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Savannah, GA – Fred Gretsch Enterprises and Kaman Music
THE GRETSCH COMPANY P.O. Box 2468, Savannah, GA 31402 Phone: 912-748-7070, Fax: 912-748-6005 Press Release Contact: Emi Keffer FOR IMMEDIATE RELEASE Phone: 912-748-7070, Ext. 220 December 20, 2010 E-mail: [email protected] Buy a Great Book. Win a Great Guitar Bigsby and Hal Leonard Team Up For a “Bigsby Guitar Giveaway” at NAMM 2011 Savannah, GA – Bigsby and Hal Leonard Corporation have teamed up to offer an exciting promotion at Winter NAMM 2011. Dealers who visit the Hal Leonard booth and purchase copies of The Story of Paul Bigsby, Father of The Modern Electric Solidbody Guitar will be rewarded with a once-in-a-lifetime opportunity to win a limited-edition Bigsby guitar. Though most guitarists are familiar with the famous Bigsby® Vibrato, very few are aware of the role that Paul Bigsby played in the invention of the modern electric solidbody guitar. In fact, he built the first such guitar for Merle Travis in 1948, predating Gibson’s Les Paul model and Leo Fender’s namesake guitars by a number of years. The Story of Paul Bigsby relates how this enigmatic genius influenced Fender and Gibson—as well as numerous others—in the design and construction of electric guitars. (And as if that weren’t enough, Paul Bigsby was also responsible for developing and refining the pedal steel guitar.) The Story of Paul Bigsby is a deluxe illustrated coffee table book containing over 300 color and black & white photos. The book also comes with an audio CD of Paul Bigsby, recorded in the late 1950s, telling stories of his business. -
California Noise: Tinkering with Hardcore and Heavy Metal in Southern California Steve Waksman
ABSTRACT Tinkering has long figured prominently in the history of the electric guitar. During the late 1970s and early 1980s, two guitarists based in the burgeoning Southern California hard rock scene adapted technological tinkering to their musical endeavors. Edward Van Halen, lead guitarist for Van Halen, became the most celebrated rock guitar virtuoso of the 1980s, but was just as noted amongst guitar aficionados for his tinkering with the electric guitar, designing his own instruments out of the remains of guitars that he had dismembered in his own workshop. Greg Ginn, guitarist for Black Flag, ran his own amateur radio supply shop before forming the band, and named his noted independent record label, SST, after the solid state transistors that he used in his own tinkering. This paper explores the ways in which music-based tinkering played a part in the construction of virtuosity around the figure of Van Halen, and the definition of artistic ‘independence’ for the more confrontational Black Flag. It further posits that tinkering in popular music cuts across musical genres, and joins music to broader cultural currents around technology, such as technological enthusiasm, the do-it-yourself (DIY) ethos, and the use of technology for the purposes of fortifying masculinity. Keywords do-it-yourself, electric guitar, masculinity, popular music, technology, sound California Noise: Tinkering with Hardcore and Heavy Metal in Southern California Steve Waksman Tinkering has long been a part of the history of the electric guitar. Indeed, much of the work of electric guitar design, from refinements in body shape to alterations in electronics, could be loosely classified as tinkering. -
Guitar Body Shapes May 14, 2020
Guitar Virtual Learning Guitar Body Shapes May 14, 2020 Guitar Lesson: May 14, 2020 Objective/Learning Target: What different guitar shapes are there, and what are the differences between those shapes? Warm-Up Activity Watch the following video by YouTuber “Minor7thb5” (which is a music theory reference!). In it, he plays the same piece of music two times with two different guitars. The guitars are of similar build quality and materials, but they are different shapes. One is a parlor guitar and the other is a dreadnaught. How do they sound different to you? These differences are subtle. It might be easier to hear by using headphones. 2nd Warm-Up Activity These were the two guitars he played. The one on the left is an Eastman parlor guitar, the one on the right is a Martin dreadnought. How do they look different? How do they look the same? Guitar Shapes For the lesson today, we are going to do a brief overview of the different guitar shapes and styles you can find today. This lesson will build on the lessons from earlier in the week where we discussed the differences between classical, steel-string, and electric guitars. Now, we will see what different body shapes there are, especially for the steel-string and electric guitars, and what makes them different! A Brief history of guitar shapes The word “guitar” comes from the Greek word “kithara,” which shows up in Greek mythology from thousands of years ago. These stringed instruments didn’t look much like our guitars now, but they were strummed like our guitars. -
N O N P E R F O R M E
NON PERFORMERS LeoIt would be difficult to imagine rock & roll Fender— both its it. But Leo had the foresight to see the solid-body’s potential, sound and its spirit — without the contributions of Clarence and he jumped at it. ” Leo Fender. Jimi Hendrix used a Fender Stratocaster to create In 1948, the Fender Electric Company began producing his most distortion-drenched masterpieces. Jeff Beck em the Broadcaster, a solid-bodied electric guitar. Two years ployed a Fender Telecaster to play his jagged, quirky riffs with later, in a move that reflected the enormous recreation fad the Yardbirds. The late Stevie Ray Vaughan spun his muscular then sweeping America, the Broadcaster’s name was blues on a vintage Strat. Following the Rolling Stones’ induc changed to Telecaster. tion into the Rock & Roll Hall of Fame, Keith Richards (a The guitar proved to be an immediate success, particular Telecaster man) thanked “God, for Leo Fender, who makes ly with country pickers; it remains an essential component these instruments for us to play. ” of the Nashville sound to this day. And forty years after the Fender’s instruments revolutionized popular music in gen first models rolled out of the Fender factory, the Telecaster eral and rock & roll in particular. In addition to designing and still looks more or less the same. With its clean lines and marketing the Fender Telecaster and Stratocaster guitars in uncomplicated electronics, the guitar is a marvel of utilitar the early Fifties, he literally invented the electric bass with ian design. the introduction of the Fender Precision in 1950 and produced “Fender could look at something and immediately discern some of the world’s most sought-after amplifiers. -
Voices of the Electric Guitar
California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses 2012 Voices of the electric guitar Don Curnow California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes Recommended Citation Curnow, Don, "Voices of the electric guitar" (2012). Capstone Projects and Master's Theses. 369. https://digitalcommons.csumb.edu/caps_thes/369 This Capstone Project is brought to you for free and open access by Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. Unless otherwise indicated, this project was conducted as practicum not subject to IRB review but conducted in keeping with applicable regulatory guidance for training purposes. For more information, please contact [email protected]. Voices of the Electric Guitar Don Curnow MPA 475 12-12-12 Intro The solid body electric guitar is the result of many guitars and innovations that came before it, followed by the guitar's need for volume to compete with louder instruments, particularly when soloing. In the 1930s, jazz and its various forms incorporated the guitar, but at the time there was no way for an acoustic guitar to compete with the volume of a trumpet or saxophone, let alone with an orchestra of trumpets and saxophones, such as in big band jazz. As a result, amplification of the guitar was born and the electric guitar has been evolving since, from a hollow bodied ES-150 arch-top with a pick-up used by Charlie Christian to the Les Paul played by Slash today. -
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 -
U.S.A. Retail Price List Prices Effective January 1, 2012
U.S.A. Retail Price List Prices effective January 1, 2012 Suggested List Guitars (Price includes free standard case) Price 620 Deluxe bound body & neck, inlays, 21 fret, 2 pickups, wired for stereo 1829 620/12 Like 620 but with 12 strings 2209 650C "Colorado", 24 fret, solid body, 2 humbucking pickups, chrome parts, all standard colors 1829 660 Charactered Maple body, checked binding, vintage pickups and knobs, wide neck, gold pickguard and 2649 nameplate, trapeze tailpiece 660/12 Like 660, but with 12 strings, 12 saddle bridge 3109 330 Thinline semi-acoustic, 24 fret, 2 pickups, dot inlays, mono 1999 330/12 Like 330 but with 12 strings,"R" tailpiece 2459 360 Deluxe thinline, semi-acoustic hollow body, inlaid neck, wired for stereo 2499 360/12 Like 360 but with 12 strings 2939 370/12 Like 360/12 but with 3 pickups 3129 C Series (Price includes free vintage reissue case) 325C64 “Miami”, 3 pickup, semi-hollow, white pickguard, RIC vibrato, 21 fret, short scale (JG only) 3599 360/12C63 2 pickup, semi-acoustic, trapeze tailpiece, double bound, 21 fret, full scale (FG Only) 3839 Vintage Reissue Series (Price includes free vintage reissue case) 350V63 “Liverpool”, 3 pickup, semi-hollow, white pickguard, 21 fret, full size neck 3059 381V69 Hand carved deep double cutaway body, charactered Maple top & back, fully bound with checked binding 4949 on body, 21 frets, vintage pickups (FG, MG, JG colors only) 381/12V69 Like 381V69 but with 12 strings, 12 saddle bridge 5409 5002V58 Mandolin, 8 strings in 4 pairs, charactered Maple front, Walnut back -
Meet Your Other Half
Guitars, basses and amplifiers, born in Japan since 1966. MEET YOUR OTHER HALF PRODUCT 2 LINEUP CATALOG 0 2 1 TRANSACOUSTIC GUITARS CONTENTS TransAcoustic Guitars........................................................................... 3 Silent Guitars........................................................................................ 6 PLAY, ACOUSTIC GUITARS L SERIES............................................................................................... 10 LISTEN… A SERIES............................................................................................... 14 APX/CPX SERIES................................................................................... 18 BE FG SERIES............................................................................................. 20 F SERIES............................................................................................... 24 INSPIRED F SERIES (Made In India)...................................................................... 28 CLASSICAL GUITARS............................................................................ 30 COMPACT SIZE SERIES.......................................................................... 34 ELECTRIC GUITARS PACIFICA............................................................................................... 37 1.1 REVSTAR............................................................................................... 42 RGX....................................................................................................... 44 ELECTRIC -
Patented Electric Guitar Pickups and the Creation of Modern Music Genres
2016] 1007 PATENTED ELECTRIC GUITAR PICKUPS AND THE CREATION OF MODERN MUSIC GENRES Sean M. O’Connor* INTRODUCTION The electric guitar is iconic for rock and roll music. And yet, it also played a defining role in the development of many other twentieth-century musical genres. Jump bands, electric blues and country, rockabilly, pop, and, later, soul, funk, rhythm and blues (“R&B”), and fusion, all were cen- tered in many ways around the distinctive, constantly evolving sound of the electric guitar. Add in the electric bass, which operated with an amplifica- tion model similar to that of the electric guitar, and these two new instru- ments created the tonal and stylistic backbone of the vast majority of twen- tieth-century popular music.1 At the heart of why the electric guitar sounds so different from an acoustic guitar (even when amplified by a microphone) is the “pickup”: a curious bit of very early twentieth-century electromagnetic technology.2 Rather than relying on mechanical vibrations in a wire coil to create an analogous (“analog”) electrical energy wave as employed by the micro- phone, “pickups” used nonmechanical “induction” of fluctuating current in a wire coil resulting from the vibration of a metallic object in the coil’s magnetized field.3 This faint, induced electrical signal could then be sent to an amplifier that would turn it into a much more powerful signal: one that could, for example, drive a loudspeaker. For readers unfamiliar with elec- tromagnetic principles, these concepts will be explained further in Part I below. * Boeing International Professor and Chair, Center for Advanced Studies and Research on Inno- vation Policy (CASRIP), University of Washington School of Law (Seattle); Senior Scholar, Center for the Protection of Intellectual Property (CPIP), George Mason University School of Law. -
The Three Voices of the Electric Guitar by Eric Smith
Smith 1 Eric Smith Instructor’s Name ENGL 1013 Date The Three Voices of the Electric Guitar The electric guitar has been an integral part of popular music since its inception in the early part of the twentieth century. The immense palette of colors available to guitarists makes the electric guitar obviously stand out from the other musical instruments. However, a fairly obvious fact about the electric guitar is hiding in plain sight, a fact known to players but not immediately apparent to the general public until it is brought to their attention: the guitar is only half of a complete instrument. Without electronic amplification there would be no jarring, emotional delight to the ear that stirs the collective soul of today’s audience. Thus far in the evolution of sound reinforcement, there are three distinct types of amplifiers: the tube amp, the solid-state or transistor amp, and the modern digital processor. The vacuum tube, or valve, is a component of an antiquated technology. Along with large, heavy output transformers and point-to-point wiring, the tube amp is a remnant of the days when Americans would gather around their bulky mahogany Art Deco radios and listen to FDR’s fireside chats. Suspenders, rumble seats, fedoras, and whitewall tires were some of the other common cultural iconography in those halcyon days before the atomic bomb. The tube amp tone has a roundness to it, a warm, creamy sound that even with the volume turned up is never sharp or piercing. The guitar players that swear by tube amps are legion, and the men that designed and manufactured them have become household names; Leo Fender and Jim Marshall are two examples. -
Christie's to Offer Les Paul's Personal “Number One” ~ the Guitar That
PRESS RELEASE | NEW YORK I FOR IMMEDIATE RELEASE : 18 A U G U S T 2021 CHRISTIE’S TO OFFER LES PAUL’S PERSONAL “NUMBER ONE” ~ THE GUITAR THAT STARTED IT ALL THE FIRST GIBSON LES PAUL GUITAR OWNED & APPROVED BY THE FATHER OF THE SOLID-BODY ELECTRIC GUITAR ~ OFFERED AT CHRISTIE’S ‘EXCEPTIONAL SALE’ ON OCTOBER 13 IN NEW YORK Gibson Incorporated, Kalamazoo, Michigan, Circa 1951-52 The solid-Body Electric Guitar, Known as Les Paul’s “Number One” Les Paul Model Artist's Prototype Estimate: $100,000-150,000 Les Paul “is part of a homespun tradition of scientific wizards that includes Benjamin Franklin and Thomas Edison.” ~The Rock & Roll Hall of Fame New York— Christie’s announces Les Paul’s own personal ‘Number One,’ the very earliest approved production model of the famed Gibson Les Paul electric guitar which monumentally changed the development of Rock’n’Roll in the 20th Century will be featured in The Exceptional Sale on October 13 in New York. Along with Mr. Paul, Gibson Incorporated developed this innovative solid body electric guitar circa 1951-1952 to meet the demanding standards of guitar virtuoso and inventor, Les Paul, who designated this his Number One; the first solid electrified guitar that met with his approval, and was the culmination of his lifelong dream. Kerry Keane, Christie’s consultant and Musical Instruments Specialist, remarks, “In any creation narrative there are always multiple protagonists, but the name Les Paul ranks at the pinnacle when discussing the electric guitar. His development of multi-track recording, and audio effects like delay, echo, and reverb all profoundly influenced how music is reproduced and heard. -
PEAVEY Innovations from Mississippi
PEAVEY Innovations from Mississippi ~~oU were you'd ..... rr,h,..,hlu .I CitieS Lv\...aL".u. COrnlnle: up Names way up the state Rickenbacker, Loar, Beauchamp, almost on the Les Paul and Floyd Rose would bama border, to the tip of the tongue readily, no about a hundred miles east of the capital, Jackson. into your head was That Peavey has Peavey? The amp company? Well, such a low profile right. Peavey, the amp and guitar among guitar players and collec- . tors IS an IronIc to Right) 1978 Patent Applied For T-60, an early One of America's largest situation because, ofthe guitar which revolutionized modern sotl:db,odv 1JroaU<~tton. 1982 T-25 Special, with a ufacturers since 1 the real':?st!l,nea by Todd he the company. aware company guiding vi- pumping out guitars, many of excep a pleasantly lilting Southern drawl sion of its founder and owner Hardey tional quality, beauty and often quite paced like a salesman) who's by no - essentially invented the way innovative design. Proudly made in the means shy about telling you what he '~f,d/H~M solidbody guitars are made! But U.S. of A. All, new or used, are a re thinks language peppered with Peavey. One the largest markable value, which has been Hardey plenty salt), "but it's not so strange idea from the very De~~ml[1me:. And which may and slOn. in this parr the countrf. mixed with the 'white soul' of the opened a music shop. He married my country. Irish and Scottish people who also lived mother in 1939, and I here and created country music.