"The library has a huge amount of great samples covering every nook & cranny of the electric guitar, and it really is of the highest quality... I could tell that they must have put in a gigantic effort into the scripting, sampling, and design... It’s easy to use, has extensive options for articulations, sounds even better with its effects, and yet it can have a pristine, clean sound as well. I highly recommend it... When they say 'Absolute Electric Guitar' on their website, those words are a lot to live up to [and] they achieved this with a brilliant product and awesome sound." Rob Mitchell (SoundBytes Magazine)

So leaving aside the complexities of exactly emulating acoustic instruments with speaker technology -- which we have all come to accept although no speaker can sound quite as sweet as (or at least not exactly like) the acoustical nuance of a fine wooden stringed instrument, we reach the vast majority of modern music - amplified sounds. Again, stringed instruments are among the most difficult to emulate, if not the most difficult to emulate technologically, because of the vast and infinitely variable set performance possibilities which in turn produce a vast and infinitely variable set of physical reactions. Even if MIDI notation can document the coordinated left-hand/right-hand performance of various pitches, velocities, durations and legato, our VST is strained to faithfully reproduce every possible physical result of every possible combination of performed licks.

The guitar features what is called a Super Strat shape. In other words, it is an evolution of the Stratocaster body style. Ibanez used mahogany as the main tonewood and maple for the neck. This guitar comes with two finish options. You can have the blackberry sunburst or the light violin sunburst. In terms of pickups, we have a set of two Ibanez-made passive humbuckers which pack a decent amount of heat. They handle distortion great but also sound very decent on a clean channel too.
Delay is essentially echo, but it can be so much more when used well. The two most important knobs are “time” and “repeats”. Time will increase the length between repeats, and repeats will adjust how many echoes are heard. While it is tempting to max the repeats and enter space rock land, less can be more. Used gently you can get reverb or slap-back rockabilly sounds. With careful knob setting you can even create harmonies and loops like The Edge.
Hi Dan! Thanks for the kind words! As somewhat of a newbie, you may find a semi-hollow-body guitar more flexible and versatile, especially if you are still finding trying to figure out what genre you are going to focus on. If you are set on the hollow-body go for, but ,if you are on the fence, the versatility of the guitar is something to consider. Those are my thoughts. Good luck!
The most basic, original pickup design is a single-coil pickup. It’s composed of a single magnet with fine wire wrapped around it, creating a magnetic field that captures the strings’ vibrations converting them into an electronic signal. Single-coil pickups tend to be bright and crisp sounding. The tone they produce cuts through dense band sounds well, but they are also prone to generating hum and are subject to magnetic interference. Many great artists play guitars equipped with single-coil pickups. Eric Clapton, Stevie Ray Vaughan, John Mayer, Merle Travis and many others are famous for their use of single-coil tone.

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Are you running it through a cab simulator? That or proper eqing. Turn up the mids and drop a high pass filter on that sucker. If you're finding it still lacking check out the KeFir cab simulator and then just use the preamp you have now. I've had wonderful results with that. If you're not liking your preamp try out The Anvil by Ignite amps. Best clean tone I've had out of freeware.
I found one at a local shop, 60's Norma, resembles a Strat LIKE guitar, but with a sweet design... It has two switch where you would fidn hte pickup selector on a gibson les paul. Its got a few nicks and such, but it sounds REALLY good and the guy only wants 60 bucks, I plan on buying it, re-fretting, and doing some custom fix up on the body. And He said pretty much everything is original... A pretty sweet guitar if you ask me... If and when I buy it I'll get a picture, email if interested!
Nickelback singer/guitarist Chad Kroeger collaborated with Gibson to create a signature Les Paul. The guitar, called the Blackwater Les Paul, features a mahogany body and neck, a Trans Black finish on a AAA flamed maple top, Gibson 490R/498T pickups, a GraphTech Ghost piezo bridge, Grover kidney tuners, acrylic trapezoid inlays, and painted white stars corresponding with the fingerboard inlays.[46]
This 248 page book is part of a series of similar volumes, including The Guitar Grimoire: A Compendium of Formulas for Guitar Scales and Modes, The Guitar Grimoire: Progressions & Improvisation, The Guitar Grimoire: A Compendium of Guitar Chords and Voicings, and so on. You get the idea. Master a few of these and you’re going to to be in excellent shape.

A record store owner named Leo Mintz explained his observation to his friend, DJ Alan Freed.  Freed had a popular show on WJW in Cleveland Ohio and loved finding and playing new music to his large audience. Mintz told him of a new trend he saw in his record store where many teenagers from white families were coming in and buying Rhythm and Blues records.

Another thing you might want to remember when getting your very first electric guitar is that you will need some other equipment to go with it. You might need a music stand, an amplifier, a mic for the guitar amp (click for full guide), different pedals, and so on. While these things are normally not included with you guitar purchase, you might at least get a nice case to keep and carry your guitar in.
I have had some dog bad guitars! You and every one passes up Rickenbacker. I just dumped mine, I had two in my life they are bad out dated guitars. I saw people come in a store to buy one, they play one with a great Fender amp and walk out with some other brand. You do not see and of the greats play them. The sounds of the 60's is not a Ricky. Look for them and you will only see old photo of Lennon play one, no solos!
Alibaba.com offers 169 korean electric guitars products. About 86% of these are guitar, 5% are guitar parts & accessories, and 4% are other musical instruments & accessories. A wide variety of korean electric guitars options are available to you, such as paid samples, free samples. There are 169 korean electric guitars suppliers, mainly located in Asia. The top supplying country is China (Mainland), which supply 100% of korean electric guitars respectively. Korean electric guitars products are most popular in North America, South America, and Eastern Europe. You can ensure product safety by selecting from certified suppliers, including 6 with ISO9001, 4 with FSC, and 1 with GSV certification.
It is easy to make the mistake that the tone control set-up in an electric guitar is a simple single stage Resistor / Capacitor filter, where the two components are in series, the other side of the capacitor goes to ground, the signal is applied to the other end of the resistor and the output is measured across the capacitor. If that were so then your first calculation is roughly correct, while in a practical situation in the second, the capacitor would be fed from the impedance of the signal source. Lets say this is a test generator with an impedance of 600 ohms – the -3dB cut off would be around 12kHz. This is not the case for the typical electric guitar.
One of the all-time classic gigging and recording amps, in this new incarnation the Deluxe Reverb is arguably more practical than ever, thanks to the extra versatility offered by being able to utilise the tremolo and reverb on both channels.  Where original Deluxe Reverbs of the period would have had a Normal channel, sans tremolo or reverb, the new '68s have a Custom channel with access to those global effects and a new voicing, courtesy of a "modified Bassman tone stack" that's billed as being more pedal-friendly. Where you would have found a Vibrato channel, there's now a 'Vintage' channel with a more traditional voicing. There's a magic sweet spot between 4.5 and 6 on the volume control (depending on your choice of guitar), where the amp delivers a wonderful, dynamic dirty-clean rhythm sound at stage level that works as a brilliant core guitar sound for all manner of rock 'n' roll, Americana, blues and classic pop applications. Just add picking-hand dynamics and your guitar's volume control; there's so much range here. The onboard reverb and tremolo are wonderful, classic-sounding musical tools that push and inspire you to play in a certain way. Far more than a means of merely amplifying your guitar sound, this is a musical instrument in itself.
A good guitar builder can pick materials that provide a predictable result. The process of making a guitar that costs $10,000 and one that costs $1,000 is identical, or at least very similar. The big difference is likely that in the more expensive one, personal attention has been put into selecting, drying, storing, and cutting the tonewood. The cheaper, which is mass produced by less skilled labor, consists of the same species of wood, but from a pile that came out of a container, in the order it was stacked. This means that two guitars from the same batch can sound quite different. They can sound exactly like the expensive guitar, but they can also sound different.
Do you have a short budget? Then we have included the Dean Vendetta XMT model in my top 10 electric guitars review list. This is very little known guitar and you’d be forgiven if you have never heard of it before. But we can tell you with confidence that once you buy this guitar it will exceed your expectations and this is very much pocket-friendly.
With JH’s encouragement, I’ve made the decision to produce my own line of premium acoustic guitars, handbuilt as before, to the same high quality, and with an extended option list including other rare woods, finishes, and trim options. The brand I will be using is “Madeleine”, in honor of my late granddaughter who passed away May 2, 2011 at age 1 month.
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First, we decided that we're going to limit this guide to floor-based multi-effects units, and we also deliberately included only those with different effect types/blocks. After looking at currently available units, we ended up adding a total of 24 multi-effects pedals to our database. All relevant reviews, ratings, forum discussions, and expert opinions were fed into the Gearank algorithm, which gave us the scores that we used to narrow down the list to just the top 10 - over 5,200 sources were analyzed during this process. We then listed each of them with important specifications and features, along with noteworthy feedback from actual users and expert reviewers. Finally, we decided to make a divide the list into two categories: compact multi-effects pedals (since many are looking for them), and medium to large size ones. For more information about this process see How Gearank Works.
When connecting more than one pickup, it’s important to follow the manufacturer’s color codes and wiring diagrams so that the phase relationship is correct. The phase relationship of a pickup is determined by the winding direction of the coil and the polarity of the magnets. The two coils of the traditional humbucker are connected in series with the phase relationship shown in Fig. 1. Most modern Stratocaster® style guitars with three single-coil pickups are supplied with a reverse wound/reverse polarity middle pickup for a parallel hum canceling effect when the guitar is switched to a two pickup position (e.g. neck & middle pickup together) as shown in Fig. 2.

By 1968 (and probably with the union of Unicord), Merson and Gulf + Western, Univox amps had begun to employ a Japanese-made chassis in Westbury-made cabinets, still with the high-quality Jensen speakers. These combined tube output with transistorized components. They were covered with a black Rhinohide vinyl and sported a silver plastic logo with stylized block letters – initial cap with a little tail off the left followed by lower case letters – typical of the earliest imported Univox guitars, on the black grillcloth.
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But the biggest difference between the American Special Strat and the Highway One model is in the pickup configuration. This guitar comes equipped with three Texas Special single-coils, which are overwound Alnico V pickups known for their tight bass, clear highs and pronounced mids. Famously, they’re also found on the Stevie Ray Vaughan signature Strat. And significantly, these pickups retail for about $200 for a set of three.

I knew what it is that I need to do. The friend who worked on it with me said when we were finished, "Oh right, it sounds like all your records all put together." I guess that got the job down. Without getting too technical about it or elitist, it kind of does the job of a Gretsch, sonically, and a Rickenbacker, sonically, but I play it like a Fender. It's kind of handy, really. I used to it pretty much exclusively during my time with Modest Mouse. And totally exclusively during my time with the Cribs. I've used it nearly entirely on the new solo record.

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Explorer-style guitars dropped off the radar after the mid 1980s, but were revived again under the influence of late Pantera guitarist Dimebag Darrell Abbott toward the end of the ’90s. Weird shapes were back, if anything can ever be said to be “back.” What goes around comes around. There’s clearly an algorithm going on that originated back in 1958!

While recording AC/DC's Back In Black, Tony Platt used a pair of condenser mics to pick up different speaker cones and give a wider sound to each guitar: "I developed a technique for recording guitars with two microphones roughly pointing at different speakers, which can be spread out in the stereo mix so it's not just a series of mono point sources. It makes for a more open-sounding guitar. That sound suited their particular technique, which involved Angus and Malcolm playing the same chords but with different inversions to get a very big unison guitar sound."

While the combination of guitar, amp, effects and technique all play a crucial role in achieving the desired tone, it’s important to choose the right guitar for the job in the first place. There’s a reason why Stratocasters, Teles, Les Pauls and ES-335s have featured on so many classic recordings over the years; it’s because they are as reliable as they are versatile. That said, don’t be afraid to try guitars fitted with more esoteric pickups, such as Gold Foils, for a less generic sound.   P-90s are another great studio weapon; less dense than humbuckers, they can provide plenty of rhythm raunch without crowding the mix.

Wah – a frequency-based effect that creates a sound similar to a voice saying “Wah”. A Wah pedal uses a filter that sweeps across the frequency band. In a pedal wah, pressing the toe down will make the guitar signal brighter; heel down makes the signal darker. The filter can be controlled either automatically by electronics within the pedal or manually by the use of an expression pedal giving the guitarist’s hands-free control over their tone.

The D-120's all-mahogany body strays from conventional spruce top design, which results in a warmer and more articulate tone. This particular tone is ideal for guitarists who sing, and for those who accompany vocals, it also blends well with conventional spruce top acoustic guitars, easily cutting through the mix with its lower-mids emphasized voicing. And since the body is crafted from solid mahogany, you can be sure that the instrument grows with you, sounding better with age.
Amazing guitar for the price point. It's build is so accurate it requires no setup, just tune and it's ready to go. Great rich sound, very bright, great action up and down the neck. I can't put it down and I'm enjoying it more than my six string acoustics. There's something very forgiving about playing a 12 string vs a 6 string, the neck is slightly wider and there's more room for the fingers, and the pressure points on the fingers are wider too which lends to smoother playing.

Yamaha continues to rank highly in the entry to mid-tier guitar market, thanks to their student friendly instruments. I for one took classical guitar lessons with a Yamaha classical that still plays and sound great up to this day. As expected, they have an entry in this affordable price range category, in the form of the 3/4 size JR1, which is essentially a smaller version of Yamaha's popular FG acoustic guitar.
The guitar this model is probably closest to, in spirit and purpose, is not the Gibson Les Pauls but, rather, to the old Gibson Melody Maker guitars from the 60s. That said, this is a hell of lot more guitar for the money than any Melody Maker ever was, and adjusted for inflation, relative to what a Melody Maker would have cost you in 1968, for example, it is almost like Epiphone paying you to play it.
Two easily overdriven cathode-bias 6V6 output tubes deliver a sweet, harmonically rich tone, and the 5Y3 tube rectifier has the sag required for dynamics and touch sensitivity. This holy grail of vintage combos has been used by Neil Young, Mike Campbell, Rich Robinson, Mark Knopfler, Billy Gibbons, and countless others. If you can’t afford the original, more-affordable reproductions are available from Victoria, Kendrick and Clark Amplification, to name a few.
Let’s kick things off in style. This guitar is one of Epiphone’s mid range semi-hollow models. As such, it has to meet much more refined standards. Many wondered if Epiphone was capable of delivering such a guitar, but the answer is a strong yes. With its three Dogear Alnico pups, this thing is a beast. If you know how to handle a semi-hollow, you will find that Epiphone Riviera Custom P93 brings a lot of range. At least that’s the type of impression it left on me.
hi-can you put two caps on your two tone pots or will just the one do as is mormal-aslo on a push pull pot do you need two tone caps one for the bottom half as regular-if putting on the square part  of the push pull pot -can you put on any of the six lugs ie the ones not used -i have instaleed a push pull swich but when down the tone on the neck pickup does not seem to have any effect -when i pull it when usingn the pull pull it does have a effect is this normal-i have now neck-bridge-and all three in a row-when not pulled which would be normal five wat switch sound i seem to get a telecasster sound ,i thought this was the case when i pull it up=i have now a nice selection of sounds—thankls sean

Fender is well known for producing excellent quality musical instruments. Not just today, instead it always has topped the list of best guitar brands as an icon in the music history of America. It produces a brighter tone, accompanying single coil pickups rather than the humbuckers. The single coil pickups are specially designed in a way scratching through the mix with the glorious sound to produce the characteristic tone. The unique part of Fender guitars may cause issues with humming.
Stripped holes: small holes without much tension on them (i.e. pickguard screws) can be repaired with super glue (gel stuff). Put some glue in the hole and screw the screw in about 1/2 way. The glue will not stick to the plated screw, and will form threads. More severely stripped holes or holes w/ more tension on them (i.e. strap button screws) require pieces of toothpick be glued in w/ wood glue. Larger holes w/ alot of tension (i.e. neck mounting screws) require the hole be drilled out and a hardwood dowel glued in place.
The first burst of interest in Explorer-style guitars in the 1970s, led by players such as Rick Derringer and Sammy Hagar, was followed by a hiatus at the end of the decade when guitarists followed an Alembic-style lead. However, natural-finished neck-through guitars with sophisticated electronics didn’t cut it with the heavy metal bands that became more popular in the early 1980s with the New Wave of British Heavy Metal and the subsequent American response, chiefly out of Los Angeles. Poofy hair and skin-tight spandex begged for guitars with in-your-face style. The radical Explorer shape was perfect for making the right kind of personal stage statement. Manufacturers jumped on the bandwagon. Baby Deans, Ibanez, Aria, Cort… Even Gibson offered Explorers in cool custom graphics.
Adjust the volume and tone and engage the gain when you want to bust out some distortion riffs or throw your headphones in via the 6.3mm Jack headphone output which also doubles up as a preamp out. Enjoy silent practice anywhere or hook it up to your audio interface for studio recordings. A powerful little amplifier relied upon by guitarists when inspiration strikes. At under £30 it’s actually an essential purchase for musicians and one of the best music gifts ever – it’s certainly cheap, but it certainly doesn’t suck! Available in a range of different colours and as a double stack for extra volume.
One very interesting and strikingly modern Teisco guitar, the YG-6, appeared in Japan in 1965. It was very near the classic Strat shape, with offset double cutaways and Strat-like contours, but the horns were more pointed. The neck had the new hooked headstock and the rectangular edge inlays. A large multi-laminated pickguard stretched from the upper horn down to the lower bout control extension. Three large rectangular single-coil pickups, with chrome sides and black center insert (exposed poles) sat in front of a roller bridge and the clever platform vibrato design. Three on/off rocker switches sat above the strings, plus a small sliding switch, presumably a mute. It had one volume and one tone control, and is an exceptionally handsome guitar.
Before Nathan Daniel started the Danelectro company in 1947, he made amplifiers for Epiphone from 1934 to 1946. Epiphone wanted Daniel to make amps for them exclusively, but he preferred to stay independent. Instead he founded the Danelectro company in 1947 and started making amplifiers for Montgomery Ward. By 1948 Daniel expanded and became the exclusive guitar amplifier producer for Sears & Roebuck. At the same time he was also supplying other jobbers such as Targ & Dinner of Chicago.
Launch price: $999 / £899 | Type: Amp modeller/multi-effects pedal | Amp models: 33 | Effects: 42 | Connections: Standard guitar input, minijack stereo aux input, standard main outputs (L/Mono, R), XLR main outputs (L/Mono, R), standard stereo phones output, standard Send (L/Mono, R), standard Return (L/Mono, R), MIDI in, MIDI out/thru, USB, expression pedal | Power requirements: Mains power (IEC lead)
For beginning electric guitarists—or experienced players who want something inexpensive and portable—we think the Fender Champion 20 is the ideal amplifier. We researched 24 models, then put the 10 most popular to the test for 20 hours with two professional instructors, a guitar student, and our Wirecutter West Coast musical instrument testing team. With a colossal variety of sounds, plus built-in effects and intuitive controls, the Fender Champion 20 was a nearly unanimous top pick.
The very first thing to remember about pickups is that the active option is not necessarily better than the passive choice, and vice versa. Each type brings its own set of drawbacks and benefits. Passive pickups might be limited in terms of signal strength and tone shaping, but they are much more expressive in comparison to the active pickups in terms of picking and strumming intensities.
Generally, a band sounds the best to the audience when you have an attentive, knowledgeable sound person who is paid well by the band or venue. He also needs the right tools to balance the sound for the room. If all of the instruments onstage are blasting at full volume, the poor PA can’t keep up- and the people in the first few rows have their heads torn off by whatever instrument amplifier they are unlucky enough to be standing in front of. This results in an unbalanced mix that the sound person can’t fix. It might sound awesome onstage, but you want the audience to have a great experience too, right? With monitors, side fills, several amps/cabs, and a fort full of cymbals onstage, things get loud quickly, and everything competes for the same sonic space. It is easy for band members to get into ‘volume wars’ while the sound dude/dudette takes everyone out of the mix but the vocals right before they throw up their hands and shake their heads. The audience might not know what sonic problems are occurring, but they definitely will hear it. An audience member describing a gig like this to a friend might say, “I saw this band, but they sounded terrible.” No one wants that kind of review. We spend a lot of money on guitars, pedals, amps, and microphones. But many  musicians at the gig just set everything up and hope for the best. 
Kingston guitars (regardless of the model) are generally worth between $50 and $200 today, and your instrument falls within that range. There are some extremely clean examples of these for sale at around $250, but they’ve also been for sale for a while. Getting a complete player pack for $20 is a no-brainer, but don’t expect this to be anything more than, well, a beginner guitar. Also, don’t worry about decreasing the value by opening up the guitar to clean it or shimming the neck to try to correct the action. For something like this, it’s all about playability—not collectability.
Thanks to these affordable guitar kits, you can now build your own guitar without having to craft body parts from wooden tables and planks. Unlike Brian May and his dad, who built the iconic "Red Special" guitar from wooden tables and planks - all you have to do is order a guitar kit online, and you are free to assemble and customize as you prefer. These guitar kits reduce the skill and cost requirements of guitar building considerably, making for great entry points into lutherie and guitar modification.
Playing the guitar is no joke. To be honest, not all who bought a guitar end up playing. Maybe it’s just hype from friends and family or along the way found something else more interested on. You have to remember that you will spend countless hours practicing and the time you spent to it is impossible for you to get it back. This is not meant to discourage but to challenge you to succeed.
The Streamliner concept is simple: to create more affordable Gretsch guitars without losing their specific DNA. Two new Broad'Tron humbuckers are controlled in classic Gretsch style by a three-way toggle selector switch on the bass side shoulder, a master volume on the treble side horn, and then a trio of controls by the treble-side f-hole for individual-pickup volume and master tone. The G2622's construction gives a different response and resonance to other new releases from Gretsch and, with these pickups, moves further from the Gretsch sound. And while its construction gives it a more solid, or at least ES-335, character, it's a little more airy and less punchy with a softer, squashier tonality. The beefier pickups certainly don't nail a classic Gretsch tonality - although if that's what you want, the full-size pickups are easy to replace - but they do broaden the sonic potential, especially for more gained styles, while staying close to the classic iconography. If you want a great-value semi-hollow, this is among the best electric guitars for under $500.
Although not as dominating in amp modeling, Guitar Rig takes the top spot in our guitar effects software list. It leads the pack with its meticulously detailed effects modeling. Its 54 modeled effects closely follow the behavior of legendary stompboxes and studio racks. Even professionals are having a hard time picking out the real pedal against this guitar effect software in a blind test. Its versatile design allows you to chain effects together in virtually any manner, without the hassles of cables, space and budget constraints. It is truly a truck load of gear in one software package. Retail Price: $199.00
Carvin is a guitar company with a different business model than the rest. You won’t find them at your local music store because Carvin only makes custom guitars. Their instruments are based around a handful of templates and each feature components that are individually chosen by the buyer. For this reason, it’s very rare to find two Carvins that are completely identical.
Ok so currently i run a Mesa 20/20 along with a GSP1101 and a MXR 10-Band EQ pedal. I love the MXR but would like to get a EQ in rack form. I see about a millon rack EQs out there but not sure which ones are made for guitar? They seem more focused on live sound/PA/Home recording..I am not sure if there all the same, Meaning a PA EQ will work for a guitar rack.
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Kay was indeed one of the earliest American manufacturers of electric guitars. Things progressed, and by 1934, the company was officially known as the "Kay Musical Instrument Company". The company became larger and more successful over the years, leading to the addition of a new factory in Elk Grove Village, Illinois in 1964. But somehow by 1965, the company had hit rough times and was bought by Seeburg, a jukebox manufacturer that sold Kay to Valco in 1967.
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
One thing to point out here. When you take the strings off a Les Paul, there is (usually) nothing holding the bridge or the tailpiece on, so be careful with this. That said, I do want to mention that while the strings were off this guitar, I took the opportunity to lower the tailpiece. I prefer the tailpiece to be lowered all the way to the body if possible. Many believe that this will give you better tone/sustain, although it's hard to prove such a thing scientifically. That said, there is very little reason for the tailpiece to be anywhere other than as low as possible anyway.
I was interested in this book, and almost walked away after reading many negative reviews which complained about black and white photos and numerous typos. Then I noticed it was available in a Kindle version, for only $9.99. I ordered the Kindle version, and have no regrets. I have read it on my iPad, and gleaned a lot of useful information from it. I have not encountered any typos, and the colored wiring diagrams and numerous photos are just fine. It seems that the paperback version suffered from a poor layout and printing job, which is a shame, since it is obvious to me that Mr. Swike put in the effort to make a good product, which the Kindle version surely is. Anyone interested in a simple but comprehensive intro to wiring their Strat/Tele/Les Paul will find this a good reference. I also enjoyed the Varitone circuit presentation, and the explanation of how capacitor values affect treble/bass response.
Dean has always had the reputation of making fast, loud and articulate guitars and is famed for its wide range of eye-catching models, including the ML Series and the iconic Razorback. Signature models are also a specialty and they produce guitars for the likes of Dave Mustaine and Michael Angelo Batio, as well as huge line of Dimebag Darrell signature guitars.
I've played a Telecaster for years exclusively However i have tried playing a Les Paul and i remember thinkin how much easier it was to play. What guitar would you say was the easiest to play? I know it can be subjective but it seems to me that metal guitars are designed to play fast so they are made easier to hit notes etc. I'm guessing something like what steve Vai plays would be so easy and nice to play regardless of tone etc.
Description: Guitar Type: Acoustic/Electric - Body Size: Dreadnought - Top Wood: Engelmann Spruce - Back: Mahogany - Sides: Mahogany - Neck Wood: Mahogany - Neck Attachment: Set - Nut Width: 43mm - Fingerboard: Rosewood - # of Strings: 6 - Scale Length: 26" (66cm) - Bridge Construction: Rosewood - Rosette: Pearloid - Hardware: 1/4" Output, Chrome Tuners, XLR Output - EQ/Preamp: Shape Shifter - String Instrument Finish: High Gloss Natural

Extra Features: This is where we’ll bucket a bunch of extras that could be important to you, depending where you are in your guitar playing journey, and what gear you might already have. Some multi-effects pedals include handy tools like a tuner, a looper pedal, a built-in expression or wah pedal, an input for an external expression pedal, the ability to double as a USB interface, the ability to be powered by batteries, and so on and so forth. It comes down to personal preference, but we generally like to see the inclusion of a tuner, and looper pedal, since both are extremely useful tools for most guitar players no matter their skill level.

I still keep in touch with Mark and occasionally pose questions to him about various maintenance concerns. He's pretty busy and it may take a few days before he get's back to me. He has always been willing to help and actually encourages me to take on a lot more of the responsibility of maintaining my basses. Yeah, I spent a little on the front end but I really feel that it's going to payoff for me long term.

Compression/Sustain – a dynamic effect that smooths out the highest and lowest volume levels of your guitar signal to a more consistent level. A compressor also has the side effect of increasing the sustain of your guitar signal. Compression boosts the overall level of your guitar while clamping down on the volume of the loudest parts to prevent clipping. Compressors usually have an attack knob that allows you to control how fast it takes the compressor to start effecting the tone and a threshold knob that sets the volume level that the compressor starts clamping down on peaks.
It's like saying the wood handle of a hammer effects the tone generated by hitting a nail. The nails been hit, vibrations through the wood afterward are pointless. Unless the guitar itself is metal and hollow, you would hear sound generated acoustically, as you would with any acoustic instrument. An electric guitar is not an acoustic instrument in a classical sense.
No reference materials are available to me for this early Unicord period of Univox amplifiers, but there was undoubtedly a line. These American-made amps featured tubes and use high-end Jensen speakers. The Univox logo was on the upper right corner of the grille on a large piece of plastic. The cabinet was covered in charcoal-flecked tolex with white beading, with a grey grillcloth. Front-mounted controls included two inputs, volume, tone, tremolo with speed and intensity, plus footswitch jack with footswitch. The jewel light on these early Univox amps was a little red square.

There is no real rule on what fretsize is best – it is purely personal preference.  To find out what size is right for you or for a specific guitar and application, you may have to try similar guitars with different fretsizes.  I have heard many differing opinions on fretsize over the years; some say tall wire is too bumpy for sliding into position or that tall wire causes them to play sharp (from overly pressing down the strings, these players are used to feeling fingerboard surface under their finger tips).  Some say that fretwire below a certain height is difficult to bend on.  Bending and fretting hand slurring techniques are easier when the string can be addressed towards the middle of the ball end of the fingertip so that it may be pushed and pulled from the side rather than fretted from directly on top by the lower part of the fingertip. Some folks like a low fretwire as it feels very smooth to them and they don’t do a lot of slurring techniques.
An excerpt: “First let us dispel the popular, but completely wrong belief that ‘any guitar will do for learning to play.’ Your first guitar should be carefully chosen to be fairly easy to play and tune. It should also be versatile enough for you to be able to play different kinds of music on it. For this reason, and to avoid the complications and expense of an amplifier, an ‘acoustic’ (un-amplified) guitar is recommended.”
However, in the October, 2018 issue of Premier Guitar (at least the online edition) Frank Meyers, who runs the website Drowning in Guitars, says the Kent 700s were made by a small factory called Hayashi Mokko. Frank is a true expert in vintage Japanese Guitars, so I am inclined to believe him. This is another important piece of the Kent Guitars story.
ZPS (ZERO POINT SYSTEM) OF ZR TREMOLO Main Spring Stopper Tremolo Block Stop Rod With the guitar tuned correctly, adjust the Main Spring make sure that the Stop Rod makes contact with the Tremolo Block and Stopper. If the Stop Rod does not make contact with the Tremolo Block and Stopper, adjust the Main Spring adjustment screw until contact is made.

Welcome to OvationGallery.com.  This is my personal website for displaying photos of my various Ovation guitars.  I have been a player and collector of these fine instruments for over 30 years.  Although I don't profess to be an expert on all things Ovation, I do have a passion for their artistic and sonic beauty which I hope you will share.  My collection is always evolving, at one point  numbering over 50 guitars.  At one time or another I've been lucky enough to own almost every type of Ovation and Adamas guitar as well as some one-of-a-kind and truly collectable specimens.  All of these guitars are wonderful and it is my pleasure to share them with you on this website.     Dave   
Before Gruhn Guitars puts out any of our fine instruments for sale, they go through our repair shop to get them ready to play. Some older instruments require extensive repairs and restoration, while others just need new strings and basic setup. But every guitar, mandolin and banjo has to meet the high standards of the repair crew before it's released for sale. Our repair staff has over 75 years combined experience repairing, restoring, building and designing guitars.

Standard Series :[1] Brown Sunburst, Black, Arctic White, Lake Placid Blue, Candy Apple Red, Midnight Wine, Copper Metallic SunburstAmerican Standard Series (as of 2012):[1]Black, 3-Color Sunburst, Olympic White, Jade Green Pearl, Charcoal Frost Metallic, Candy Cola, Mystic Red, Mystic Blue (alder), Sienna Sunburst (ash)American Special Series (as of 2010): 3-Color Sunburst, 2-Color Sunburst, Black, Candy Apple Red, Olympic White, Surf Green
Two solidstate Tempo beginner amps were offered in ’71. These had black tolex covers, front-mounted controls and a rectangular logo with block letters on the grille. The Tempo No. 158 ($65) had an 8″ speaker, 10 watts of power, tremolo with speed control, reverb with depth control, three inputs, volume, tone and a black grillcloth surrounded by white beading. The Tempo No. 136 ($31.50) offered a 6″ speaker, six watts, three inputs, volume and tone. The grillcloth was dark (probably black) with horizontal flecks.
Back in the 1930s jazz and big-band guitarists began to make the switch to electric guitars in order to compete with the volume of other instruments onstage. Early electric instruments were hollow-body guitars. They were big, and featured an arched top that helped with power and projection. They had f-holes to facilitate amplification acoustically, and the first rudimentary pickups that allowed the guitar to be plugged into an external amplification system.
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For beginners looking to practice their first notes, chords and songs, nothing more than a couple of watts is needed – in fact, most dedicated practice amps won’t offer much more than 10 watts. If you are planning on jamming with a full band or starting to gig in small venues (think bars, clubs and small halls), then anything from 15 to 50 watts will suffice. Bigger gigs, including auditoriums and outdoor festivals, will demand upwards of 100 watts.

Welcome to Part 1 of a new Gibson series that will dissect a different breed of effect each week, to tell you—the player—what each does, and how it does it. Effects pedals can be divided into a range of categories of types, but there are undeniably some gray areas between these, since different designs will achieve their sonic ends via different means. The distinctions get blurrier when we throw digital technology into the brew. An analog and a digital chorus, for example, are very different circuits, approached—from the design perspective—from very different standpoints, although the sonic results may sound roughly similar (in the good ones, though, the subtleties are usually quite distinctive).

The specifications of the neck and string setup dictate the guitar's overall playability. As such, it is important to get a handle of important specs which include scale length (the length by which the string is stretched from the bridge saddle to the nut), nut width, fingerboard radius, and neck profile (shape of the back of the neck). Beginners normally want guitars to play easier, and will prefer those with shorter scale length, thin nut width and neck profile, and flatter fingerboard radius. On the other hand, experienced players will have grown accustomed to a specific neck configuration, if this is your case, you will want your new guitar to have similar specs to what you already like.
The key difference between an electric guitar and an acoustic is how they make a sound. Electrics use pickups and acoustics rely on a ‘soundboard’ a hollowed out body, and a sound hole to amplify the vibration of the strings. The most important difference though is what you want to sound like and what you prefer. A guitar that you want to pick up and play will always be one that makes you practice more – which is the only way to get better at guitar!

I have my Dad's '68 Kent guitar and am looking to have it restored..any info on parts would be helpful...I think all it needs is the spring for the vibrato (whammy bar)...everything else is there...the rubber piece on the bridge looks quite worn or perhaps brittle (rightfully so). Does anyone know what this guitar is worth? It's in orange sunburst ...It's a left handed guitar
Our first impression of this guitar was that something must be wrong. Surely this guitar is way more expensive than we thought? We doublechecked and the truth is that it’s just incredible value for money. Both the design and the sound are wonderfully good and we understand why Schecter describe their Schecter Hellraiser guitars as having “raised the bar on sight, sound, quality and affordability”- we totally agree!

No matter what style of music you are into, you won’t have to look far to find a like-minded guitar builder. The electric guitar can trace its roots back to the big-band days, and there are several companies that excel at creating excellent guitars for jazz. Likewise, there are those companies that have grabbed on to the heavy metal genre and make guitars built for extreme mayhem.
A strong guide for those learning their way around an acoustic guitar, this book will teach you to play popular songs like “Angie,” “Barely Breathing,” “Behind Blue Eyes,” “Building a Mystery,” “Change the World,” “Dust in the Wind,” “Fast Car,” “Here Comes the Sun,” “Jack and Diane,” “Landslide,” “Leaving on a Jet Plane,” “Maggie May,” “More Than Words,” “Name,” “You've Got a Friend,” “Yesterday,” and others.

The S670 QM is a speedster's guitar, with locking tuners and a razor thin "Wizard III" Maple neck, developed by Ibanez to be specifically fast and easy to play. Players with smaller hands or those who like to use their thumb to grab notes on the sixth string will find the neck particularly accommodating. So this model (and many of the Ibanez designs) score high marks for playability.
The ’38 Supro line contained two lap steel models, still made of wood, but substantially different from the model seen in the ’38 Sorkin/’39 Grossman catalogs. The Supro Avalon Hawaiian Guitar had a rectangular body with rounded corners and two concave “cutaway” shoulders. The head had a slight curve to it. The fingerboard was made of polished aluminum, and the guitar was finished in gloss black. An enameled handrest covered the single pickup and strings passed into a slotted rectangular metal tailpiece. On either side of the fingerboard, just above the handrest, were two square plates embossed with the Supro logo and containing one control knob each, for volume and tone. Without case this cost $40. Note that this was the first appearance of tone controls on Supro brand guitars.

The Gibson Les Paul was the result of a design collaboration between Gibson Guitar Corporation and the late jazz guitarist and electronics inventor Les Paul. In 1950, with the introduction of the radically innovative Fender Telecaster to the musical market, solid-body electric guitars became a public craze (hollow-body electric guitars have more acoustic resonance but are, therefore, more prone to amplifier feedback and have less natural note duration “sustain”.) In reaction, Gibson Guitar president Ted McCarty brought guitarist Les Paul into the company as a consultant. Les Paul was a respected innovator who had been experimenting with guitar design for years to benefit his own music. In fact, he had hand-built a solid-body prototype called “The Log”, a design widely considered the first solid-body Spanish guitar ever built, as opposed to the “Hawaiian”, or lap-steel guitar. This guitar is known as “The Log” because the solid core is a pine block whose width and depth are a little more than the width of the fretboard; conventional hollow guitar sides were added for shape (Image 2), a design similar to the popular Gibson ES-335 semi-hollowbody guitar introduced in 1958. Although numerous other prototypes and limited-production solid-body models by other makers have since surfaced, it is known that in 1945–1946, Les Paul had approached Gibson with “The Log” prototype, but his solid body design was rejected.[8][9]

I have a Dover, it was my great uncle’s guitar. It has seen better days but considering its age its in pretty good shape. Some one did some custom wiring inside so I had to replace the pots. One of the pickups was glued back together but it wasn’t done properly so now it doesn’t quite sit right. The plastic cracked at most of the corners where the screws hold the pick ups down.
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This study proposes a systematic approach for modelling and three-axis CNC milling of solid wood parts used in stringed electric musical instruments, mainly in electric guitars and basses, through CAD/CAM technology. Design and manufacturing philosophy undertakes particular characteristics of tonal woods, so as to produce high-quality resonant musical instrument parts with high accuracy. To do so, it is crucial to identify design features and to apply the appropriate machining strategies and parameter values based on obtained knowledge, as these have a great impact on both the acoustic characteristics of the parts and on the total appearance of the instrument, thus making it more appealing in a competitive market. Customization of musical instruments is well received among professional musicians who wish to stand out during their performance, as well as to own an instrument of uniquely original shape and sonic properties. Keeping custom instruments cost reasonable is a challenge, unless the overall production is systematic and modular. The proposed approach was developed and tested on a custom solid electric guitar, which was then finished and assembled with off-the-shelf components to form a great looking and sounding electric guitar.

Ibanez' strategy to have virtuoso guitarists as endorsers have paid off big time, allowing them to not only produce signature instruments, but to also improve on their production line guitars using the ideas they compiled from various artists. Among their many signature instruments, the Ibanez JEM series is easily one of the most easily identifiable, thanks to its affiliation with guitar wizard Steve Vai and its unique monkey grip handle, which is carved into the body.

A record store owner named Leo Mintz explained his observation to his friend, DJ Alan Freed.  Freed had a popular show on WJW in Cleveland Ohio and loved finding and playing new music to his large audience. Mintz told him of a new trend he saw in his record store where many teenagers from white families were coming in and buying Rhythm and Blues records.
While the bulk of new players will likely want an amplifier for their electric guitars, acoustic-driven music is still plenty popular amongst players of all skills. And while acoustics are fairly loud on their own, some players still want to pump up the volume from time to time, as well as shape their sound. And you can do all that without sacrificing the warmth of your guitar’s sound with the Behringer Ultracoustic AT108. Perfect for home practices and coffee shop performances, this amp was specifically designed to enhance the volume and tones of an acoustic guitar (or, more accurately, an acoustic-electric). It also has a secondary microphone input to amplify your voice alongside your guitar.
Quality replacement pot from Bourns.   Knurled 1/4" shaft fits most knobs.  Low torque, carbon resistive element, great replacement in many applications using passive humbucker or single-coil pickups.   Note that length of threaded part of shaft is 3/8" - measure to make sure that this is long enough for your application, especially if the pot mounts through the wooden guitar body.   (This pot will not work on Les Pauls, for example).  500K, Special A2 taper preferred by guitar and bass players.  Nut and washer included.   Note: threaded bushing diameter is 3/8", like most 24mm "quarter-sized" pots.
: I have a Vox Shadow that's sunburst, white pick guard that surrounds 3 solid chrome face pickups and the middle pick up has "VOX" engraved in it. 3 seperate volume controls and a master volume control. Tuning keys are all chrome, and the green decal on the face of the headstock reads Shadow, JMI Dartford, Kent. Neck is attached withthe help of a chrome plate, on the back side of the 'plank' body is an access plate for the jack that states made in England. Guitar also has the original roller/tremelo tail piece with palm lever. The numbers of 64728 are stamped on the back side of the headstock just below the tuning keys. Finish is beginning to crack a bit but it's all original, right down to the volume pots that have to be cleaned from time to time. It must be a rather unknown line that Vox had as I can't find out much on it either. Had this guitar for many years. Was handed to me in pieces in an old 'cardboard' case, (that has since gone away) put it back together and added it to my "music room".
This brand is originally from Japan and  Hoshino Gakki owns it. Ibanez activates in U.S.A, Japan, China and Indonesia, and it is one of the largest, recognized names out there. This manufacturer has developed over 300 models of electric guitars and has collaborated with many musicians that have lent their imagination to the making of customized units.
• Why frets come loose: Wear from string contact, fretboard drying and jarring mid-gig or during transportation can cause frets to pop loose. And if binding loses moisture, that can cause the ends of frets to rise or be exposed. These all create troubles that can wrongly be blamed on the more typical problem of fretwear, but in these cases dressing or replacement isn’t necessarily the answer. If there’s enough fret wire left, a loose fret can be reseated in its slot along the fingerboard, and a skilled luthier can often fill the gaps between the binding and the fret ends.
These guitars have the smoothest necks. Their oiled and waxed naked necks are the most comfortable necks I have ever played on. They offer a lot of great options, but they especially accommodate those of us with smaller hands. Every Music Man is fully loaded with ergonomic and functional features. No fatigue, they stay in tune well and set up easily.
If anybody needs a Bridge, I have a Teisco Roller Bridge for sale, it is a a copy of a Gretsch Roller bridge but includes a solid steel Base like a Rickenbacker Bridge Base. The string saddles are rollers which are adjustable side-to-side for proper string spacing, and each side of the bridge is adjustable for Height. It is in excellent condition, probably from 1965 thru 1968. On a scale of 0 to 10, it is a 8.
What’s more, musicians will (or at least modern musicians have the opportunity to) learn about their niche area through metadata analysis and find out what makes the fans tick, so that they can pick up on this connection between music maker and listener. As such, how can you really be sure that the person playing the drums, strumming on the guitar or singing the song on your favourite album is actually feeling the music in the magical way we’d like to think they are?
Electric guitars were originally designed by acoustic guitar makers and instrument manufacturers. Some of the earliest electric guitars adapted hollow-bodied acoustic instruments and used tungsten pickups. The first electrically amplified guitar was designed in 1931 by George Beauchamp, the general manager of the National Guitar Corporation, with Paul Barth, who was vice president.[3] The maple body prototype for the one-piece cast aluminium "frying pan" was built by Harry Watson, factory superintendent of the National Guitar Corporation.[3] Commercial production began in late summer of 1932 by the Ro-Pat-In Corporation (Electro-Patent-Instrument Company), in Los Angeles,[4][5] a partnership of Beauchamp, Adolph Rickenbacker (originally Rickenbacher), and Paul Barth.[6] In 1934, the company was renamed the Rickenbacker Electro Stringed Instrument Company. In that year Beauchamp applied for a United States patent for an Electrical Stringed Musical Instrument and the patent was later issued in 1937.[7][8][9][10]