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A Case Study of the Craft-Made Guitar Industry in the Global Economy
UNIVERSITY OF CALIFORNIA SANTA CRUZ DEMYSTIFYING THE CRAFT PRODUCTION: A CASE STUDY OF THE CRAFT-MADE GUITAR INDUSTRY IN THE GLOBAL ECONOMY A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in SOCIOLOGY by Yi-Chen Liu June 2021 The Dissertation of Yi-Chen Liu is approved: ______________________________________ Professor Steven McKay, chair _______________________________________ Professor Hiroshi Fukurai _______________________________________ Professor Lisbeth Haas ___________________________________ Quentin Williams Vice Provost and Dean of Graduate Studies TABLE OF CONTENTS Table of Contents.........................................................................................................iii List of Figures................................................................................................................v Abstract.......................................................................................................................vii Acknowledgments......................................................................................................viii Chapter One: Why Are Craft-made Guitars So Expensive?........................................1 Chapter Two: How Can a Luthier Create a Value for a Guitar? The Explanations from Political-Economic and Cultural Perspectives...........................................................14 Chapter Three: Case Studies and Methodology. .......................................................38 Chapter Four: Invention -
RECEIVES 2280 1 United States Department of the Interior National Park Service 51' JUN 0 7 2013 National Register of Historic Places Registration Form NAT
NPS Form 10-900 OMB No 1024-0018 un· 5'3' n n1 2) RECEIVES 2280 1 United States Department of the Interior National Park Service 51' JUN 0 7 2013 National Register of Historic Places Registration Form NAT. REGISTER OF HISTORIC PLACES NATIONAL PARK SERVICE This form is for use in nominating or requesti ng determ inations for individual properties and districts. See Ins n.Jct ons In a 1ona e , fo Complete the National Register of Historic Places Registration Form. If any iten·1 does not apply to the property being documented, enter "N/A" for "not applicable." For functions, architectural classificatlo.n, materials, and areas of significance, enter only categories and subcategories from the instructions. Place additional certification comments, entries, and na rrative items on continuation sheets if n eeded (NPS Form 10-900a). 1. Name of Property historic name Fender's Radio Service other names/site number Leo Fender's Radio Service; K&F Manufacturing Company; Fender Manufacturing Company; Fender Electric Instrument Company 2. Location street & number 1-7 South Harbor Boulevard D not for publication city or town .:....F-=u"'-lle::..:rt....:..o::..:n..:...__ _ _ ___ _____ _ _ _ ______ _ ____ LJ vicinity state California code CA county Orange code 059 zip code ---'-"--'--...::::.._92832 _ _ _ 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act, as amended, I hereby certify that this ___x__ nomination_ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. -
A History of Fender Guitars
A History of Fender Musical Instruments and Founder-Leo Fender (As documented by Wikopedia) Fender Musical Instruments Corporation of Scottsdale, Arizona is a manufacturer of stringed instruments and amplifiers, such as solid-body electric guitars, including the Stratocaster and the Telecaster. The company, previously named the Fender Electric Instru- ment Manufacturing Company, was founded in Fullerton, California, by Clarence Leonidas "Leo" Fender in 1946. Leo Fender also designed one of the first commercially successful solid-body electric bass, the Precision Bass (P-Bass), which has become known in rock, jazz, country, Motown, funk, and other types of music. The company is a privately held corporation, with the controlling majority of its stock owned by a group of its own company officers and managers. William (Bill) Mendello is Chairman of the Board of Directors and Chief Executive Officer and James Broenen is Chief Fi- nancial Officer. Fender's headquarters are in Scottsdale, Arizona with manufacturing facilities in Corona, California (USA) and Ensenada, Baja California (Mexico). History Fender offered the first mass-produced solid-body Spanish-style electric guitar, the Telecaster (originally named the 'Broadcaster'; 'Esquire' is a single pickup version)[1] the first mass-produced electric bass, the Precision Bass (P-Bass); and popular Stratocaster (Strat) guitar. While Fender was not the first to manufacture electric guitars, as other companies and luthiers had produced electric guitars since the late 1920s, none was as commercially successful as Fender's. Furthermore, while nearly all other electric guitars then were either hol- low-body guitars or more specialized instruments such as Rickenbacker's solid-body Hawaiian guitars, Fender had created versatile solid- body electric guitars. -
Transformation 19
TTRANSFORMARANSFORMAT IONT IONS ERIES SERIES 1917 COLLECTCOLLEIONct TRANSFORMAION TRANSFORMATTIONION NEW WORLDS of SOUND Electronics and the Evolution of Music in Canada KATHARINE WRIGHT Transformation Series Collection Transformation “Transformation,” an occasional series of scholarly papers La collection Transformation, publication en série paraissant published by the Collection and Research Division of the irrégulièrement de la Division de la collection et de la recherche Canada Science and Technology Museums Corporation, is de la Société des musées de sciences et technologies du intended to make current research available as quickly and Canada, a pour but de faire connaître, le plus vite possible et inexpensively as possible. The series presents original research au moindre coût, les recherches en cours dans certains secteurs. on science and technology history and issues in Canada Elle prend la forme de monographies ou de recueils de courtes through refereed monographs or collections of shorter études acceptés par un comité d’experts et s’alignant sur le studies, consistent with the corporate framework, “The thème central de la Société, « La transformation du Canada ». Transformation of Canada,” and curatorial subject priorities Elle présente les travaux de recherche originaux en histoire des in agriculture and forestry, communications and space, sciences et de la technologie au Canada et questions connexes transportation, industry, physical sciences and energy. réalisés en fonction des priorités du Musée, dans les secteurs de l’agriculture et des forêts, des communications et de l’espace, des transports, de l’industrie, des sciences physiques et de l’énergie. Disclaimer Responsabilité The publication format of the Transformation series La formule de la collection Transformation ne permet precludes extensive copy-editing. -
A History of the Electric Guitar 1927 - 1957 Illustrated with the Henzig Guitar Collection
A History of the Electric Guitar 1927 - 1957 Illustrated with the Henzig Guitar Collection Luc Henzig - 11 February 2017 Guide for the exhibition: GUITARES DE RÊVE 16 February 2017 - 25 February 2017 A HISTORY OF THE ELECTRIC GUITAR - LUC HENZIG "1 A History of the Electric Guitar 1927 - 1957 1 Introduction 4 A little bit of history 6 Exhibition items 11 1. National, Style 1 Square-Neck Tricone Resonator Guitar, 1927 11 2. National, Polychrome Triolian Resonator Mandolin, 1931 - Peter Lippincott 14 3. National, Style O Round-Neck Resonator Guitar, 1932 - Arlen Roth 16 4. National, Style 4 Square-Neck Tricone Resonator Guitar, 1932 18 5. National, C-series Roundneck Green Duolian Resonator Guitar, 1934 - Rich Robinson 19 6. Gibson, Super 400, 1935 - John Pariso 21 7. Gibson, EH-150 Lap Steel Guitar, 1935 24 8. Gibson, E-150 Guitar Amplifier (Style 1), 1935 26 9. National, Electric Hawaiian Lap Steel Electric Guitar, 1935 29 10.Rickenbacher, A-22 Electro Hawaiian Guitar nicknamed “Frying Pan”, 1936 31 11. Rickenbacher, M-10 Guitar Amplifier, 1936 33 12.Gibson, Roy Smeck Special Lap Steel Guitar, 1936 34 13.Rickenbacher, Electro Spanish Tenor Electric Guitar, 1936 37 14.PremierVox (export Rickenbacher), "Model B" Hawaiian Guitar, 1936 39 15.Harmony, “Golden Jubilee” Lap Steel Guitar, 1936 - Jimmy Blakley 40 16.Supro, "Frying Pan”, 1936 42 17.Electar, Model M Spanish Guitar, 1936 44 18.Electra, Model M Amp, 1936 48 19.AudioVox, Model 436 Single Steel Guitar, 1937 49 20.AudioVox, Model 236 Guitar Amplifier, 1937 52 21.Rickenbacher, Model 59 Lap -
Fender Steel Guitar Club Dedicated to the Fender Stringmaster and the People Who Play Them
Jody Carver’s Fender Steel Guitar Club Dedicated to the Fender Stringmaster and the people who play them. Are the Fender Steel Volume 1, Issue 3 Guitars back? March 2005 Could it be? No, don’t tell me the newsletter. So much for customer ghost of Leo is back. Well, service. I did give them my 800 maybe. Fender announced to the number in an effort to save them Don Burrows: world during the NAMM show a few bucks but it didn't help. Don Burrows is recovering the new six string lap steel. To The receptionist was nice though! from heart surgery. As you stay true to Fender the guitar already know Don makes looks just like the old Champ. The list price is around $575.00 steel guitar legs and cases for Now called the FS52 it touts and after checking with a few many of us in the steel guitar some pretty impressive features. Fender dealers it seems that the circles . As of this newsletter According to Fender’s web site sell price will be around $350- Don is recovering well and $400.00 US. This is above most should be back on his feet http://www.fender.com/products/ of the other new (mass produced) very soon. Don asked me to search.php?partno=0950072821 lap steels on the market but “It’s thank everyone for the tre- This guitar has an Ash body with a Fender.” mendous support he has re- ceived from the steel commu- a white gloss polyurethane finish. There has been quite a bit of nity. -
A Reappraisal of the Lap Steel Guitar Steven John Buckley Mphil Salford
New Perspectives: A Reappraisal of the Lap Steel Guitar Steven John Buckley MPhil Salford University School of Arts, Media and Creative Technology March 2021 i Table of contents Table of contents ii Abstract iii List of figures v Acknowledgements vi Declaration vii Chapter 1: An introduction to the history of the lap steel 1 Chapter 2: Contemporary lap steel players 10 Chapter 3: Techniques 20 Chapter 4: Instruments used 29 Chapter 5: Mata Hari parts 1 & 2 32 Chapter 6: The Star-Crossed Lovers 40 Chapter 7: Mercy 46 Chapter 8: Petite Ouverture a Danser 50 Chapter 9: Weasil 54 Bibliography 60 Discography 62 Web resources 64 Appendix 1 70 ii Abstract New Perspectives: A Reappraisal of the Lap Steel Guitar As a critical study accompanying a creative project which involves composition, rearrangement and recording featuring my work as a performer on lap steel guitar, New Perspectives is invested in both a historical consideration of the role of the instrument and an examination of how it can move away from the traditional context enabling application within new spheres of music. From the Hawaiian music boom of the early Twentieth Century to the mid-century rise of American country music, the lap steel’s ascent and subsequent decline in popularity has since placed the instrument as a sideshow curiosity; a wealth of recorded material that has held the instrument in historical suspension, latterly used by musicians who choose to recreate recording techniques and stylistic accuracy from a bygone era. Whilst the roots of the instrument’s invention and initial success are undoubtedly important, a select number of musicians have recently utilised the lap steel in fresh, vibrant and diverse directions with exciting results and with this consideration, New Perspectives seeks to further dispel the notion of an instrument which has an antiquated limitation.