy, but Squier managed to pull it off. Handling the Squier by Fender Vintage Modified Telecaster brought back some of the best memories of my youth, when Telecaster was the go to axe. This is definitely one guitar worth trying out.

Much of a B3's magic comes from good mic placement and the player (the right drawbar settings are game changers). EQ should be applied sparingly and mainly as a corrective measure. Usually it's good to look to anything clashing with the bass (80 to 180 Hz), and if it's feeling a little "chubby" in the middle and either can't get out of its own way or doesn't play nice with other mid-heavy instruments or guitars, look to make cuts somewhere between 300 to 500 Hz.
With analogue delay (and simulations thereof), each subsequent echo is not only quieter, but also more distorted. Dub reggae tracks often make prominent use of this effect -- look out for the effect where the engineer momentarily turns a knob so that the echoes get louder instead of quieter, surging and distorting before he turns it back down again so they can die away.

The case raised concerns for musicians who lack documentation of vintage instruments made of traditional, non-sustainable materials.[50][51] However, officials from the Justice Department and the U.S. Fish and Wildlife Service have stated that musicians who unknowingly possess instruments made from illegal wood would not be treated as criminals.[52]
I am running the TimeLine, Mobius, Big Sky and Flint along with a few JHS drive pedals and a POG. I have a 5 channel true bypass looper and use a DMC-3XL and TNT tap to control my MIDI devices. In the past I have had all of my drives and POG in the 5 channel looper. But I have reduced significantly the number of drives I am running. I run a SP compressor and an EM-Drive at the beginning of my chain that are my always on pedals & I’m not sure I need them in my loop. I also cut down to 2 drive pedals (JHS Double Barrel & Jetter Gold Standard). Would I be able to run the TimeLine, Big Sky, and Mobius through the bypass looper and leave them always on but bypass through that? Should/Do I need to use a TRS to do this run since I am going straight into the in/out signals? I’m trying to do some experimenting but wanted to get your opinion as well.
Single coil pickups utilize a single magnet. They also typically have a lower output than humbucking pickups, which means they aren’t capable of producing as much distortion as a humbucker equipped guitar. However, because they’re not intended to be used with extreme levels of distortion they have a very rich and musical voice when played with lower amounts of gain.
The Squier Affinity series is a great beginner instrument. All of the bodies & necks have been CNC manufactured, so they are consistent and solidly built. In recent years, Fender has completely re-hauled the Squier series of instruments to make them decent introductory level instruments, at a great introductory cost to the beginner player. You can choose from Strats, Teles and even Jazzmaster style guitars!
Went here for the first time yesterday to get the strings replaced on my acoustic guitar. Kevin, the owner, completely encompasses the definition of true customer service. He not only was professional, courteous and friendly but also willing to talk me through the process as he was re-stringing my guitar when I asked if I could watch and learn. I highly encourage coming here, especially for a an excellent and personal experience! I will be back no doubt!
Fender Super Champ X2 is a hybrid. Combining the organic sought after qualities of a valve driven amp and the dynamic technology of a modeling amp. This 15 watts combo amp with 1×10” inch speaker has two channels. Channel 1 is pure volume for the clean that starts to bite in every turn of the volume knob and modelling section that has a separate volume, gain and voicing control with 16 presets that includes the blackface, silverface, tweed, British combos and many more. The final section on the panel is shared by both channels, the EQ bass and treble, FX adjust, and FX select consisting of a delay, reverb, chorus, tremolo and vibratone.

Tremolo can be a subtle effect, as heard in “Born on the Bayou”by Creedence Clearwater Revival and Gimme Shelter by The Rolling Stones, or more distinct as heard in “Crimson and Clover” by Tommy James and the Shondells and “Bones”by Radiohead. Tremolo has been around since the earliest days of the rock era, and was popular with rockabilly and surf guitarists.
Building a rare 4005 Rickenbacker takes the hands of a master. And this master has not only built one but also created the "Jazzblaster" line of custom guitars with bodies that resemble Rickenbacker and necks inspired by Leo Fender. He also builds custom basses. "I like building beautiful things," he says. A few of his custom guitars were recently picked up to be shown to rock star royalty like Tom Petty, Lindsay Buckingham and Joe Walsh. He's played and repaired guitars. Steve Stevens, Green River Ordinance, Rocky Athans and Eric Clapton have sought out his services. He's even touched one of Jimi Hendrix's legendary axes.
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Some Craigslist and EBay sellers have been claiming the 500 and 600-series Kents are made by Teisco. I think we’ve shown that that’s not the case. Some sellers also describe those early Kents as having “Ry Cooder” pickups. As most of you know, Ry Cooder is an incredibly talented multi-stringed-instrument musician. David Lindley, another great talent, gave him a pickup from an old Teisco guitar. The photo at left is exactly like it. Cooder put the pickup into one of his Stratocasters and liked the sound so much that he got another one and put it into another Strat. These pickups are also described as “gold foil” pickups. There are variations in the pattern of cut-outs on the chrome covers of different pickups. I don’t know if the others sound any different, but if I were looking for a “Ry Cooder Pickup”, something like the one pictured here is what I would be looking for. The pickups have become worth more than the guitars they are on, consequently, as the guitars are bought up and trashed for their pickups, their prices are going to rise.
As an acoustic guitar player, and not a very good one at that, I'm always looking for some advantages, and by advantages I mean something that will make me sound better, not necessarily play better. So when I heard about a device that can add distortion, or reverb, or echo effects to an acoustic instrument, without needing to plug in to an external amp, I didn't believe it until I saw/heard for myself.
Establishing a guitar school in New York requires competing with the highest concentration of possible distractions. This book follows a step-by-step method for identifying the essentials, but also details practice plans and highlights how to practice. Everyone will keep shouting about how you’ll need to practice hours upon hours a day to become even a serviceable guitarist, but advice on just how will be scarce. I took lessons for years and even I don’t remember how my teacher told me to practice. This book will lead you through a progression from the absolute basics to complicated song construction. My only quibble with this book is that it suggests that A minor is the saddest chord, when it is, in fact, D minor.
The Squier Bullet Strat Hard Tail Brown Sun Burst is a fantastic option for beginner guitarists out there and those who need an affordable budget friendly option for recording or practising. This guitar makes our cheap electric guitars that don’t suck list thanks to its high-quality basswood body and comfortable “C” shape profile on the neck that is super comfortable to play. This high-quality guitar also includes a set of three standard single-coil strat pickups allowing you to mix up your sound via the 5-way pickup selector. Solid, chrome hardware and a hard tail bridge for added resonance finish off the guitar nicely whilst the budget friendly price tag makes it affordable for everyone. A Fender Stratocaster style guitar at a fraction of the cost.
Remember how we said that Ibanez has some pretty rad entry level guitars? Well, Ibanez GRX70QATBB is one that is worth mentioning. It belongs to the legendary GRX family, and brings a well-balanced performance for the money. I actually bought one of these for my nephew, and had to put it through its paces before I handed it over. It’s a bit rough around the edges, but one visit to a guitar shop took care of that.
A complete step-by-step guide to maintenance and setup of your electric guitar. This guide, packed with images, will show every aspect of essential electric guitar care such as changing the strings, adjusting the neck, and setting the action to match your playing style. It will also show you how to fix common electric guitar problems such as buzzing strings, scratchy pots and much more. Electric Guitar Repair and Maintenance is a great resource for any guitar owner.

The Seismic Audio SADIYG-15 JEM Style Electric Guitar Kit gives you the ultimate shredder guitar. Originally designed by Steve Vai, this style is built for speed. Innovative features like a Monkey Grip Handle and Floyd Rose Tremolo complete the unique design. All the parts needed for a finished guitar are included. This guitar kit is suitable for the aspiring or established luthier and all guitar players. A truss rod adjustment hex wrench, two Floyd Rose tremolo adjustment hex wrenches and solder are included. You will need a phillips head screwdriver and a soldering iron to fully assemble the guitar. A pack of six nickel alloy strings and a right-angle guitar cable are also included.With your purchase, you will receive one DIY JEM Style Electric Guitar Kit pictured and described above.

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.

The GK Studio mixes traditional flamenco construction techniques, a comfortable body shape and modern Fishman electronics, resulting in an easy to play nylon-string guitar that can be plugged in for stage use. My main concern about this guitar is its slightly thinner body depth, neck and nutwidth(1.96"), but these are calculated tweaks that should make this classical guitar play and feel more akin to conventional steel-string acoustics.
The Viper came in two versions made of ash, maple, alder or mahogany, the 1271, with two single-coil pickups, and the 1273 Viper III with three single-coils. Vipers had two-octave unbound fingerboards of either rosewood with pearl dot inlays or maple with black dots. A laminated pickguard (with model name engraved) held the pickups and extended down the body for the controls, including master volume and tone knobs. The plastic-and-metal bridge/tailpiece assemblies were the same as on the early Preacher. The single-coil pickups were about the size of mini-humbuckers with metal sides, black inserts, and flat polepieces. Windings were different depending on the position. The bridge pickup had poles slanted diagonally that emulated the slant of a Strat. Early Vipers have a three-way toggle. As with the Preacher, later Vipers have no name engraving, the all-metal bridge assembly, and an extra toggle which is probably a series/parallel switch.
There are two basic types of pickups for electric guitars, Single Coil and Humbucking (double coil). The most practical difference is that single coils tend to sound crisp and bright while humbuckers tend to sound warmer (for more information see Seymour Duncan's detailed explanation). An electric guitar can have any combination of the two types and the combination on a guitar is described using the first letter of the pickup type in order from the one closest to the bridge. For example a classic stratocaster will be described as SSS meaning all three pickups are single coil. A more recent development is the HSS strat which means it has a Humbucker at the bridge with two Single coils. I've put the pickup configuration of each guitar below in brackets after the model name so you can easily see which pickups each guitar has and in what positing they are.
Values? Well, with the prices of 1960s American and British guitars through the roof, collectors and musicians turn to the next-best-thing, and that would be European and Japanese guitars. In general, any made-in-Japan solid-body electric guitar in good cosmetic shape, that's complete and playable, is worth at least $100, and any acoustic-electric, at least twice that. The more pickups it has, the more elaborate the controls, and the more flashy the pickguard, the more it's worth. Same goes for the body and headstock shape. The standard shapes that copy Fender and other manufacturers aren't as desirable as some of the weirder shapes. A Decca solidbody with an unusual body shape, with 3 pickups and an unusual original finish would probably be in the $250-350 range to the right person. An acoustic-electric with the same specs would probably be worth $100 more than that. I've seen some of the exceptional Teisco solidbodies go for $500-600, but that's uncommon. In about 2006, I saw a Teisco (one of their Mosrite copies) from about 1967 that was in flawless condition for sale in an instrument shop in Tokyo for 200,000 Yen (about $1,900). I wouldn't be surprised if it sold for that.
To produce Music and create the melody man has invented some musical instruments. In this process he has created the Guitar. Guitar is the instrument in which by the vibrations of the strings we can amplify the music. It’s an instrument having “a long, fretted neck, flat wooden soundboard, ribs, and a flat back, most often with incurved sides”. The melody produced by Guitar is also depends on the better finishing of its parts and strong pickups. That’s why it’s a vital task to select the best quality of guitar.
Other high-quality specifications include a bone nut, a molded metal jack plate that is curved and makes plugging and unplugging a guitar cable hassle-free, retooled knobs, fretwire that is slightly smaller than what you’d find on most PRS electric guitars, and PRS’s double action truss rod (accessible from the front of the headstock for ease of use).
Where there is more than one pickup, a switch selects between the outputs of individual pickups or some combination; two-pickup guitars have three-way switches, and three-pickup guitars have five-way switches. Further circuitry sometimes combines pickups in different ways. For instance, phase switching places one pickup out of phase with the other(s), leading to a "honky", "nasal", or "funky" sound[citation needed]. Individual pickups can also have their timbre altered by switches, typically coil tap switches that effectively short-circuit some of a dual-coil pickup's windings[vague] to produce a tone similar to a single-coil pickup (usually done with push-pull volume knobs).