Breedlove Guitars is an American company based in that specializes in custom, guitars. History and background [] Breedlove Guitars was established in 1990 by Larry Breedlove and Steve Henderson, while working. After moving to Oregon, Breedlove and Henderson began specializing in custom, six and twelve string guitars. In 1991 the first Breedlove guitar model appeared, after experiments with the JLD system and various techniques. Around 1994, Larry’s brother, Kim Breedlove, joined Larry and Steve as a master. Breedlove strives to be environmentally conscious, and is “dedicated to selecting alternatives to endangered woods.” Breedlove has since expanded to include and. Models [] models currently include the Master Class, American Series, Oregon Series, Cascade series, Atlas series, Passport Plus, and Passport, as well as models and models.

Since 1946, Fender's iconic Stratocasters, Telecasters and Precision & Jazz bass guitars have transformed nearly every music genre.

The Voice series, reviewed by in 2012, was praised for the quality of construction and various innovative elements, including a “Tru-Voice Electronics System” which, according to Dave Hunter, “for live performance comes closer to a seamless acoustic-to-amplified transition than virtually any other flat-top I’ve played.” models currently include the Master Class, Premier Mandolins and American Series. Models currently include, and the American Tenor ukulele. English: Personally owned Takamine 1978 F340S, pic taken by WP contributor fireproeng Sep 2007, for WP article Takamine Guitars (Photo credit: Wikipedia) Takamine Co., Ltd. (高峰楽器製作所 Takamine Gakki Seisakusho ) is a Japanese manufacturer based in,. Takamine is known for its. The company was founded in May 1962; in 1978 they were one of the first companies to introduce acoustic-electric models, where they pioneered the design of the preamp-equalizer component. The company name is often pronounced in English.

Closer to the Japanese would be. Company history[] Takamine’s distributor is. While known primarily for their acoustic and acoustic-electric guitars, Takamine produced a limited run of very high quality solid body electric guitars in the early 1980’s. These are the GX100 (Gibson Explorer body style), GX200 (proprietary type body style similar to a Stratocaster, stop tailpiece bridge), GX200-T or TB, (same as GX200 only with a tremolo bridge) GZ300 (proprietary design) and GZ340 (proprietary design). The GX200 and GZ340 contain factory DiMarzio made pickups.

The Takamine F-340 was the cause of a letter from in the early 1980s because Takamine’s acoustic guitars including the logo design were supposedly nearly identical to Martin Models [ ]. According to Chris F. Martin IV, CEO of CF Martin and Company in a speech given to the Unofficial Martin Guitar Forum members on August 8, 2005, no lawsuit was ever actually filed, and Takamine did change the appearance of their guitars [ ]. Every year since 1987 Takamine presents a Limited Edition Guitar model, which gets produced in very limited quantities up to a few hundred guitars for the world wide distribution. These guitars always come with the latest pickup/preamplifier combination available and artful inlays, often with motifs focusing on nature or astronomical phenomena. Takamine also manufacture a lower cost range of guitars in Korea.

They are marketed under the Jasmine brand name. Series[] • Legacy Series • Signature Series • Pro Series 1-7 • G Series Notable Players[] • • • • • • • • • • • • • • References[] • • • External links[] • • • • • 3. Gibson Les Paul. Gibson Les Paul Manufacturer,, Period 1952–1960, 1968–present Construction Body type Solid Neck joint Woods Body (often with a top), Neck Mahogany, maple Fretboard,, maple (usually 22 frets) Hardware Bridge Usually hardtail () Usually H-H (2 Humbucker) Colors available Various (often natural-type finishes), Heritage Cherry Sunburst, Desert Burst, Honey Burst, Light Burst, Iced Tea, Chicago Blue, Wine Red, Ebony, Goldtop, Alpine White The Gibson Les Paul is a electric guitar that was first sold in 1952. The Les Paul was designed by in collaboration with popular guitarist, whom Gibson enlisted to endorse the new model.

It is one of the most well-known electric guitar types in the world, along with the and. ES-150 (1936) The Gibson Les Paul was the result of a design collaboration between and the late guitarist and electronics inventor.

In 1950, with the introduction of the radically innovative 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 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 ever built, as opposed to the “Hawaiian”,.

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 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”, but his solid body design was rejected. In 1951, this initial rejection became a design collaboration between the Gibson Guitar Corporation and Les Paul. It was agreed that the new Les Paul guitar was to be an expensive, well-made instrument in Gibson’s tradition. Although recollections differ regarding who contributed what to the Les Paul design, it was far from a market replica of models. Founded in 1902, Gibson began offering electric in the 1930s, such as the; at minimum, these hollow-body electric models provided a set of basic design cues for the new Gibson solid-body, including a more traditionally curved body shape than offered by competitor Fender, and a glued-in (““) neck, in contrast to Fender’s The significance of Les Paul’s contributions to his Gibson guitar design remains controversial. The book “50 Years of the Gibson Les Paul” limits Paul’s contributions to two: advice on the trapeze tailpiece, and a preference for color (stating that Paul preferred gold as “it looks expensive”, and a second choice of black because “it makes your fingers appear to move faster on the box”, and “looks classy―like a tuxedo”).

Additionally, Gibson’s president Ted McCarty states that the Gibson Guitar Corporation merely approached Les Paul for the right to imprint the musician’s name on the headstock to increase model sales, and that in 1951, Gibson showed Paul a nearly finished instrument. McCarty also claims that design discussions with Les Paul were limited to the tailpiece and the fitting of a maple cap over the mahogany body for increased density and sustain, which Les Paul had requested reversed.

However, according to Gibson Guitar, this reversal would have caused the guitar to become too heavy, and Paul’s request was refused. Another switch: the original was to be all mahogany and the was to have the maple cap/mahogany body. Beyond these requests, Les Paul’s contributions to the guitar line bearing his name were stated to be cosmetic. For example, ever the showman, Paul had specified that the guitar be offered in a gold finish, not only for flashiness, but to emphasize the high quality of the Les Paul instrument, as well. The later-issue Les Paul models included (tiger stripe) and “quilted” maple finishes, again in contrast to the competing Fender line’s range of car-like color finishes. Gibson was notably inconsistent with its wood choices, and some goldtops have had their finish stripped to reveal beautifully figured wood hidden underneath. [ ] Market failure and resurgence[].

Quilted maple sample By the late 1950s, the Les Paul was considered “staid and old-fashioned” as well as too heavy and expensive, no longer competitive with the Stratocaster, and by 1961 Gibson stopped producing the traditional Les Paul in favor of a lighter redesign called the SG. The mid-1960s, however, brought a resurgence of interest in the Les Paul, a development credited to one man and one album:, using a Les Paul plugged into a amplifier as recorded on (the “Beano” album, 1966), set the standard for tone for a new generation of guitar players in blues and rock and roll (see Keith Richards’ contribution to the Les Paul legend below in the section ‘ Renewed interest in the Les Paul models’ below). Clapton was initially followed by American guitarist and British guitarist, and the subsequent rise in the instrument’s popularity was such that by the late 1960s Gibson reintroduced an updated Les Paul and a variety of other instruments “in its mold”, including a bass guitar. Models and variations[] The Les Paul guitar line was originally conceived to include two models: the regular model (nicknamed the ), and the, which offered upgraded hardware and a more formal black finish. However, advancements in pickup, body, and hardware designs allowed the Les Paul to become a long-term series of electric solid-body guitars that targeted every price-point and market level except for the complete novice guitarist.

This beginner guitar market was filled by the model, and although the inexpensive Melody Maker did not bear the Les Paul name, its body consistently followed the design of true Les Pauls throughout each era. Beyond shaping and body design, there are a number of characteristics that distinguish the Gibson Les Paul line from other electric guitars.

For example, in a fashion similar to Gibson’s hollow-body instruments, the strings of Les Paul guitars are always mounted on the top of the guitar body, rather than through the guitar body, as seen in competitor Fender’s designs. The Gibson also features a variety of colors, such as Wine Red, Ebony, Classic White, Fire Burst, and Alpine White. In addition, the Les Paul models offered a variety of finishes and decorative levels, a diversity of hardware options, and an innovative array of electric pick-up options, some of which significantly impacted the sound of electric music. For instance, in 1957, Gibson introduced the (), which revolutionized the sound of the electric guitar, and eliminated the, which had previously plagued guitars with magnetic. Goldtop (1952–1958)[].

1957~58 Goldtop has The 1952 Les Paul featured two pickups, and a one-piece, ‘trapeze’-style bridge and tailpiece, with strings that were fitted under (instead of over) a steel stop-bar. The weight and the tonal characteristics of the Les Paul were largely due to the and construction: maple is a hard and quite heavy wood, but was restricted to a cap over somewhat lighter mahogany, to keep weight under control. In addition, the early 1952 Les Pauls were never issued serial numbers, did not have bound bodies, and are considered by some as “LP Model prototypes”.

However, the later 1952 Les Pauls were issued serial numbers and also came with bound bodies. Interestingly, the design scheme of some of these early models varied.

For instance, some of the Les Pauls of this issue were fitted with black covered P90 pickups instead of the cream-colored plastic covers that are associated with this guitar, even today. Of note, these early models, nicknamed “Goldtops”, have begun to gain the interest of collectors, and subsequently, the associated nostalgic value of this instrument is increasing.

Main article: The second issue of the Les Paul guitar was introduced to the public in 1954. Called the Gibson Les Paul Custom, this entirely black guitar was dubbed the Black Beauty. The Les Paul Custom featured a mahogany top to differentiate the instrument from its Goldtop predecessor’s maple top. It also featured the new bridge design and a pickup with an -5 magnet, P-480, in the neck position. In addition, since 1957, the Custom was fitted with Gibson’s new humbucker pickups,, and later became available with three pickups instead of the more usual two. The three pickup model retained the standard Gibson 3-way switch so not all pickup combinations were possible.

The neck and bridge-only settings were retained, but the middle switch position was set to enable the middle and bridge pickups. A common modification was to restore the standard neck/both/bridge switching combination and add a switch to enable the middle pickup on its own. [ ] The guitar is wired as a “normal”2 pick up Les Paul except there is a master volume, master tone, (for front and back pu) while the middle pick up has its own volume / tone. This allows the middle pu to turned out of the circuit or mixed with the other two. Allowing many different tones. The Les Paul Custom single cutaway was discontinued in 1961 and replaced with the SG (as we know it) designation for “solid guitar”. This model featured a thin 1-5/16″ body and a double cutaway.

Confusion abounds to this day over the name Les Paul Custom. Since the single cutaway was discontinued, Gibson transferred the name Les Paul Custom to the new models. Junior (1954–1960) and TV (1955–1960)[]. 1960/1961 In 1954, to broaden the solid-body electric market still further, Gibson issued the Gibson Les Paul Junior, again targeting the beginning player or student. Over time, this Gibson design has proven well-suited for even professional use.

There were marked differences between the other Les Paul models and the Les Paul Junior. For instance, although the Junior’s body outline was clearly reminiscent of the original upmarket Les Paul guitar, the Junior issue was characterized by its flat-top “slab” mahogany body, finished in traditional Gibson Sunburst. The Junior was touted as an inexpensive option for Gibson electric guitar buyers [ ]: it had a single P-90 pickup, simple volume and tone controls, and the unbound rosewood fingerboard bore plain dot-shape. However, as a concession to the aspirations of the beginning guitarist buyer, the Junior did feature the stud bridge/tailpiece similar to the second incarnation of the upscale Gold-Top. 1956 Les Paul Special Singlecut in TV Yellow Later, in 1955, Gibson launched the Les Paul TV model, which was essentially a Junior with what Gibson called a natural finish. This finish was actually more of a translucent mustard yellow through which the wood grain could be seen, and was not unlike the finish that competitor Fender called butterscotch yellow.

The idea behind this TV Yellow was that white guitars would glare too much on early black and white television broadcasts, whereas TV Yellow guitars would not cast a glare. In 1958, Gibson made a radical design change to their Junior and TV models: with the design change came cosmetic changes to these guitars that would later take on enormous importance. To accommodate player requests for more access to the top frets than the previous designs allowed, Gibson revamped both these electric guitar models with a new double-cutaway body shape. In addition, the Junior’s fresh look was enhanced with a new cherry red finish, while the re-shaped TV adopted a new, rather yellow-tinged finish for its new design. Special (1955–1960)[].

Main articles: and The Les Paul Special was released in 1955, featuring two soapbar P-90 single coil pickups, finished in a TV Yellow variation (but not called a TV model). In 1959, the Special was given the same new double-cutaway body shape as the Junior and the TV received in 1958. However, when the new design was applied to the two-pickup Special, the cavity for the neck pickup overlapped the neck-to-body joint. This weakened the joint to the point that the neck could break after only moderate handling. The problem was soon resolved when Gibson designers moved the neck pickup farther down the body, producing a stronger joint and eliminating the breakage problem. This stabilized version of the Special is currently offered only by Gibson’s Custom Shop in the “VOS” series in TV Yellow.

Gibson released a series of Les Paul Special Faded guitars in the 2000s, with rosewood fretboards and dot inlays. With bodies made from Honduran mahogany, they are equipped with 490R and 496T humbuckers and are sold at a much cheaper price. Standard (1958–1960, 1968–Present)[]. A licenced Kahler system on a ’87 Les Paul Standard In 1958, Gibson updated the Les Paul yet again. The new model retained most of the specifications of the 1957 Goldtop, including humbucker pickups, maple top, bridge with a stop tailpiece. The most significant change in the new models was the finish.

The Goldtop color used since 1952 was replaced by the Sunburst finish already being used on Gibson’s archtop acoustic and hollow electric guitars, such as the model. To differentiate from the earlier Goldtop model, the new Les Paul was referred to as The Les Paul Standard. Original production of the standards lasted from 1958 to 1960. Only 1,700 of these early models were made and have subsequently become highly collectible. Original production ended when, in 1961, Gibson redesigned the Les Paul to feature a “double cutaway” body, which has subsequently become the Gibson SG. Due to high demand, Gibson resumed production of Les Paul Standards in 1968. Today, the Gibson Les Paul Standard has BurstBucker pickups on the Vintage Original Spec models and Burstbucker Pro on the lower end models bearing the ‘Standard’ name.

In the 80s Gibson also sold a limited number of Les Pauls carrying. 2008 Standard (2008)[] Gibson’s new version of the Les Paul Standard was released August 1, 2008 and features a long neck tenon, an asymmetrical neck profile to make for a comfortable neck, frets leveled by Plek machine, and locking with an improved ratio of 18:1. With the 2008 model Gibson has introduced their “weight relief” chambering, which includes “chambers” in specific areas of the slab body as specified by Gibson. Before 2008, Les Paul Standards were “swiss cheesed.” In other words, it had holes routed into the body, but it was not chambered like most of Gibson’s Les Paul lineup now is. 2008 Standard Traditional (2008)[] In 2008 Gibson also introduced the Les Paul Traditional also known as the Les Paul Standard Traditional. The Traditional is built using the traditional Les Paul specifications; such as Kluson style tuners, 57 Classic pickups, and an unchambered body. The Traditional also comes in a plus version with the plus referring to the AAA flame maple cap.

2012 Standard[] Gibson announced the new 2012 Les Paul Standard at Winter NAMM 2012. The new Standard features two Burstbucker Pro humbuckers with coil splitting, and Pure Bypass. Pure Bypass gives the option of bypassing the volume and tone potentiometers, sending the signal directly from the bridge pickup to the output jack.

The 2012 Standard also features Gibson’s “modern weight relief” as opposed to the chambered body of previous Standards. Other changes include a phase switch and compound fretboard radius. Les Paul SG (1961-1963)[]. 1962 Les Paul Standard () In 1960, Gibson experienced a decline in electric guitar sales due to their high prices and strong competition from Fender’s comparable but much lighter double-cutaway design, the. In response, Gibson modified the Les Paul line.

This 1961 issue Les Paul guitar was thinner and much lighter than the earlier models, with two sharply pointed cutaways and a vibrato system. However, the redesign was done without Les Paul’s knowledge.

Although pleased with the sound, he asked Gibson to remove his name from the instrument until they fixed a design issue with the neck. This separation occurred in 1960, but Gibson had a surplus stock of “Les Paul” logos and covers, and so continued to use the Les Paul name until 1963. At that point, the SG guitar’s name was finally changed to ““, which stood simply for Solid Guitar. In addition to the SG line, Gibson continued to issue the less expensive Jrs and Specials (and the Melody Makers) with the newer body style.

These, together with the, were the standard Gibson solid-body models until the reintroduction of the Les Paul Standard Goldtop and the Les Paul Custom guitars to the market in 1968. Renewed interest in the Les Paul models[]. (1978) In 1964, The ‘ obtained a 1959 sunburst Les Paul.

The guitar, outfitted with a Bigsby tailpiece, was the first “star-owned” Les Paul in Britain and served as one of the guitarist’s prominent instruments through 1966. Because he switched guitars often enough in that period (using models ranging from the Epiphone semi-hollow to various other guitars made by Guild and Gibson), Richards is sometimes forgotten as an early post-1960 Les Paul player. In 1965, also recognized the rock potential of the late 1950s Les Paul guitars (particularly the 1958–1960 Standard sunburst models), and gave them wide exposure. He began using Les Pauls because of the influence of and, and played a 1960 Standard on his groundbreaking album Blues Breakers – – With Eric Clapton. At the same time, began using a 1954 Les Paul goldtop he apparently purchased in Boston while touring with the Blues Band, and recorded most of his work on the band’s East-West album with that guitar. A year later, he traded it to guitarist/luthier for the 1959 Standard with which he became most identified.

Concurrently, such artists such as,, and began using the late-1950s Les Paul Standards. Pickup (right) on Gibson Invader These 1950s models featured the thicker, more sustaining tone of Gibson’s pickups with the original units known as “Patent Applied For” () pickups.

These PAFs were designed by while working for Gibson in 1955 (), and debuted on Les Pauls in 1957. This innovation became a standard pick up design for Gibson, and subsequently, many other guitar companies followed suit, outfitting their electrics with copycat versions of the humbucking pickup altered to avoid infringing Gibson’s patent. Gretsch had their Filtertron pickups, and when Fender entered the humbucker market in 1972, it was with the radically different pickup. “Standard” humbuckers from other guitar manufacturers and third party replacement pickups from the likes of and were only offered after Gibson’s patent had expired. Over the years, authentic 1950s Les Pauls have become some of the most desirable and expensive electric guitars in the world.

Only 1700 were made between 1958 and 1960 [ ]. Today, a 1959 Les Paul Standard in good condition can be easily priced between $US200,000 and $US750,000, making it the most valuable production model electric guitar ever built (however, Gibson Custom Shop reissue versions of the 1950s and 1960 Les Paul can be purchased for less, between $US3,000-$US6,000 – certain artist signature model versions of the guitars are considerably more expensive). Jimmy Page has been offered 1 million pounds (1.6 million USD) for his “number 1” 1959 Les Paul should he ever decide to sell it. Thanks to the work and influence of Richards, Clapton, Bloomfield, Green, Taylor, Beck, and Page in the mid-1960s, demand for Les Paul guitars had begun to increase.

Responding to that influence and increased pressure from the public, Gibson re-introduced the single cutaway Les Paul in July 1968. Les Paul models in the Norlin era (1969–1985)[]. 1974 Custom Subsequent years brought new company ownership to the Gibson Guitar Company. During the ““, Gibson Les Paul body designs were greatly altered, most notably, the change to the neck volute. Because the Les Paul had the reputation of having an easily broken neck joint, the volute strengthened the neck where it joined the headstock to avert breakage. To further increase the strength, the neck woods were changed from mahogany to a three-piece maple design.

The LP body was changed from a one-piece mahogany with a maple top into multiple slabs of mahogany with multiple pieced maple tops. This is referred to as “multipiece” construction, and sometimes incorrectly referred to as a “pancake” body. The expression “pancake body” actually refers to a body made of a thin layer of maple sandwiched between two slabs of mahogany, with a maple cap.

The grain of the maple was placed at 90 degrees to that of the mahogany. The “pancake”-like layers are clearly visible when looking at the edge of the guitar. This process is also known as “crossbanding”, and was done for strength and resistance to cupping/warping.

Crossbanding was phased out by 1977. In this era, as well, Gibson began experimenting with new models such as the. This model is generally unpopular with guitarists due to its complex electronics.

The Recording featured low-impedance pickups, many switches and buttons, and a highly specialized cable for impedance-matching to the amplifier. Less noticeable changes included, but were not limited to, maple fingerboards (1976), pickup cavity shielding, and the crossover of the ABR1 Tune-o-matic bridge into the modern day Nashville Tune-o-matic bridge. During the 1970s, the Les Paul body shape was incorporated into other Gibson models, including the, the, the, and other models that did not follow the classic Les Paul layout. 1969 Deluxe The Deluxe was among the “new” 1968 Les Pauls. This model featured “mini-humbuckers”, also known as “New York” humbuckers, and did not initially prove popular. The mini-humbucker pickup fit into the pre-carved P-90 pickup cavity using an adaptor ring developed by Gibson (actually just a cut-out P90 pickup cover) in order to use a supply of mini-humbuckers left over from when Gibson moved Epiphone production to Japan. The DeLuxe was introduced in late 1968 and helped to standardize production among Gibson’s US-built Les Pauls.

The first incarnation of the Deluxe featured a one-piece body and slim three-piece neck in late 1968. The “pancake” body (thin layer of maple on top of two layers of Honduran mahogany) came later in 1969. In late 1969, a small “volute” was added. 1969 Deluxes feature the Gibson logo devoid of the dot over the “i” in Gibson.

By late 1969/early 1970, the dot over the “i” had returned, plus a “Made In USA” stamp on the back of the headstock. The Deluxe could be special ordered with full-size Humbucker T-Top pickups, these full size versions of the Deluxe were “Standard” spec. They were also available with “Gibson” embossed pickups in 1972 only and considered rare, as only 9 were produced. David Bowie Can be seen playing one of the 1972 “Standards” in his 1972 release Jean Genie video. By 1975, the neck construction was changed from mahogany to maple, until the early 1980s, when the construction was returned to mahogany. The body changed back to solid mahogany from the pancake design in late 1976 or early 1977. Inte reintroduced rest in this particular Les Paul model was so low that in 1985, Gibson canceled the line.

However, in 2005, the Deluxe was with more popularity due to its association with and. In 1978 the Les Paul Pro Deluxe was introduced. This guitar featured P-90 pickups instead of the “mini-humbuckers” of the Deluxe model, an ebony fingerboard, maple neck, mahogany body and chrome hardware. It came in Ebony, Cherry Sunburst, Tobacco Sunburst or Gold finishes. Interestingly, it was first launched in Europe, rather than the US.

It was discontinued in 1983. See also: The “Studio” model was introduced in 1983, and is still in production. The intended market for this guitar was the studio musician; therefore, the design features of the “Les Paul Studio” were centered on optimal sound output. This model retained only the elements of the Gibson Les Paul that contributed to tone and playability, including the carved maple top and standard mechanical and electronic hardware.

However, the Studio design omitted several stock Gibson ornamentations that did not affect sound quality, including the binding on the body and neck. The two notable exceptions to this are the Studio Standard and the Studio Custom.

Both models were produced in the mid-1980s, and included body and neck binding, though with dot fingerboard inlays instead of more ornate trapezoids. The first Studios from 83 to 86, except for Studio Standard and Studio Custom, were made with alder bodies rather than mahogany/maple.

The current Studios come with a chambered mahogany body with either a maple or mahogany cap. The entry level Les Paul Studio “faded” has a chambered mahogany body and top and a satin finish and is the lowest priced Gibson USA Les Paul. Custom Shop models[]. Gibson Les Paul Custom Florentine With a growing popularity of the Les Paul guitars, hundreds of unendorsed imitations and copycat versions had appeared on the markets.

However, due to the lack of U.S. Legislation to address patent infringements and restrict the import sales, oversea imitations caused legal and financial problems to the Gibson Guitar Corporation. An also troublesome thing was the existence of high quality imitations of vintage Les Paul (and vintage Stratocaster) produced by oversea manufacturers. For instance, during 1970s and early 1980s, Japanese manufacturer produced superb replicas of 1957–59 vintage Les Pauls, and replicas themselves were gradually highly regarded. In the 1980s, to respond to the high demand for vintage models, Gibson itself began to offer a line of “Custom Shop models”, almost accurate reproductions of early Les Paul crafted by the Gibson Guitar Custom Shops.

Modern Les Pauls[] In January 1986, Gibson changed ownership and began manufacturing a range of varied Les Paul models to suit different user needs. The 1980s also saw the end to several design characteristics that were classic to the Les Paul, including the volute and maple neck. However, due to consumer demand, the Gibson Les Paul guitar is available today in an array of choices, ranging from guitars equipped with modern digital electronics to classic re-issue models built to match the look and specifications of the guitar’s earliest production runs from 1952 to 1960. Playing his guitar (customized or ) Les Paul’s guitar[] Until his death in August 2009, Les Paul himself played his personal Les Paul Guitar onstage, weekly, in New York City. Paul preferred his 1971 Gibson “Recording” model guitar, with different electronics and a one-piece mahogany body, and which, as an inveterate tinkerer and bona fide inventor, he had modified heavily to his liking over the years. A was of late the most visible change although his guitars were formerly fitted with his “Les Paulverizer” effects. Per a statement made by Les Paul himself in the “Chasing Sound” bio-pic, the “Les Paulverizer” was a hoax with the actual effect being provided via.

Les Paul was also a pioneer of stereo and multitrack recording. Epiphone Les Pauls[].

Les Paul ES Custom The Gibson-owned Company makes around 20 models of the Les Paul, most are similar copies of Gibson-made models, although when inspected closely, the Gibson originals are most often superior in craftsmanship and materials. Made in places outside the U.S., the Epiphone Les Pauls are made from more commonly available woods using less expensive foreign labor and have less hand detailing than the Gibson models, and, as a result, sell for a lower price. Epiphone Guitar Co. Has been owned by Gibson Guitars since the 1950s. Once Gibson purchased Epiphone they quickly began making lower-quality guitars based on Gibson designs. Epiphone currently produces several models of the Les Paul including the entry level “Les Paul Special II”, which is generally made of a basswood body and a veneered top, a bolt-on neck (with dot inlays instead of the usual trapezoid inlays), lacks a binding, and has simplified electronics.

The next model up is the “Les Paul 100”, which costs approximately $US300, has similar features but it has the standard Les Paul wiring, mahogany body and a higher-quality paint job. The Epiphone Les Paul Studio is the least expensive Les Paul model to have a carved top and a set neck (features considered central to the feel and sound of more expensive Les Paul models), and is between $350–$400 depending on features and finish. The standard models are the “Les Paul Standard Plain Top” and the “Les Paul Standard Plus Top”. They cost $US550 and $US650 respectively. They both feature a solid mahogany body with a maple veneer and carved top; the “Plus” model includes a “flamed” maple finish while the “Plain” top is unfigured. Epiphone also makes several less common models of the Les Paul such as the “Les Paul Goth”, “Les Paul Goldtop”, “Les Paul Ultra” and “Les Paul Ultra II”, “Les Paul Custom”, “Les Paul Black Beauty”, “Les Paul Prophecy Series”, “Zakk Wylde Custom Les Paul Model”, “Slash signature Les Paul Models”,the “Les Paul Studio”, and the most current, “Joe Bonamassa ’59 Gold Top Les Paul”. Gibson Robot Guitar[].

Main article: In 2007, Gibson announced the idea to create a computerized Les Paul, dubbed the “Robot Guitar” which was released on December 7, 2007. The guitar has a computer integrated into the body with a “master control” knob next to the volume knobs, which can be pulled out, turned, or pressed to issue different commands to the guitar. One of the more notable features is the ability to tune the guitar to simply by pulling out on the master control knob and strumming the guitar, while the tuning pegs adjust themselves to standard tuning. Another use of the master control knob is to be able to tune the guitar to alternative tunings, such as drop D, by pressing on the control knob to fit the setting. The new Les Paul has a new custom silverburst blue finish. While the product was advertised in the American popular press as a “world’s first”, similar systems, some external, have been in use for decades. Gibson Dark Fire[].

Main article: Gibson announced a new interactive computerized Les Paul that produces more sounds, named the Dark Fire. It was released on December 15, 2007. The guitar has a computer integrated into the body and controlled by the “Master Control Knob” (MCK). The MCK allows players to change the pickups and coils, adjust each tone and tunings automatically and simultaneously, even during a song being played. Like the Robot, the Dark Fire features the ability to tune the guitar; however, in an improvement over the Robot, the player can tune it up to 500 times per battery charge, allowing the tuning pegs to adjust themselves to different tuning styles. Using the “Chameleon Tone Technology” Gibson claims this guitar will produce every imaginable guitar sound. In addition to the improved and advanced tuning features, the guitar has three types of pickups which include Burstbucker (humbucker), a P-90 single-coil and a bridge-mounted piezo acoustic, all of which contribute to organic blends of original sounds.

Gibson Dusk Tiger[] Gibson has made another guitar in the robot series: The Dusk Tiger. This third robot guitar has lightweight 45 gram tuners and chameleon tone editor support (which means you can make your own sounds by modeling in chameleon tone). Les Paul Ukulele[] In Early 2011, Epiphone released information about a Ukulele version of the Les Paul, which would feature a semi acoustic solid mahogany body in cherry sunburst, concert sized ukulele, which was made available in June 2011 at a retail price of $179 a piece. Signature models[] Jimmy Page[].

Main article: Gibson has produced three. The first was issued in the mid-1990s. It was based on a stock Les Paul Standard of the time (rather than the more prestigious and historically correct 1958/1959 re-issues issued by the Gibson Custom Shop). The modifications were based on ‘s “#2” 1959 Les Paul, which had been modified with push-pull potentiometers on all four control knobs, as well as mini push-pull switches under the pickguard. This first version of the Jimmy Page Signature did not have the mini-switches under the pickguard, nor did it replicate the custom-shaved neck profile of Jimmy Page’s guitar, but it did include the four push-pull pots.

With all four pots pushed down, the guitar operated as normal. Pulling up the volume pot for the Bridge or Neck pickup turned the respective pickup into a single coil, rather than humbucking pickup.

Pulling up the tone pot for the Neck pickup changed Bridge & Neck pickups wiring from series (stock) to parallel. Pulling up the tone pot for the Bridge pickup put Bridge & Neck pickups out of phase with each other. The first iteration of the Jimmy Page Signature utilized Gibson’s then-current high-output humbuckers: a 496R in the neck position and a 498T at the bridge. In 2005, after two years of research and development utilizing Jimmy Page’s actual guitar, Gibson Custom Shop issued a limited run of Jimmy Page Signature guitars based on Jimmy Page’s No. This time, Gibson worked directly from Jimmy Page’s actual guitar, which he lent to Gibson for the project. The guitar featured just one push-pull pot, just like Page’s No. 1, which reversed the phase of the pickups in the up position, which in Page’s own words gave “a close approximation to the Peter Green sound.” Gibson also went to great lengths to replicate the accuracy of the pickups, creating two custom pickups, which were available only in this guitar.

The pickups were based on the Burstbucker vintage-style pickups, but featured stronger Alnico magnets and slightly higher output than the other Burstbuckers, as well as slightly higher treble response, which accurately reproduced the sound of the pickups in Page’s guitar. Gibson also replicated the neck profile, which was heavily modified prior to Page acquiring the guitar, and the that Page favored. Several years later, Gibson issued its third Jimmy Page Signature guitar, this one based closely on Jimmy Page’s #2. Issued in a production run of 325 guitars, the guitar more accurately reproduced Page’s heavily modified No. 2 than the original Signature model of the 1990s, and featured the 4 push-pull pots, the two mini-switches under the pick guard, accurate tuners and sound-accurate pickups (the same pickups that were used in the 2005 Jimmy Page No. 1 Signature), as well as an accurate neck profile.

As in the original Signature model of the 1990s, pulling up the neck or bridge volume pots switched the respective pickups’ coils from series to parallel, and pulling up the tone pots switched the respective pickups from humbucking to single coil. The two push-button DPDT switches mounted beneath the pickguard provide universal switching functions, regardless of the positions of the push-pull pots. With the switch mounted toward the bridge-end of the pickguard in the out position, the bridge pickup’s phase is reversed. With the switch mounted toward the neck-end of the pickguard in the out position, both pickups are wired in series and out of phase. With both switches out, both pickups are in series and in phase. The Jimmy Page “Number Two” Les Paul is finished with a sunburst finish to replicate the appearance of the original guitar. 325 of these guitars were made, with the initial 25 being autographed by Jimmy Page and priced at US$25,000 when new.

Slash with one of his signatures in 2007 has collaborated with Gibson on eleven signature Les Paul models—three through Gibson USA; four through the Gibson Custom Shop; and four through the Gibson subsidiary Epiphone. The first of these guitars was the Slash “Snakepit” Les Paul Standard, which was introduced by the Gibson Custom Shop in 1996. It has a transparent cranberry red finish over a flame maple top, a relief carving of the smoking snake graphic off the cover of ‘s debut album,, hand carved by Bruce J.

Kunkel (owner of Kunkel Guitars – kunkelguitars.com), and a mother of pearl inlay of a cobra wrapped up the length of the ebony fretboard. Production was limited to 50, with Slash receiving the first four including the prototype, the only one with the carving on the body turned 90 degrees to be viewed right side up when displayed on a guitar stand. In 1998 Slash’s studio was broken into and his guitars were stolen, including the “Snakepit” prototype, so the Gibson Custom Shop built him a replica. These guitars are by far the rarest and most collectible of any of the Gibson Slash signature guitars, they sold for around $5,000 when new, the Hollywood Guitar Center was asking $20,000 for one in 2002. [ ] In 1997, Epiphone released a more affordable version of the “Snakepit” Les Paul, featuring a decal of the smoking snake logo and standard fretboard inlay.

Gibson Slash “Appetite” Les Paul In 2004, the Gibson Custom Shop introduced the Slash Signature Les Paul Standard, a guitar that Gibson has used ever since as the “standard” non limited edition Slash Les Paul (this guitar is in the Gibson range all year round). This guitar features a plain maple top with a Dark Tobacco Sunburst finish, and has a piezo pickup with a switch located near the tone and volume knobs.

In 2008, Epiphone issued the Slash Signature Les Paul Standard Plus Top, which was modeled after the Gibson Custom Shop model. It has a solid mahogany body, flame maple top, and a Dark Tobacco Burst finish. In 2008, Gibson USA released the Slash Signature Les Paul Standard, an authentic replica of one of two Les Pauls Slash received from Gibson in 1988. It has an Antique Vintage Sunburst finish over a solid mahogany body with a maple top. Production was limited to 1600.

The Gibson Custom Shop introduced the Slash “Inspired By” Les Paul Standard. This guitar is a replica of the 1988 Les Paul Standard and it features a carved three-piece maple top, one-piece mahogany back, and rosewood fingerboard, with a Heritage Cherry Sunburst finish. Two versions were made available—the “Aged by Tom Murphy,” aged to resemble the original guitar (a limited number of these were signed by Slash in gold marker on the back of the headstock), and the “Vintage Original Spec,” created to resemble the guitar as it was when Slash first received it. Two more guitars were introduced in 2008. Gibson USA issued the Slash Signature Les Paul Goldtop, modeled after a 1991 Gibson Les Paul Goldtop that was stolen from Slash’s collection in 1999 and never recovered. It features a mahogany body and a hand-carved maple top with Gibson’s classic Bullion Gold finish. Production was limited to 1000.

Epiphone introduced a more affordable version of the Gibson model, featuring a traditional Les Paul body with a maple top, a mahogany neck with rosewood fingerboard, and Epiphone’s classic Goldtop finish. Production was limited to 2000. In 2010, Gibson USA released the Slash “Appetite” Les Paul Standard as a tribute to ‘ debut album,.

It resembles the original Les Paul Standards of the late 1950s, including the 1959 Les Paul replica Slash used for the recording of the album. It has a maple top with a nitrocellulose Sunburst finish, rosewood fingerboard with acrylic inlay, and a Slash headstock graphic. It also features Slash’s signature pickups. The Gibson Custom Shop introduced the Slash “Appetite” Les Paul Standard. Production was limited to 400, with 100 guitars hand-aged and signed by Slash himself, and another 300 finished with the Custom Shop’s VOS process.

Epiphone issued a more affordable version of the “Appetite” Les Paul, production of which was limited to 3,000. Joe Perry playing his signature “Boneyard” Les Paul Gibson has issued two Signature Les Paul guitars for of. The first was developed in the 1990s and was customized with an active mid-boost control, black chrome hardware, and a translucent black finish. It was replaced in 2004 by a second, more visually distinctive Les Paul, the Joe Perry Boneyard Les Paul.

This guitar is characterized by Perry’s custom “Boneyard” logo on the headstock and a figured maple top with a green tiger finish, and is available with either a stopbar tailpiece or a Bigsby tailpiece; Perry typically uses a Bigsby-equipped Boneyard model in Aerosmith and solo live shows. Perry has also endorsed an affordable replica version of the Boneyard guitar made by Epiphone that carries the same USA made Burstbucker pickups as the Gibson model.

It is a customized Gibson B.B. King “Lucille” guitar; however, instead of the black finish and “Lucille” signature on the headstock, Perry’s guitar features a white finish, a “Billie Perry” signature on headstock and an image of Billie Perry on the front of the guitar. Jeff Beck[] The Oxblood is available in limited numbers. The first 50 of these historic guitars were aged at Gibson Custom to look like Beck’s original, then signed, numbered and played by Beck himself. The next 100 guitars were prepared with Gibson Custom’s V.O.S.

Finish, bringing the total run to 150 instruments. Each one also comes with a standard Gibson Custom case. Gibson Gary Moore Les Paul Gary Moore[] also created his own signature Gibson Les Paul in the early 1990s. Characterised by a yellow flame top, no binding and a Gary Moore truss rod cover. It featured two open-topped humbucking pick-ups, one with “zebra coils” (one white and one black bobbin). Gary formerly owned ‘s vintage Les Paul Standard with an accidentally reversed pick-up magnet.

In 2009, Gibson released another Gary Moore signature guitar, the Gibson Gary Moore BFG Les Paul. The Gary Moore BFG is much like their previous Les Paul BFG series, while having the style of Moore’s 1950s Les Paul Standards. Peter Frampton[]. Peter Frampton 54 Custom with three humbuckers added a replica of the “Black Beauty” Les Paul Custom, with three pickups, that used as his main guitar from his days in through his early solo career, photographed playing the instrument on the front jackets of his albums Frampton and. It has all the same qualities such as the three uncovered humbucking pickups and missing pickguard. The Black Beauty was not issued until 1957; however, the one given to Frampton by a fan named Mark Mariana was a 1954 model that had been routed out for a middle pickup. Michael Bloomfield[].

Mike Bloomfield with 1959 Les Paul Standard is credited with Eric Clapton for helping seed the renewed interest which compelled Gibson to return the original Les Paul to full production; both musicians began using Les Pauls at about the same time. Bloomfield first played a 1954 Les Paul goldtop (with the strings wrapped around the tailpiece rather than suspended and intonated over a bridge) while with the Butterfield Blues Band in 1966, but he swapped the guitar (plus $100) to guitar technician Dan Erlewine in exchange for a 1959 Les Paul Standard. This guitar was characterised by mismatched volume and tone control knobs (a reflector-topped “tone” knob for the bridge pickup volume, two top-hatted knobs for neck pickup volume and bridge pickup tone, and a cylindrical “speed knob” for the neck pickup tone), a missing cover on the rhythm/treble toggle switch, a truss rod cover with “Les Paul” engraved in script (this feature had originated with the early Les Paul SG models, not the original Les Paul single cutaways), and a crack in the wood behind the tailpiece. Because the guitar was lost in the 1970s (Bloomfield biographers Jan Mark Wolkin and Bill Keenom, in Michael Bloomfield: If You Love These Blues, disclosed that a Canadian venue owner claimed it as compensation after Bloomfield missed a scheduled performance and never reclaimed the instrument), Gibson used hundreds of photographs of the late blues guitarist’s instrument (and consulted with Bloomfield’s family) to produce the limited-edition Bloomfield signature. The company produced one hundred Bloomfield models with custom-aged finishes and two hundred more with the company’s Vintage Original Specifications finishing in 2009.

They reproduced the tailpiece crack on the aged version, plus the mismatched volume and tone control knobs and the “Les Paul”-engraved truss rod cover on both versions, while including a toggle switch cover. The headstock was characterised by the kidney-shaped installed on the guitar before Bloomfield traded for it, and the pickups were Gibson Burstbucker 1 (at the neck) and Burstbucker 2 (at the bridge).

Roger Daltrey & Pete Townshend with his modified Les Paul Deluxe Pete Townshend[] In 2005, Gibson issued three signature edition Les Paul Deluxe guitars, based on Townshend’s heavily customised “#1” Wine Red 1976 Les Paul Deluxe, “#3” Gold top 1976, and “#9” Cherry Sunburst 1976. These guitars were modified by and used extensively on stage and in the studio with.

In addition to the two mini-humbuckers the guitar carried, Rogan modified Townshend’s originals with a DiMarzio humbucker in the middle. Toggle switches located behind the guitar’s tailpiece turned the pickup on and off and added volume boost. The control knobs were wired for volume, one for each pickup and a master volume. The reissues differed from Townshend’s originals in that the reissues had an inlay at the first fret while the originals did not. Buckethead with his white Les Paul Ace Frehley[] The () signature model, released in 1997 and re-released in 2012, has three humbucking DiMarzio pick-ups, a cherry sunburst finish (AAAA), a color image of Frehley’s face in his Kiss make-up on the headstock, and mother-of-pearl lightning bolt inlays, and Ace’s simulated signature on the 12th fret. There was a limited edition, Gibson Custom Shop run of only 300 guitars that were built with DiMarzio PAF, Super Distortion, and Dual Sound pickups.

The production run model was only built with DiMarzio Super Distortion pickups. This was one of Gibson’s best selling artist runs.

These guitars are now valued at between $US4,000–12,000. [ ]The more recent 2012 “Budokan” model features mother-of-pearl block inlays (no signature at the 12th fret), a Richlite fingerboard, with pearloid banjo buttons, and a grade A maple top. Billy Gibbons[] of has a signature model and pick-up based on his favorite “” Les Paul. Gibbons’ authorized Les Paul is a re-issue of the 1959 Les Paul Standard.

Buckethead[] ‘s signature model has an oversized chambered mahagony body, alpine white maple top, a 27″ scale length, and a push/pull switch on the bridge. The electronics are also re-wired to make use of the two arcade-style “killswitch” buttons on the guitar. This guitar is identical to the Les Paul that Buckethead toured with in 2009. Sammy Hagar[] Sammy Hagar’s signature Les Paul model is equipped with dual “zebra-striped” humbuckers on a red flame maple top. The headstock is inlayed with the logo of Sammy’s new supergroup, Chickenfoot. Neal Schon with his Les Paul Custom Billie Joe Armstrong[] ‘s two signature guitar models are.

The first has been in production since 2006 and is based on the he uses that is named ‘Floyd’ which was used on every album since 2004’s. The second is a TV Yellow double-cutaway model which began production in 2012 and was used on Green Day’s album trilogy. Both models have one Billie Joe Armstrong signature pickup, the H-90, a humbucking version of the P-90 pickup. In 2011, Gibson released a limited run of Acoustic signature. Neal Schon[] The Signature Les Paul model has a carved mahogany top, mahogany back, multi-ply black/white binding on top, chrome-plated hardware and a Floyd Rose tremolo. The one-piece mahogany neck has a scarfed heel joint a “Schon custom” slim-taper neck profile.

The 22-fret ebony fingerboard features pearl split-diamond inlays and single-ply white binding. The pickups are a DiMarzio Fast Track/Fernandes Sustainer in the neck position and a Gibson BurstBucker Pro in the bridge position. In addition to the standard Les Paul electronics (individual pickup volume and tone controls, plus three-way selector switch), the Schon Signature features two mini-toggles – an on/off for the Sustainer and an octave effect – along with a push/pull pot for midrange cut. Only 60 of the guitars were made, and sold it out in days upon release. Eric Clapton[] When plugged his 1960 Les Paul into a in the mid 60’s (the set-up used to record, the “Beano album”) he created a new rock tone that immediately became a standard.

Clapton played a 1960 Standard as a member of and in the early days of. The guitar was said to have been stolen while Clapton was preparing for the first Cream tour in 1966, following the recording of, and was long considered an iconic instrument by Clapton’s fans and Les Paul guitar admirers. Gibson announced production of the Clapton 1960 Standard, also nicknamed the “Beano Burst”, in 2010. Gibson says the instrument “accurately represents what Eric Clapton personally feels his 1960 Les Paul should be”, with Clapton consulting on the design of the guitar. Production is limited to 55 hand-aged instruments signed by Clapton (who was allowed to keep the first five of these instruments), another 95 hand-aged instruments, and 350 Vintage Original Spec instruments, but all five hundred instruments feature period-correct hardware, two Gibson reproduction PAF humbucking pickups, and subtly figured “antiquity burst” maple tops. Steve Jones[].

Steve Jones (Sex Pistols), of the, signed a Les Paul Custom with pin-up girl stickers. Marc Bolan[] ‘s unusual Les Paul was reproduced as a signature model. It was a 1950s Standard body with a 1970s Custom neck; the guitar was known to have gone through three necks in Bolan’s lifetime. The prototype was introduced at the 2011 exhibition. Bolan is seen holding the instrument on the outer gatefold jacket of, his first album after shortening the band name from “Tyrannosaurus Rex”.

The guitar was stolen from Bolan in London, and for the last months of his career he was using a wine-red 1970s Les Paul Standard. Gibson announced the availability of the Marc Bolan signature Les Paul in February 2011. Lou Pallo[], a longtime member of Les Paul’s performing trio until the virtuoso’s death in 2009, earned a signature Les Paul model in late 2010. Nicknamed “The Man of a Thousand Inversions,” Pallo played a Les Paul Custom in the Les Paul Trio. However, the Les Paul on which he consulted for its design features a Standard headstock and body but Custom fretboard block inlays including at the first fret. The body wood is natural-coloured mahogany while the top is ebony-painted maple and bound in single-ply binding like the production Standard. The guitar features, unusually, a black-covered P-90 single-coil pickup at the neck—the same pickup that was standard on the Les Paul from 1952 to 1956—and a double-coil Dirty Fingers pickup without a cover but with a black pickup frame at the bridge.

The familiar “rhythm/treble” poker chip around the toggle switch is also black, and the guitar features no pickguard. (Interviewed for the guitar’s introduction, Pallo himself said he had actually wanted the guitar to feature a cream-coloured pickguard, cream-coloured Dirty Fingers frame, cream-coloured P-90 cover, and cream-coloured poker chip.) The Lou Pallo model also features a small reproduction of Pallo’s signature in the twelfth-fret inlay. Pallo introduced the guitar at New York’s Iridium club, where the Les Paul Trio played for many years. Pallo explained for a video of the event that he rejected Gibson’s original idea to put Pallo’s signature on the headstock, out of respect to his old friend and partner, suggesting the inlay signature in its place. After introducing the guitar to the gathering, Pallo played the jazz standard “Begin the Beguine” on the instrument.

Matt Heafy[], of is working on a signature 6 string and 7 string Les Paul with Epiphone. Heafy has said that ‘(I) chose Epiphone, because I have to work my way up, from an Epiphone, Gibson USA, then a Gibson Custom. The thing is if it was a Gibson Custom, the kids would be paying $6000 for it, and they can’t afford that. I want it to be affordable but something I will use on stage” [ ] Paul Landers[], of band has a signature guitar based on his custom-built guitar.

It features a mahogany body with a maple cap finished in satin black with silver binding only around the front of the body. The neck is also made of mahogany and features an fingerboard with no inlays or binding. Hardware includes a hardtail tune-o-matic bridge and locking keystone tuners. The guitar also feature chrome-covered EMG pickups; an 81 in the bridge, and a 60 in the neck. It also only has a single volume control and a 3-way pickup toggle switch.

Paul Kossoff[], of and, favoured a 1959 Les Paul Standard. In 2011-12, Gibson’s Custom Shop made a reproduction of Kossoff’s Standard, featuring a so-called “green-lemon” flametop, two-piece carved maple top, mahogany body and neck, Custom Bucker humbucking pickups and kidney-bean shaped tuners similar to those Kossoff had installed on the instrument.

100 Kossoff models were made to resemble the guitar at the time of Kossoff’s death in 1976, with another 250 in a VOS finish. Chad Kroeger[] 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, kidney tuners, acrylic trapezoid inlays, and painted white stars corresponding with the fingerboard inlays.

Les Paul users[]. Main article: Les Paul imitations[] Gibson Les Paul specifications during 1958–60 varied from year to year and also from guitar to guitar. Typical 1958 Les Paul Standard necks had a thicker “club-shaped” neck, thinner frets and lower fret height, which changed during the course of 1959 to develop into typical 1960 necks with a thinner cross-section and wider, higher frets. Les Paul Customs from the same period had totally different frets and were referred to as “The Fretless Wonder”, which were designed for jazz guitarists with thick flat-wound strings. Although early Les Paul imitations in the 1960s and 1970s, such as those made by,, and differed from Gibson’s design, with different electronics, and even bolt-on necks, in the late 1970s some Japanese companies came very close to perfecting copies of the original 1958–60 Standards. These guitars later became known as “lawsuit” guitars.

The lawsuit was brought by the Norlin Corporation, the parent company of Gibson guitars, in 1977, and was based on an headstock design that had been discontinued by 1976. Ibanez settled out of court, and by 1978 had begun making guitars from their own designs. [ ] makes seven types, the series, Truckster, and KH-3 from ESP, the LTD EC series and Truckster, the Edwards E-LP series, and the Navigator N-LP series, which are based on the Les Paul design. Certain EC models have 24-fret necks and active electronics using EMG pickups instead of the standard passive pickups and 22 frets found in the traditional Les Paul. • Original “The Log” was exhibited at, Nashville.

• This guitar (1953 Goldtop exhibited at FUZZ Guitar Show 2008) was used by on many of his early “” Recordings • In the summer of 1952, Gibson Les Paul Goldtop was priced at $US209. • Nonetheless, most guitarists consider a standard Lester to be a very heavy guitar, especially at the end of a long set • Greenwood, Alan; Gil Hembree (April 2011). “25 Most Valuable Guitars”.. The 1957 model is one of the highest price vintage guitar models on the market, ranked at No.

9 on the 2011 Top 25 published by, and worth between $86,000 and $106,000. • ^ Greenwood, Alan; Gil Hembree (April 2011). “25 Most Valuable Guitars”.. The 1958–60 Standard is one of the highest price vintage guitar models on the market, ranked at # on the 2011 Top 25 published by, and worth between $225,000 and $375,000. • “10 Most Valuable Guitars”, (2010), mentioned on: Paul Schille (Dec.

17, 2010),, TheGiggingMusician.com Further reading[] • Electric Guitar Man: The Genius of Les Paul (Library Binding). Edwin Brit Wyckoff. Enslow Elementary (April 2008).

• 50 Years of the Gibson Les Paul: Half a Century of the Greatest Electric Guitars (Paperback). Backbeat Books 1st edition (April 26, 2002). • Million Dollar Les Paul: In Search of the Most Valuable Guitar in the World (Paperback). Jawbone Press 1st edition (2008). External links[] Wikimedia Commons has media related to: Wikimedia Commons has media related to: • • • 4. Fender Stratocaster.

This article needs additional citations for verification. Please help. Unsourced material may be and. Contents [] • • • • • • • • • • • • • Design developments[] The Stratocaster’s sleek, contoured body shape (officially referred to by Fender as the “Comfort Contour Body” ) differed from the flat, slab-like design of the Telecaster. The Strat’s double cutaways allowed players easier access to higher positions on the neck. The body’s recessed “beer gut” curve on the upper back, and a gradual chamfer at the front, where the player’s right arm rests, aided player’s comfort. The one-piece maple neck’s wider “dogleg”-style headstock contrasted with the very narrow Fender Telecaster’s headstock shape.

The strings are anchored on a through-body attached with springs to a ‘claw’ in the tremolo cavity on the back of the guitar. Original Stratocasters were shipped with five springs anchoring the bridge flat against the body. Some players removed the backplate covering the bridge to remove two of the springs and adjust the claw screws to allow the bridge to ‘float,’ with the pull of the strings in one direction countering the pull of the springs in the opposite direction. In this floating position, players could move the bridge-mounted up or down to modulate the pitch of the notes being played. And used the Strat’s floating tremolo extensively in their playing. However, other players, such as and, disliked the floating bridge’s propensity to detune guitars and inhibited the bridge’s movement with a chunk of wood wedged between the bridge block and the inside cutout of the tremolo cavity and by increasing the tension on the tremolo springs.

These procedures lock the bridge in a fixed position. Some Strats have a fixed bridge in place of the tremolo assembly; these are colloquially called “hard-tails.” Luthier has said the floating tremolos can have stable tuning through techniques specific to a floating bridge.

The Stratocaster features three, with the output originally selected by a 3-way switch. Guitarists soon discovered that by jamming the switch in between the 1st and 2nd position, both the bridge and middle pickups could be selected, and similarly, the middle and neck pickups could be selected between the 2nd and 3rd position. This trick became widespread and Fender responded with the 5-way pickup selector (a standard feature since 1977), which allowed these tonal combinations and provided better switching stability. The “quacky” tone of the middle and bridge pickups, popularized by players such as,,,,,,, and, can be obtained by using the pickup selector in positions 2 and 4. The neck and middle pickups are each wired to a tone control that incorporates a single, shared tone capacitor, whereas the bridge pickup, which is slanted towards the high strings for a more trebly sound, has no tone control for maximum brightness.

On many modern Stratocasters, the first tone affects the neck pickup; the second tone affects the middle and bridge pickups; on some Artist Series models ( and signature guitars), the first tone is a presence circuit that cuts or boosts treble and bass frequencies, affecting all the pickups; the second tone is an active midrange booster that boosts the midrange frequencies up to 25dB (12dB on certain models) to produce a fatter -like sound. The volume level on all three pickups is controlled by a single volume knob. The placement of the knobs allows for relatively easy manipulation of the sound with the right hand while playing. The three pickups were originally identical in their construction. With the rising popularity of using pickups in combination, Fender introduced a new feature in 1977 coinciding with the standard 5-position switch; a reverse-wound, reverse-polarity middle pickup. As the description implies, the magnetic polarity of this pickup is opposite the other two, as is the direction of the wire winding around the bobbin.

This provides a hum-canceling effect (removing hum induced by poorly shielded, medium to high output AC devices) in positions 2 and 4 on the selector switch. This principle had been known for many years beforehand, being applied in the form of Gibson’s humbucking pickup and Fender’s own split-coil pickup used on the. Today, virtually all Fender instruments with more than one single-coil pickup (most notably the Stratocaster, and ) are wired in such a manner as to provide a hum-canceling combination of pickups. The plastic parts (pickup covers, arm tip, pick guard) on the Stratocaster in the years 1954-1956 were made from an experimental thermo-plastic that is sometimes incorrectly identified as. On many early examples, the pickup covers have worn through from the repeated friction of playing.

At one point, Fender switched to producing guitars with the bridge pickup located farthest from the highest-amplitude portion of the vibrating strings, slightly “over-wound”, thus increasing the signal output from that pickup. Even more overwound pickups (“hot-wired” designs) became popular, either for all three pickups (a “hot” configuration), or for the bridge position only (so-called “Texas Hot” due to its popularity among Southern Rock guitarists). Playing his Stratocaster on in 1958 The Stratocaster is noted for its bright, clean and ‘twangy’ sounds. The neck pickup has a mellower, fuller and louder sound compared to the brighter and sharper tone of the bridge pickup. The middle pickup provides a sound somewhere between the two. Was one of the pioneers of the Stratocaster and used the instrument on virtually all of his songs with. During the recording of, rhythm guitarist was not needed for the song, and instead stood next to Holly, and flipped the selector switch of Holly’s guitar from the neck pickup to the bridge pickup for the.

From 1959 to 1967, the Stratocaster was made with a rosewood fretboard as standard, as well as color choices other than sunburst, including a variety of colorful car-like paint jobs that appealed to the nascent surfer and hot-rod culture, pioneered by such bands as the, and the. Fender would paint any guitar from the car color range for 5% over purchase price. Is a prominent Stratocaster player, who also collaborated with Leo Fender in developing the. In the early 1960s, the instrument was also championed by –guitarist for, a band that originally backed and then produced instrumentals of its own.

So distinctive was Hank Marvin’s sound that many musicians, including the, initially deliberately avoided the Stratocaster. [ ] However, in 1965, and acquired Stratocasters and used them for, and later recording sessions; the double unison guitar solo on “” is played by Harrison and Lennon on their new Stratocasters. Plays his at the, January 22, 2005 The one-piece maple neck was discontinued in 1959.

From 1959 until summer 1962 the fingerboard was a piece of rosewood milled flat on the underside and glued to the maple. This has become known as a “slab fingerboard”. The slab fingerboard was approx 4.8 mm at its thickest point in the center of the neck under strings 3 and 4.

From mid 1964–1979 the rosewood and maple were pre radiused and the fingerboard became known as curved, round laminate or “veneer”, having an even thickness across the neck unlike the previous slab type. This design change was made because Fender encountered problems with some of the necks twisting with the slab design and this new method of construction reduced this problem significantly. Maple fingerboards were available as a special order only. The following year the pickguard design changed to a 3-ply (4-ply on some colors) “multi-layer” with 11 screw holes. After purchasing Fender in 1965, began to offer both a maple neck with a separate glued-on laminated maple fretboard in 1967 (known as a “maple cap” neck) and the rosewood fretboard over maple neck remaining the other neck option. Three years later, the CBS-owned Fender companies re-introduced the 1-piece maple neck after a 10-year absence. The primary reason for the switch to rosewood in 1959 was that Gibson guitars had rosewood fingerboards and customers wanted this.

Also, the maple fingerboards discolored very quickly because the old nitro cellulose lacquer was not very durable and wore through on the fretboard very quickly. After the introduction of the series in 1989, ebony was officially selected as a fretboard material on some models (although several Stratocasters manufactured in 1983/84 such as the Gold and Walnut were available with a stained ebony fretboard). In December 1965 the Stratocaster was given a broader headstock with altered decals to match the size of the and.

CBS buys Fender; player modifications[]. A 1979 left-handed Stratocaster. Many artists discovered that the 3-way pickup selector could be lodged in between settings (often using objects such as matchsticks or toothpicks to wedge it in position) for further tonal variety, resulting in a unique sound when two pickups are combined. Would also move the switch across the settings while sustaining a note, creating a characteristic ‘wobbly’ sound, similar to that created by the. This effect can be heard in the recording of. Since 1977, the Stratocaster has been fitted with a 5-way switch to make such switching more stable. This switch is the same electrically as the original 3-way, but with extra detents for the in-between settings.

Other subtle changes were also made to the guitars over the years, but the basic shape and features of the Strat have remained unchanged. In the 1970s and 1980s, some guitarists began modifying their Stratocasters with, especially in the bridge position, to create what became known as a. This was intended to provide a thicker tone preferred in the heavier styles of and. The popularity of this modification grew and eventually Fender began manufacturing models with a bridge humbucker option (HSS), denoted and separated from the original triple single coil by the title of ““, as a reference to the humbucker’s distinct sound, as well as models with dual humbuckers (HH), better known as ““. Fender also started making Stratocaster pickguards specially designed for guitar bodies routed for HSH (humbucker-single-humbucker) and HHH (humbucker-humbucker-humbucker) pickup configurations. Since 1998, many high-end US-made Fender Stratocasters such as the, American, Hot Rodded American, American Special and American Standard series came with an HSH pickup rout instead of a “swimming pool” (or “bath tub”) cavity to increase the total amount of wood that actually can resonate, producing a more complex tone.

The HSH rout allows players to modify their pickups to the most often seen after-market configurations without re-routing or cutting into their guitar’s body, while maintaining more wood than a “swimming pool” rout. Players perceived a loss of the initial high quality of Fender guitars after the company was taken over by CBS in 1965. As a result, the late-1960s Stratocasters with the large “CBS” headstock and (from the mid 1970s) the 3-bolt necked models (instead of the conventional 4 bolts) with the “Bullet” truss-rod and the MicroTilt adjustment system fell out of fashion. However, many blues-influenced artists of the late 1960s soon adopted the Stratocaster as their main instrument, reviving the guitar’s popularity. Also, so-called ‘pre-CBS’ Stratocasters are, accordingly, quite sought-after and expensive due to the perceived difference in quality even compared with contemporary post-CBS models. Download Torrent Of Mission Impossible 4 In Hindi more.

In recent times, some Stratocasters manufactured from 1954 to 1958 have sold for more than US$175,000. After a peak in the 1970s, driven by the use of several high profile players, another lull occurred in the early 1980s. During that time, CBS-Fender cut costs by deleting features from the standard Stratocaster line, despite a revival that featured Strat players such as,, and in their choice of the Stratocaster as a primary guitar. [ ] is known for playing a Stratocaster in the genre. 1982/3 Dan Smith Fender Stratocaster[] In 1981 Fender-CBS hired William Schultz, John McLaren, and Dan Smith away from the U.S.

Division of Yamaha. Schultz became the president of Fender-CBS, McLaren the managing director while Smith was appointed the director of marketing for Fender electric guitars. In a drive to rejuvenate the quality control and Fender’s market position, Dan Smith oversaw an upgrading of the basic production model Stratocaster and by late 1981 the new production model was unveiled as the 1982 Stratocaster. It featured a pre-CBS smaller headstock (compared to the 1980 “Strat”), a four bolt neck plate, an overwound X-1 pickup (introduced on the 1980 “Strat” model) in the bridge position and a body end truss-rod adjustment without the Bullet nut. These are known today as “Dan Smith” Stratocasters and prized by collectors for the attempted, albeit brief, return to pre-CBS stylings. The following year the Standard model received a short-lived redesign seeking to reduce production costs and price on American Stratocasters.

This revised version lacked a second tone control, a newly designed Freeflyte vibrato system, and a bare-bones output jack. A reshaped ‘Comfort Contour’ body with deeper forearm and waist contours similar to an early 1960s model was introduced. What it did retain was the 1970s-style headstock decal.

The 1982/83 version of the Standard Stratocaster has little in common with the Dan Smith guitar, apart from the period when they were sold, but is sometimes informally (and controversially) presented as a “Dan Smith-era” or “redesign” guitar. After the Standard Stratocaster was discontinued in 1984, produced a 22-fret version with a flat 9.5″ radius and medium-jumbo fretwire until 1986. Squier models (1982–today)[]. Main article: After Fender’s decision in 1982 to switch Squier’s production from strings to guitars, the Stratocaster was one of the first models put under the Squier production line in Japan. It was the most commercially successful guitar Fender had produced. Originally in 1982, the headstock had a “Fender” name written in large script, followed by “Squier series” in smaller script. In 1983, this was later changed to the current 1970s large headstock featuring “Squier” in larger script, followed by “by Fender” in smaller script.

Since then, there have been several variations of headstock size and Squier logos, typically based on what series the guitar is. From 1986-1989, “Made in China” Squier Stratocasters carry the “Affinity” decal on the smaller ball of the headstock and have serial numbers as NCXXXX with the first number the year of manufacture, e.g. NC6XXX (Made in China 1986). NCXXXX is also used for Squier Strat Bullets of the same vintage.

The Affinities are practically the same as the Japanese-made Squier Bullets of the mid-’80s; the same alder bodies, same rosewood-type fretboard and maple necks. Tuners and electronics are also very similar – not the best but distinctive in sound. Common modifications are more stable tuners, larger potentiometers, better capacitors, and pickups. They had single-ply 8-hole pick guards like the ’50s Fender Strats giving them a classic look. Colors were typically black, white and red.

In 2000, for the anniversary of the Squier line of Stratocaster guitars, that year’s model was offered in a limited-edition green finish. The “Crafted in China” Squier Affinity Strats are different from their immediate predecessors; most have plywood bodies, larger headstock shapes, and somewhat inferior small parts. The pick guards generally now have 11 holes and screws, departing from the original ’50s style. Many people attribute the Affinity’s decline in quality to the introduction of the changes in 2000. The next major change for the Affinity line was a reduction in body thickness from 1.75″ to 1.5″, noticeable in size and weight. 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. Fender 1985–1998[] When the Fender company was bought from CBS by a group of investors and employees headed by in 1985, manufacturing resumed its former high quality and Fender was able to regain market share and brand reputation.

This sparked a rise in mainstream popularity for vintage (and vintage-style) instruments. Dan Smith, with the help of John Page, proceeded to work on a reissue of the most popular guitars of Leo Fender’s era. They decided to manufacture two Vintage reissue Stratocaster models, a maple-fretboard 1957 and a rosewood-fretboard 1962 along with the maple-fretboard 1952 Telecaster, the maple-fretboard 1957 and rosewood-fretboard 1962 Precision Basses, as well as the rosewood-fretboard “stacked knob” 1962 Jazz Bass.

This project was very important and critical to the company’s survival. These first few years (1982–1984) of reissues, known as American Vintage Reissues, are now high-priced collector’s items and considered as some of the finest to ever leave Fender’s plant, which closed its doors in late 1984.

In 1985, Fender’s US production of the Vintage reissues resumed into a new factory at, located about 20 miles away from Fullerton. Some early reissues from 1986 were crafted with left over parts from the Fullerton factory. These three guitars formed an important part of the American Vintage Series line since July 10, 1998. Signature models[]. Performing with Fender Stratocaster in New York City.

Fender also supply a variety of signature models, each with specifications similar to those used by a well-known performer. Custom Artist guitars are the versions of the Artist Series line, which significantly differ from the standard production models in terms of quality and construction, making these instruments much more expensive. As well as the other Custom Shop instruments, the Custom Artist guitars are available either as Team Built or Master Built items, some being exact replications of the specific artist’s original instrument, better known as “Tribute” series (featuring various degrees of “relicing”, such as Closet Classic, New Old Stock, Relic and Super Relic treatments, depending the model). Artists with models available in the signature range include: •: select body with a thinner C-shaped maple neck, contoured neck heel, rosewood fretboard with 22 medium-jumbo frets, three dual-coil Ceramic pickups with 5-way switching, LSR Roller Nut, locking tuners and an American 2-point synchronized tremolo with stainless steel saddles. Available in Olympic White and Surf Green finishes (Artist Series, Custom Artist), as well as a “Custom Thinskin Nitro” version with a “Thinskin” nitrocellulose lacquer finish. •: a variety of versions, each with a 22-fret neck, large headstock with 1970s-style decals and two Gold; some variants have the neck set into the body rather than bolted on and a GK2A synth pickup.

Reintroduced in 2009 with a 21-fret maple neck, graduated scalloped rosewood fingerboard, Bullet truss rod nut with 3-bolt neck plate and Micro-Tilt neck adjustment, flush-mounted locking strap buttons and two Quarter Pound Flat single-coil pickups (the middle pickup is omitted, but the pickup hole for the middle pickup is still present). •: select body with a special soft V-shaped maple neck/fretboard, 22 vintage-style frets, three pickups, 25dB active mid-boost circuit and a “blocked” original vintage synchronized tremolo. Available in olympic white, pewter, candy green, torino red (Artist Series), Antigua burst, gold leaf, EC grey, daphne blue, graffiti canvas, mercedes blue, black and midnight blue (Custom Artist), as well in olympic white, torino red and pewter with a “Thinskin” nitrocellulose lacquer finish (Custom Thinskin Nitro). •: Available in Olympic White or Black satin nitro finishes with a hardtail, string through body bridge. Other unique features include a large 1970s-style headstock, alder body, and three humbucking pickups (BC-1, Chopper and BC-2 models), two of which are signature Billy Corgan models wound specifically for this instrument.

•: Nicknamed “The Beast” by Dale himself, the guitar comes in “chartreuse sparkle” (a greenish-gold color) with a white pickguard and fretboard, with vintage 50s features and a number of custom modifications. Notably, the guitar comes with a reverse headstock and a reverse angled bridge pickup to achieve the sound of playing a Stratocaster upside-down, which was how Dale learned to play. •: (discontinued in 2003) Single humbucking Strat with pearloid pickguard, a Invader humbucking pickup, single volume, hardtail bridge and a maple neck with a 21-fret rosewood fingerboard and a large headstock.

Performing with Fender Stratocaster in Munich as part of his tour.: Two models of Gilmour’s famous “” are available from the: One is an American ’69 Strat body with an ’83 remake C-shaped ’57 RI maple neck (labeled as ) with electronic and cosmetic modifications. The other is a”relic” style guitar that replicates the “” down to every scratch and dent. The relic version has two completely different coats of paint, just like the original.

•: body with a V-shaped maple neck featuring a 22-fret fretboard, three “Gold” single-coil pickups and a 25dB active midrange boost circuit (USA, discontinued as of 2010), body with a V-shaped maple neck featuring a 21-fret fretboard and three standard single-coil pickups (Mexico). Available in a variety of finishes, including black with white (Mexican Artist Standard), 2-color sunburst and honey blonde transparent (USA Artist). •: With an Aztec Silver, Violet or Sunburst alder body, the Cray signature model is one of the few with a hard tail bridge (i.e. It features a ‘fat’ 1962 C profile 9.5″ radius neck, 21 medium jumbo frets, and Fender Custom Shop Custom Vintage Stratocaster pickups. Made in Mexico. •: Right-Handed vintage white body flipped upsidedown for left-handed use with an oval profile maple-cap neck. The controls and electrics are vintage-modern to ensure stability.

The guitar is strung upside down with the strap button on the lower horn, the backwards 68 thick black headstock decal is so that—in front of a mirror—the player sees the guitar as it would appear if Jimi Hendrix played it. As well as this upside-down lefty Strat for right-handed players, Fender also made four exact copies of the Vintage white Stratocaster Hendrix used in many performances, the most famous being Woodstock (1969). •: highly contoured two-piece select body finished in a “Thinskin Nitro” lacquer, one-piece quarter-sawn maple neck with a V-shaped profile, 12″ fingerboard radius and 21 polished frets, Fender/Gotoh staggered vintage-style machine heads eliminating the need for a string tree and three special-design custom-wound single-coil pickups with countersunk mounting screws. Other features include a parchment ’57-style pickguard, five-spring vintage tremolo, silver-painted block and ’57-style string recess with no paint between the base plate and the block.

Colors include White Blonde, 2-Color Sunburst, Black and Candy Apple Red. Also available as a rosewood neck version with a bound round-laminated 12″-radius rosewood fretboard, a three-ply parchment pickguard, staggered vintage-style tuners, a custom tremolo block and four brand-new finish options (including Dakota Red), three of which (Lucerne Aqua Firemist, Tropical Turquoise and Medium Palomino Metallic) are exclusive to this model. •: 57-style ash body with 62-style C-shaped maple neck, rosewood fretboard and 21 medium-jumbo frets, gold “transitional” headstock decals and three Fender “Texas Special” single-coil pickups with 5-way switching.

Introduced in 2002. •: select body with a C-shaped maple neck, scalloped or fingerboard, 21 super-sized 6000 frets, large headstock with Bullet truss-rod and brass nut, YJM Fury single-coil pickups with 3-way switching, 3-ply W/B/W pickguard, aged plastic parts and American Vintage hardware. •: features a select body, a thick C-shape maple neck with African rosewood fingerboard and 21 6105 narrow-jumbo frets, American Vintage hardware and a trio of “Big Dipper” single-coils with a special “Scooped” midrange voicing and 5-way pickup switching.

Available in a variety of finishes, including black with 3-ply mint green pickguard and gold hardware, 3-tone sunburst and olympic white with brown shell pickguard and as a limited-edition version with a cypress mica finish, white vintage amp knobs and a 3-ply parchment pickguard. In 2010, Fender also released a limited 500 run of John’s personal. •: select body with a nitrocellulose lacquer finish, flat soft V-shaped maple neck with satin back, 21 medium-jumbo frets, American Vintage hardware and a// configuration – Super Distortion DP100 (bridge), American Vintage ’57/’62 (middle), PAF DP103 (neck) – with 3-way switching.

Other features include chrome pickup bezels, synthetic bone nut and aged white plastic parts with black switch tip. Available in Black only and as a Japanese “Tribute” version with an original locking vibrato system, dual Super Distortion DP100 humbucking pickups (Neck/Bridge) with a Fender Texas Special single-coil pickup (Middle), 3-way switching and an oval neck profile. •: features an body, a narrow C-shape neck with a late 1960s large headstock, fretboard, 9.5″ radius and 22 medium jumbo frets. Other refinements included a 3-ply white shell pickguard, three Texas Special with 5-way switching and American Vintage hardware.

Available in 3-color sunburst and desert sunset. Discontinued in 2000.

•: Fender made a Chris Rea – signature Stratocaster in 1999. It was finished in a special color called “Faded fiesta red”.

Only 500 examples were made. •: Featuring body, Modern C shaped neck, ebony fretboard in Flat Black finish, in Flat White, 22 Jumbo frets, pickups, in bridge position, in neck position, strings-through-body hardtail bridge, locking tuners, 3-way switch, single volume knob and large headstock. Along with his, it is the only Fender guitar equipped with EMG pickups as standard. •: features an body, a 22-fret neck with fingerboard, mother of pearl “star” fingerboard inlays, “Original” locking tremolo, 25dB active mid-boost circuit with active/passive switch, two Fender Texas Special pickups (neck/middle) and a PAF Pro in the bridge position. Updated in 1999 with American Vintage hardware, dual-coil Ceramic pickups and a 12dB active mid-boost preamp with “no-load” tone circuit and bypass switch. Also available as a “standard” version with a body, fingerboard with 21 medium-jumbo frets, PAF Pro with two standard and a locking tremolo.

Discontinued in 2002. •: based on Shepherd’s own ’61 Stratocaster, it features an alder body, maple neck and rosewood fretboard as well as custom-voiced Kenny Wayne Shepherd pickups. Comes in 3-tone sunburst, white with a cross graphic, or black with a racing stripe graphic. •: Van Halen’s “” has been issued as a special issue. •: based on Jimmie’s own ’57 Stratocaster, the Jimmie Vaughan Tex-Mex Strat reflects his deep roots, traditional style, and preferred Strat features. Noteable for it’s alder body, 3 Fender Tex-Mex single-coil pickups, an extra-hot bridge pickup, a special tinted maple 1957-type V-shaped neck with maple fretboard and medium-jumbo frets, vintage machine heads, original Fender synchronized tremolo, and custom tone control wiring. Tone, tone and more tone.

•: a reproduction of, Vaughan’s favorite guitar. First offered in 1992, has a black pickguard with Vaughan’s initials, three Fender Texas Special pickups, and a fretboard. Squier Stratocaster[] The Squier Stratocaster is manufactured and sold by, a of Fender.

A standard Squier Stratocaster is mass-produced in factories located in. For its construction, Squier usually uses woods readily available in those countries, such as and. They also use stamped metal hardware and multiple pieces of wood in construction to reduce waste and to lower costs. In some cases, the body is laminated, much like a plywood, rather than consisting of two or three solid pieces glued together. In popular culture[] Fender has licensed the appearance of the Squier Stratocaster to for a replica guitar controller for EA and ‘s.

A real Squier Stratocaster, retrofitted with controller electronics, was available as a “Pro Guitar” controller for, but is now discontinued. A larger than life replica of the Fender Stratocaster appears outside the attraction at in. Notable Stratocaster players[].

• ^, Fender.com. Retrieved August 2011 • D’arcy, David (November 12, 2000).. The New York Times.

Retrieved May 2, 2010. • • Balmer 21. Retrieved 14 July 2012. • Duchossoir, A. Hal Leonard: The Fender Stratocaster.

Hal Leonard; Special 40th Anniversary Edition (1994). Pp. 8, 9, 51.. • • Balmer 23. • Balmer 154. • Babiuk, Andy (2002)..

• Riley, Tim (2002).. • Duchossoir, A.

R.,, January 2008, Hal Leonard Corporation, •. Retrieved 2010-07-29. Retrieved 2010-07-29. Retrieved 2010-07-29. Retrieved 2010-07-29.

Retrieved 2010-11-30. • Balmer, Paul (2007).. Sources[] • Balmer, Paul (2007)..

• Bacon, Tony. The Fender Electric Guitar Book: A Complete History of Fender Instruments. Backbeat Books, 2007.. • Wheeler, Tom. The Stratocaster Chronicles: Celebrating 50 Years of the Fender Strat. Hal Leonard, 2004..

(Tremolo device for stringed instruments; Stratocaster Tremolo system) • U.S. (Utility patent for offset body styled guitars (/)) • U.S. (Design Patent for ) External links[] Wikimedia Commons has media related to: • official website • 5.

Fender Telecaster. This article needs additional citations for verification. Please help. Unsourced material may be and. (November 2009) Fender Telecaster Manufacturer Period 1950-present Construction Body type Solid Neck joint Scale 25.5″ Woods Body,, or Neck Fretboard or Hardware Bridge Fixed 3, 2, 2, 3, or 1 and 1 Colors available Butterscotch Blonde (shown above); other colors are available The Fender Telecaster, colloquially known as the Tele, is typically a dual-, made. Its simple yet effective design and revolutionary sound broke ground and set trends in electric guitar manufacturing and popular music. Introduced for national distribution as the Broadcaster in the autumn of 1950, it was the first guitar of its kind produced on a substantial scale.

Its commercial production can be traced as far back as March 1950, when the single- and dual-pickup models were first sold. The Telecaster has been in continuous production in one form or another since its first incarnation.

The Fender Telecaster has been mostly used in music genres such as and, but is also sometimes used in and. Contents [] • • • • • • • • • • • • • • • • • Origins[] The Fender Telecaster was developed by in in 1950. In the period roughly between 1932 and 1949, several craftsmen and companies experimented with solid-body electric guitars, but none had made a significant impact on the market. Leo Fender’s Telecaster was the design that finally put the solid-body guitar on the map. Fender had an electronics repair shop called Fender’s Radio Service where he first repaired, then designed, and electromagnetic pickups for musicians—chiefly players of electric guitars, electric Hawaiian () guitars, and. Players had been ‘wiring up’ their instruments in search of greater volume and projection since the late 1920s, and electric semi-acoustics (such as the) had long been widely available.

Tone had never, until then, been the primary reason for a guitarist to go electric, but in 1943, when Fender and his partner,, built a crude wooden guitar as a pickup test rig, local country players started asking to borrow it for gigs. It sounded shiny and sustaining. Fender got curious, and in 1949, when it was long understood that solid construction offered great advantages in electric instruments, but before any commercial solidbody Spanish guitars had caught on (the small Audiovox company apparently offered a modern, solidbody electric guitar as early as the mid-1930s), he built a better prototype. That hand-built prototype, an anonymous white guitar, had most of the features of what would become the Telecaster. It was designed in the spirit of the solid-body Hawaiian guitars manufactured by – small, simple units made of and aluminum with the parts bolted together—but with wooden construction. (Rickenbacker, then spelled ‘Rickenbacher,’ also offered a solid Bakelite-bodied electric Spanish guitar in 1935 that seemed to presage details of Fender’s design.) The initial single-pickup production model appeared in 1950, and was called the Esquire. Fewer than fifty guitars were originally produced under that name, and most were replaced under warranty because of early manufacturing problems.

In particular, the Esquire necks had no and many were replaced due to bent necks. Later in 1950, this single-pickup model was discontinued, and a two-pickup model was renamed the Broadcaster.

From this point onwards all Fender necks incorporated truss rods. The company, itself a manufacturer of hollowbody electric guitars (and now owned by Fender), claimed that “Broadcaster” violated the trademark for its Broadkaster line of drums, and as a newcomer to the industry, Fender decided to bend and changed the name to Telecaster, after the newly popular medium of television. (The guitars manufactured in the interim bore no name, and are now popularly called ‘.’) The Esquire was reintroduced as a one-pickup Telecaster, at a lower price. In 1951, Fender also released the as a stablemate to the Telecaster. This was later released as the when Fender updated the Precision Bass to more closely resemble the. Precision Bass (1951, replica) Construction[] Leo Fender’s simple and modular design was geared to mass production, and made servicing broken guitars easier. Guitars were not constructed individually, as in traditional.

Rather, components were produced quickly and inexpensively in quantity and assembled into a guitar on an assembly line. The bodies were and from slabs, rather than hand-carved individually, as with other guitars made at the time, such as. Fender did not use the traditional, but rather a. This not only made production easier, but allowed the neck to be quickly removed and serviced, or replaced entirely.

In addition, the classic Telecaster neck was fashioned from a single piece of without a separate fingerboard, and the frets were slid directly into the side of the maple surface—a highly unorthodox approach in its day (guitars traditionally featured or fingerboards glued onto necks). The electronics were easily accessed for repair or replacement through a removable control plate, a great advantage over typical construction, in which the electronics could only be accessed through the soundholes in the case of hollow-body instruments, or by taking off the pickguard after removing the strings (in a design popularized by Fender’s own later guitar model, the ). In its classic form, the guitar is simply constructed, with the neck and fingerboard comprising a single piece of maple, bolted to an or body inexpensively jigged with flat surfaces on the front and back. The hardware includes two controlled by a three-way selector switch, and one each of volume and tone controls. The pickguard was first Bakelite, soon thereafter it was (later plastic), screwed directly onto the body with five (later eight) screws. The has three adjustable saddles, with strings doubled up on each. The guitar quickly gained a following, and soon other, more established guitar companies (such as Gibson, whose model was introduced in 1952; and later Gretsch, Rickenbacker, and others) began working on wooden solid-body production models of their own.

A large chromed cover, often called the “ashtray”, was fitted over the bridge for improved, but this is rarely seen as most players find it impedes their style. The original switch configuration used from 1950 to 1952 allowed selection of neck pickup with treble tone cut in the first position (for a bassier sound), the neck pickup with its natural tone in the second position with no tone, and in the third switch position both pickups together with the neck pickup blended into the bridge, depending on the position of the second “tone” knob. The first knob functioned normally as a master volume control. This configuration did not have a true tone control knob. In 1952 the pickup selection circuit was modified by Fender to incorporate a real tone control. Between 1953 and 1967 the neck could be selected alone with a pre-set bassy sound and no tone control, in the middle switch the neck could be selected alone with the tone control and finally the bridge could be selected with the tone control. Although this provided the player with a proper tone control, this assembly did away with any sort of pickup combination.

Eventually from late 1967 Fender again modified the circuit for the final time to give the Telecaster a more traditional twin pickup switching system: neck pickup alone with tone control in the first position, both pickups together with the tone control in the middle position and in the third position the bridge pickup alone with the tone control. Typical modern Telecasters (such as the American Standard version) incorporate several details different from the classic form.

They typically feature 22 frets (rather than 21) and truss rod adjustment is made at the headstock end, rather than the body end, which had required removal of the neck on the original (the Bajo Sexto Baritone Tele was the only Telecaster featuring a two-octave 24-fret neck). The 3-saddle bridge of the original has been replaced with a 6-saddle version, allowing independent length and height adjustment for each string.

The long saddle bridge screws allow a wide range of saddle bridge positions for intonation tuning. The stamped metal bridge plate has been replaced with a plain, flat plate, and the bridge grounding cover (which, while helping with the shielding, impedes players who like to mute strings at the bridge with the side of the palm, and makes it impossible to pick near the saddles to produce the characteristic Telecaster ‘twang’) has been discontinued for most models. Also different from the original is the wiring: The 3-way toggle switch selects neck pickup only in the first position, neck and bridge pickups together in the second position, and bridge pickup only in the third position. The first knob adjusts the master volume; the second is a master tone control affecting all the pickups. During the era in the 1970s, the Telecaster body style was changed to a new “notchless” shape, having a less pronounced notch in the crook where the upper bout meets the neck. The notchless body style was discontinued in 1982.

The short-lived Elite Telecaster of 1983 incorporated two specially designed pickups powered by an active circuitry that featured a “TBX” and an MDX midrange booster with 12 dB of gain. Other features included a “Freeflyte” hardtail bridge and die-cast tuning machines with pearloid buttons.

This guitar was among the latest CBS-era Fenders to feature a BiFlex truss-rod system, low-friction EasyGlider string trees and active electronics. After CBS sold Fender to a group of employees led by Bill C. Schultz in 1985, production ceased on the Elite Telecaster and other Elite models. Made its own version of the Elite Telecaster in late 1984, which featured a 22-fret neck with medium-jumbo fretwire and a modern 9.5 inch fingerboard radius.

Notable Elite Telecaster players include and of. W/ Widespread Panic and of The Police. The Telecaster sound[] 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 between the slider of the volume control and the output, allows treble sounds to bleed through while damping mid and lower ranges. 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 sounds, making it particularly useful in. These characteristics make the Telecaster a versatile guitar, usable for most styles of music including country, blues, rock, and jazz. Variants[] The Telecaster has also been a long-time favorite guitar for hot-rod customizing. Several variants of the guitar appeared throughout the years with a wide assortment of pickup configurations, such as a in the neck position, three single-coil pickups and even dual humbuckers with special wiring schemes. Fender offered hot-rodded Teles with such pickup configurations, the US Fat and Telecasters around 1998.

The Deluxe Blackout Tele was also equipped with 3 single-coil pickups, a “Strat-o-Tele” selector switch and a smaller headstock than a standard Telecaster. The most common variants of the standard two-pickup solid body Telecaster are the semi-hollow Thinline, the twin-humbucker Deluxe—and the Custom, which replaced the neck single coil-pickup with a humbucking pickup. The Custom and Deluxe were introduced during the CBS period and reissues of both designs are currently offered. Telecaster Thinline[]. Main article: A semi-hollow thinline version appeared in 1968/69, designed by German guitar maker Roger Rossmeisl. Today two versions of the Thinline are available, the ’69 version has two standard Telecaster pickups and a mahogany body, while the ’72 version, based on the Fender Telecaster Deluxe, yields two pickups and a solid natural swamp ash body. In 2011, Fender released the Modern Player Telecaster Thinline as a part of the Modern Player series.

The guitar features two MP-90 pickups, similar to the Gibson. The Fender Custom Shop has a production model referred to as the “50’s Telecaster Thinline”, designed by master builder, Chris Fleming. Given that the first Thinlines appeared in the late 1960s, this name may seem inappropriate. However, the Custom Shop model, with its ash body and maple neck/fingerboard, as well as Nocaster pickups, shares enough DNA with the 50’s versions of the Telecaster to make the name a good fit. Telecaster Deluxe[].

The first edition of the Telecaster Custom was produced between 1959-1968, and featured a double-bound body. While the guitar was known as the Telecaster Custom, the decal on the headstock read “Custom Telecaster”. Later editions of the Tele Custom were popularized by ‘ guitarist and composer, featuring a humbucker in the neck position and a single-coil pickup in the bridge. The market generally refers to the guitar as the “1972 Custom”, indicating the year this model was originally released.

Telecaster Plus[]. Designed to restore Fender’s reputation after a group of employees led by took over ownership from CBS in the early 1980s. The pickups used in early models were dual humbucking Red Lace Sensors in the bridge position and a single Blue Lace Sensor in the neck position. Later models (post 1995 or so) used three Gold Lace Sensors or a Red/Silver/Blue set in a Strat-like configuration, as well as low-friction roller nuts, locking synchronized vibrato bridge and tuners, and a bound contoured alder body with ash veneers.

These instruments were discontinued in 1998 with the advent of the series. In 2011 Fender released the Modern Player Telecaster Plus as a part of the Modern Player series. The guitar has a humbucker in the bridge, a Strat pickup in the middle, and a Tele pickup in the neck positions. The Modern Player Telecaster is a very special Tele, it has a common telecaster-pickup in the neck position, a single-coil -pickup in the middle position and a humbucker in the bridge position.

It’s equiped with a 5-way-selector switch, a volume control, tone control and a switch to split the humbucker coils. Models[] In keeping with other models Fender distinguishes product lines manufactured in different locations. • The moderately-priced Standard, Classic and Deluxe Telecaster models are manufactured in Mexico, Japan and Korea. Each of these instruments has a feature set that makes them more affordable. • The American Standard, American Vintage, American Deluxe, Special Edition and Highway One model lines are manufactured in the United States. The American Deluxe Telecaster (introduced in 1998; upgraded in 2004, 2008, and 2010) features a pair of Samarium Cobalt Noiseless pickups and the S-1 switching system. Models made prior to 2004 featured two Fender Vintage Noiseless Tele single-coils, Fender/Fishman Powerbridge piezo system and 4-bolt neck fixing.

Other refinements include a bound contoured alder or ash body and an abalone dot-inlaid maple neck with rosewood or maple fingerboard, 22 medium-jumbo frets, rolled fingerboard edges, and highly detailed nut and fret work. The HH model sported an ebony fingerboard, quilted or flamed maple top and a pair of Enforcer humbuckers with S-1 switching (discontinued as of 2008). As of March 23, 2010, Fender updated the American Deluxe Telecaster with a compound radius maple neck, N3 Noiseless Tele pickups and a reconfigured S-1 switching system for wider sonic possibilities.

The new model now sports staggered, locking tuning machines, which provide better break angle over the nut for increased sustain and improved tuning stability. The American Series model uses two single-coil pickups with DeltaTone system (featuring a high output bridge pickup and a reverse-wound neck pickup). Other features include a parchment pickguard, non-veneered alder or ash bodies and rolled fingerboard edges. 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 guitar is modeled after the personally customized instruments of some of Nashville’s top players, featuring a Fender/Parsons/Green, two American Tele single-coils (neck, bridge), a Texas Special Strat single-coil (middle) and five-way “Strat-O-Tele” pickup switching. Ideal for country bends and steel guitar glisses, this Tele is available only with a maple fingerboard. The American Series Ash Telecaster is based on the ’52 vintage reissue. It features an ash body, one-piece maple neck/fingerboard with 22 frets and two Modern Vintage Tele single-coil pickups.

Fender discontinued this guitar in 2006. The Custom Classic Telecaster was the Custom Shop version of the American Series Tele, featuring a pair of Classic and Twisted single-coils in the bridge and neck positions, as well as a reverse control plate. Earlier versions made before 2003 featured an American Tele single-coil paired with two Texas Special Strat pickups and 5-way switching.

Discontinued in 2009 and replaced by the Custom Deluxe Telecaster series models. The 2011 version of the Custom Shop “Custom Deluxe” Telecaster featured a lightweight Ash body with contoured heel, Birdseye maple neck, and a pickup set that included a Twisted Tele neck pickup and a Seymour Duncan Custom Shop BG-1400 stacked humbucker in the bridge position. The Highway One Telecaster (introduced in 2003) features a pair of distortion-friendly Alnico III single-coils, super-sized frets, Greasebucket circuit and 1970s styling (since 2006). The Texas Telecaster sports a 1-piece maple neck/fretboard with a modern 12” radius and 22 jumbo frets, solid ash body and a pair of Hot Vintage pickups. In 2010, the American Special Telecaster was introduced.

While retaining such features from the Highway One as jumbo frets, Greasebucket tone circuit and 1970s logo, the American Special also includes some upgrades such as a glossy urethane finish, compensated brass 3-saddle bridge and Texas Special pickups. Artist Series Telecasters have features favored by world-famous Fender endorsees,,,,, and. Custom Artist models are made at the Fender Custom Shop, differing slightly quality and construction-wise; their prices are much higher than the standard production versions. In September 2010, Fender introduced the Mexican-made Black Top Telecaster HH, featuring dual hot vintage alnico humbucking pickups, a one-piece maple neck with rosewood or maple fretboard and 22 medium-jumbo frets. Other features include a solid contoured alder body, a reversed control assembly and black skirted amp control knobs.

In 2011, Fender released the Modern Player series, which featured the Modern Player Telecaster Thinline and the Modern Player Telecaster Plus. Squier models[] Squier model Telecasters are sold by, a Fender-owned import brand. These can bear the Telecaster name, since Squier is owned by Fender. Squier guitars, especially the Telecasters, have gained popularity [ ] and a good reputation amongst guitar players,since it has expanded its production of guitar models.For example a 1989 Korean Squier Telecaster made in the Samick factory could be considered tonally superior [ ] to a modern American produced guitar besides necks being more comfortable in general. Squier has a wide range of different Telecaster type guitars available, from the entry-level Affinity Series to the better quality Standard and Classic Vibe Series.

However, Standards are often used by beginners. Also available are the Artist Series and Vintage Modified Series. Among other famous musicians, has occasionally used a Squier Telecaster for recordings and live performances. [ ] Significance[] The Telecaster was important in the evolution of, electric,,, and other forms of. Its solid construction let guitarists play loudly as a lead instrument, with long sustain if desired.

It produced less of the uncontrolled, whistling, ‘hard’ (‘microphonic feedback’) that hollowbodied instruments tend to produce at volume (different from the controllable feedback later explored by and countless other players). Even though the Telecaster is more than half a century old, and more sophisticated designs have appeared since the early 1950s (including ), the Telecaster remains in production.

There have been numerous variations and modifications, but a model with something close to the original features has always been available. Signature Telecaster players[]. Replica of ‘ Telecaster, on display at Cooter’s Museum and Store in Nashville, Tennessee Over the years, many guitarists have made the Telecaster their signature instrument.

In the early days, country were drawn to this instrument designed for the “working musician”. These included The King of the Tele,, Guthrie Thomas,, who played with,, and (a Signature Telecaster model player himself). Burton’s favorite guitar was his Pink Paisley (or Paisley Red ) model Telecaster. Later, blended diverse musical styles (including blues, rockabilly and bebop) and became known as the “telemaster”. Used a Telecaster during his stint with, and also played a custom Telecaster fitted with ‘s neck while with.

Roy Buchanan and proved the Telecaster equally suited for playing the blues. Also consistently used the Telecaster and also used the guitar on his earlier works. Soul sessionist used a Tele with,, and countless other soul and blues acts. One of the most important Telecaster players was, who, during his short career, contributed more to country electric guitar than almost anyone else, along with being a phenomenal and a pioneer of the. He played with, and along with the bands and. He enlisted the help of and invented the, a device inside the body of the guitar that raises a string’s (either the B- or G-string most of the time) pitch when pressure is applied to the strap. His Telecaster is one of the most recognizable and is now owned.

Additionally, used a custom-built rosewood Telecaster during the recording sessions for ‘ album (including the ), played through a; guitarist frequently had reissue of Harrison’s Tele onstage in the mid-1980s, but rarely played it. Singer and guitarist has been known to use a custom black Telecaster with a white pickguard containing a black arrow decal pointing towards a target design under the strings.

Guitar virtuoso, known for the variety of acoustic and electric guitars that he used, occasionally played a Telecaster in his duets with. With the development of rock, the Tele inspired and sustained yet another genre. Of has composed many classic riffs on his battered “Micawber” Tele. Iconic are also worn-off green and respectively white Telecasters of the two frontmen of, and.

Another signature Telecaster player is of. Used a psychedelic-colored 1958 Telecaster, (painted by Page himself, and also known as the “Dragon Telecaster”) on the first albums, and also for the lead solo in the 1971 song ““. The guitar had been given to Page by his friend, who had also been using the Telecaster with. Used a custom Telecaster (with an Esquire neck) off and on throughout his career, both solo and with the., rhythm guitarist from played a sunburst custom Fender Telecaster with white ribboning when with the band. ‘s extensive use of the Telecaster earned him the nickname of “Mr.

His acolyte (then still Ronnie Earl Horvath) favored a Telecaster during his tenure with. Both and of wielded Teles, as did and with the. Of has used Telecasters throughout his career. (frontman of the punk band ) used his worn and battered 1966 Telecaster (originally Sunburst but spray painted black) with its distinctive “Ignore Alien Orders” sticker from the beginning of his musical career until the day he died.

In January 2007, Fender issued the signature Telecaster in honor of Smith’s reputation as a modern master of the Telecaster. Smith was the lead guitarist in the band and the musical director of. Tom Morello of “Rage Against The Machine” plays a black American Telecaster called “ ” (Shining Path) for songs in drop-D tuning.

From had a signature Telecaster released in 2009. Plays a Telecaster in the opening scene of his film,. Singer and Songwriter (Son of musician ) played an American Telecaster throughout his career. Lynval Golding, one of the guitarists for 2-Tone band The Specials, used a yellow telecaster throughout his time as a Special., lead guitarist of uses a Telecaster Plus model with lace sensor pickups as his main guitar.

British singer and guitar player exclusively plays a Telecaster through a Vox AC30., of, uses a Telecaster Vintage ’52. (frontman and guitarist of the band ) uses his own signature, issued in 2005. It features one knob for volume and tone, a single pickup near the synchronized six-saddle bridge and without the traditional pickup selector switch. References[] • Duchossoir, A. The Fender Telecaster: The detailed story of America’s senior solid body electric guitar.

• ^ Duchossoir, 1991, 15 • •.. 28 July 2011.

Retrieved 28 July 2011. • Dave Rogers, Laun Braithwaite & Tim Mullaly,, Premier Guitar •. Retrieved 2011-04-19. • • Bacon, Tony (1991). The Ultimate Guitar Book. New York: Alfred A.

• Bacon, Tony & Day, Paul (1998). The Fender Book: A complete history of Fender electric guitars (2nd ed.). London: Balafon Books.. • Burrows, Terry (general editor) (1998). The Complete Encyclopedia of the Guitar: The definitive guide to the world’s most popular instrument. New York: Schirmer Books.. • Denyer, Ralph (1992).

The Guitar Handbook. London: Dorling Kindersley Ltd.. • Kelly, Martin, Foster, Terry & Kelly, Paul (2010) Fender: The Golden Age 1946-1970 London & New York: Cassell.

• Freeth, Nick & Alexander, Charles (1999). The Electric Guitar. Philadelphia: Courage Books.. • Wheeler, Tom (et al.), edited by Trynka, Paul (1993). The Electric Guitar: An illustrated history. San Francisco: Chronicle Books.. D164227 External links[] Wikimedia Commons has media related to: • – Descriptions, including the prototype (Archived version accessed 18 October 2006).

Maton is an manufacturer of and other. Maton was founded in 1946 as the Maton Musical Instruments Company by Bill May and his brother Reg. Reg was a wood machinist, and Bill a musician, teacher and who had for some years operated a custom guitar building and repair business under the name Maton Stringed Instruments and Repairs.

The name “Maton” came from the words “May Tone” and is pronounced May Tonne. History [] At first the company produced high-quality for students and working professionals, aiming at providing good value for money and experimenting with the use of woods. In the 1960s they expanded into and, at first under the name. The early catalogues noted that the warranties on amplifiers and loudspeakers were void if used in situations of ““, reflecting Bill’s jazz background but still incredible to modern electric guitarists of any style. Maton established itself early on the Australian rock scene in the late Fifties, assisted by Australia’s tariff regime, which made imported guitars far more expensive than the local equivalents. Maton guitars were used by many well-known Australian pop and rock groups including & The Joy Boys. The company also made one of the first sponsorship deals in Australian rock, supplying Melbourne band with a full set of the distinctive ‘El Toro’ model guitars and basses (notable for their outlandish ‘horned’ body shape) while the group was working as the house band on the TV pop show in the mid-Sixties.

Maton earned international renown for their superb acoustic and electric guitars and basses, which have been played by scores of famous performers from to. Owned one of their MS500 models, which were introduced in 1957 and famed British session guitarist owned and used a Maton ‘Cello’ guitar for many years during the peak of his career, playing it on recordings with,, and his Big Band and from. 1973 Maton CW80/12, a successor model to the FG150/12 Australian singer also owned and used a Maton guitar, which he later had fitted with a custom-made scratch plate, made in the shape of a map of Australia. Frank gave this instrument to his guitarist when he returned to Australia, and it has been featured on an episode of the programme. Although these guitars are now normally worth around UK£2,000, expert valued Ifield’s guitar at between UK£10,000 and UK£15,000, because Ifield had used it in songs featured in a compilation album alongside ‘ first two singles. Easybeats lead guitarist is probably the best-known Maton player of the Sixties, and his famous red (which he donated to the in Sydney in 1999) was an integral part of the Easybeats’ sound throughout their career, and features prominently on hit singles like “I’ll Make You Happy”.

Guitarist of is another well-known user and endorser. Also in the Sixties, ‘s Maton FG150/12 was a prominent part of the sound of. Australia’s best known guitarist,, owns many Matons and almost exclusively uses the BG808 acoustic model on his latest albums. Maton has even constructed a Tommy Emmanuel “TE series” according to Tommy’s specifications. His understudy Kieran Murphy also uses Matons. plays Maton guitars and was the company’s featured performer at the in 2009. More recently, guitarist has become a regular user of Maton guitars and now also endorses the company—the only such endorsement he has accepted, despite offers from the world’s biggest luthiers. Former Distillers frontwoman and current member has been using Maton guitars for many years and she is also the wife to fellow Maton user Josh Homme Australian musician from performs and records with Maton guitars.

Former frontman uses an electro-acoustic Maton as part of his solo live show, and recounts an anecdote of a concert-goer’s mispronunciation of the name., lead guitarist of world famous Australian children’s band is known for using a Maton Mastersounds 500 guitar for some of his onstage work. Musician (formerly of Canadian band ) also regularly uses Maton guitars.

Lead singer/rhythm guitarist of British indie pop band The Kooks, Luke Pritchard also regularly uses Maton acoustic guitars. The company has had several moves to newer and bigger premises over the years as their production has grown, but always in.

They have exported since the 1970s, principally to the. They remain a family-owned company, producing a range of acoustic and instruments in the upper price brackets. Both and friend use Matons. Renowned guitar instructor uses Maton acoustic guitars. Gareth Pearson and Michael Fix also use Maton guitars. Products [] Most of their models both present and past can be seen on their website (link below), but in the late 1960s and early 1970s many unique solid-bodied guitars were built of which there is now no record.

[ ] Maton JB6 [] Maton JB6 is a 1970s guitar manufactured by Maton. It features a thin solid body, short scale 24 fret design, two humbucking pickups, two tone controls, one volume, in/out phase toggle for bridge pickup and standard three way pickup selector toggle switch. The body has double cutaways, set neck and heavy metal base plate supporting a stop piece and bridge for increased sustain.

Martin & Company is a U.S. Established in 1833. Martin is highly regarded for its and is a leading mass-manufacturer of flattop acoustics. Martin instruments can cost thousands of dollars and vintage instruments often cost six figures. The company has also made several models of and. The company’s headquarters and primary factory are in, located in the region of the state. Martin also manufactures instruments in.

Martin produced 182 instruments during 1900, increasing to 24,085 in 2000. Company history[] The company has been run by the Martin family throughout its history. The current chairman and CEO, C.F. ‘Chris’ Martin IV, is the great-great-great-grandson of the founder. The firm was the first to introduce many of the characteristic features of the modern flattop, steel-strung acoustic guitar. Influential innovations include the body style and scalloped bracing. Some time in the 1970s, Martin bought Levin guitars and around 200 D-18’s were apparently built in Sweden; they are stamped LD-18 [ ].

Founding[] C.F. Martin was born in 1796 in, and came from a long line of cabinet makers and. His father, Johann Georg Martin, also built guitars. By the age of 15, C.F. Martin was apprenticed to Johan Stauffer, a well-known guitar maker in. Martin returned to his hometown after completing training and opened his own guitar-making shop.

However, he soon became embroiled in a controversy between two. At that time European operated under the guild system.

The guitar (in its modern form) was a relatively new instrument, and most guitar makers were members of the Cabinet Makers’ Guild. The Violin Makers’ Guild claimed exclusive rights to manufacture musical instruments. The Violin Makers’ Guild filed appeals on three occasions – the first in 1806 – to prevent cabinet makers from producing guitars.

Johann Martin is mentioned in a surviving submission dated 1832. Although the cabinet makers successfully defended their right to build guitars, C.F. Martin decided that the guild system was too restrictive. He moved to New York City In 1833 and by 1838 he moved his business to Nazareth, PA. Company[] The Martin company is generally credited with developing the system during the 1850s, although C. Martin did not apply for a patent on the new bracing system. During the 1850s, X-bracing was used by several makers, all German immigrants who knew each other, and according to historian Philip Gura there is no evidence that C.

Martin invented the system. The Martin company was the first to use X-bracing on a large scale, however. From the 1860s on, became standard in Europe.

Martin and other American builders including Washburn and others since forgotten (Schmidt & Maul, Stumcke, Tilton) used X-bracing instead. The sound of X-bracing may be considered less delicate with gut strings, but it prepared the American guitar for steel strings, which emerged in the first quarter of the 20th century. Growing popularity of the guitar in the early 1900s, fueled by the growing popularity of and music, led to a demand for louder and more percussive guitars. In response, many companies began to use metal strings instead of. These became known as steel-string guitars. By 1921, Martin had focused production towards this type of guitar. The company’s reputation and output continued to grow.

Forays into making in the late 1890s and making in the 1920s greatly contributed to their expansion, and by 1928 they were making over 5000 instruments per year. The company remained family-owned and employed a relatively small number of highly trained craftsmen making instruments primarily by hand. By the early 1960s Martin guitars were back-ordered by as much as three years due to limited production capacity. In 1964, Martin opened a new plant that is still the primary Martin production facility. Innovations[] The in 1929 affected Martin’s sales drastically.

The company came up with two innovations to help regain business. One of these was the 14-, which allowed easier access to higher. Martin intended it to appeal to plectrum banjo players interested in switching to guitar for increased work opportunities [ ]. Martin altered the shape of its 0-size guitar body to allow a 14-frets-clear tenor neck.

This was in response to specific requests from tenor players including Al Esposito, the manager of the Carl Fischer store in New York City. The “Carl Fischer Model” tenors were soon renamed 0-18T [ ].

This was the first time Martin altered one of their original body shapes to accommodate a longer neck with more frets clear of the body. A 1955 version of the 0-15 is the favorite guitar of artist. He tells “It’s my main axe that I play with around the houseI even took it out when I toured with Kid Rock it’s held up pretty good for how old it is.” It was also during this time that Perry Bechtel, a well-known banjo player and guitar teacher from Cable Piano in Atlanta, requested that Martin build a guitar with a 15-fret neck-to-body join [ ]. Most guitars of the day, with the exception of Gibson’s L-5 archtop jazz guitars, had necks joined at the 12th fret, half the scale length of the string. In keeping with Bechtel’s request, Martin modified the shape of their 12-fret 000-size instrument, lowering the waist and giving the upper bout more acute curves to cause the neck joint to fall at the 14th fret rather than the 12th. Fourteen-fret guitars were designed to be played with a pick and replace banjos in jazz orchestras.

Thus, Martin named its first 14-fret, 000-shape guitar the Orchestra Model (OM). Martin applied this term to all 14-fret instruments in its catalogs by the mid- to late-1930s.

Original Martin OMs from approximately 1929 to 1931 are extremely rare and sell for high prices. Many guitarists believe that the OM—a combination of Martin’s modified 14-fret 000 body shape, long scale (25.4″) neck, solid headstock, 1-3/4″ nut width, 4-1/8″ maximum depth at the endwedge, and 2-3/8″ string spread at the bridge—offers the most versatile combination of features available in a steel-string acoustic guitar.

Today, many guitar makers (including many small shops and hand-builders) create instruments modeled on the OM pattern. The change in body shape and longer neck became so popular that Martin made the 14-fret neck standard on all of its guitars and the rest of the guitar industry soon followed [ ]. Classical guitars, which were evolving on their own track largely among European builders, retained the 12-fret neck design.

Martin’s second major innovation, and arguably the more important, of the period 1915-1930 was the. Originally devised in 1916 as a collaboration between Martin and a prominent retailer, the Oliver Ditson Co., the dreadnought body style was larger and deeper than most guitars. In 1906, the launched a that was considerably larger than any before it. From the idea that a ship that big had nothing to fear (nought to dread), it was christened.

Martin borrowed this name for their new, large guitar. The greater volume and louder produced by this expansion in size was intended to make the guitar more useful as an instrument for singers working with the limited sound equipment of the day. Initial models produced for Ditson were fan-braced, and the instruments were poorly received [ ].

In 1931, Martin reintroduced the dreadnought with X-bracing and two years later gave it a modified body shape to accommodate a 14-fret neck, and it quickly became their best-selling guitar. The rest of the industry soon followed [ ], and today the “dreadnought” size and shape is considered one of the “standard” acoustic guitar shapes, iconic for its use in a wide variety of musical genres. Martin also developed a line of archtop instruments during the 1930s. Their design differed from Gibson and other archtops in a variety of respects–the fingerboard was glued to the top, rather than a floating extension of the neck, and the backs and sides were flat rosewood plates pressed into an arch rather than the more common carved figured maple. Martin archtops were not commercially successful [ ] and were withdrawn after several years.

In spite of this, during the 1960s, had a Martin archtop converted to a flat-top guitar with exceptionally successful results, and as a result, Martin has recently begun issuing a David Bromberg model based on this conversion. During this time, Martin also continued to make,, and other stringed instruments. The 1960s[] During the late 1960s, Martin manufactured electric guitars similar to those manufactured. Martin’s were not popular and the company has since continued to concentrate on the manufacture of a wide range of high quality acoustics.

They also reinstated the famous D-45 in 1968. During the 1960s, many musicians [ ] preferred Martin guitars built before to more recent guitars of the same model.

The pre-War guitars were believed [ ] to have internal bracing carved more skillfully than later instruments, producing better resonance, and tops made from Adirondack red spruce rather than Sitka spruce. Additionally, 1970s Martin dreadnoughts suffered from poor intonation in the higher registers [ ]. Some luthiers and repairmen [ ] attribute this to a gradual trend of misplacing the bridge on these guitars: the same jigs for bridge placement were used throughout the history of each model’s production. As the amount of production increased from the Martin factory, the jigs eroded, resulting in inaccurate bridge placement [ ]. This was eventually identified and corrected. Recent events[] Martin opened its “Custom Shop” division in 1979.

Martin built its 500,000th guitar in 1990, and in 2004 they built their millionth guitar. This guitar is entirely hand-crafted and features more than 40 inlaid rubies and diamonds. It is worth an estimated $1,000,000. As of 2007, Martin employs 600 people.

Thirteen workers are devoted to [ ]. In October, 2009, Martin purchased at auction a D-28 that was played by in his last concert for $106,200.

Steel string guitar stress[]. A luthier finishes the heel of a guitar at the Martin Guitar factory in Nazareth, PA (February 2008) A steel-string guitar tuned to endures a tension of about 180 pounds (800 N) on the top of the guitar from the strings [ ]. The X-bracing system has been shown to be an efficient technique for preventing the top of the guitar from warping under this force. The braces are generally carved, scalloped and tuned to improve and integrity of the guitar top, such capability being performed by skilled artisans and not readily reproducible by machine [ ].

This work is an important factor in determining the of the guitar and a major determinant in the observation that rarely do two guitars ever sound alike, even though they are ostensibly identical in construction. Models[] Six-string guitars[] For many years, Martin has used a model-labeling system featuring an initial letter, number, or series of zeros specifying the body size and type; traditionally 5- is the smallest (and technically a terz, tuned a minor third higher than a guitar, at GCFA#DG), advancing in size through 4-, 3-, 2-, 1-, 0-, 00- and 000- (though these are commonly referred to as “Oh”, “triple-oh”, etc. They are, in fact, denoted by zeros, keeping the numerical-size theme constant. These instruments originally had in common a neck that joined the body at the 12th fret.

In 1916 Martin contracted with Ditson’s music store to produce a much larger store-badged guitar to compete sonically in ensembles; this boxy thunderer was named the Dreadnought in honor of the most horrific weapons system of the day, a British Navy battleship so large it could fear nothing, or “dread nought”. Indeed, HMS Dreadnought was its name, and it proved an apt product tie-in between the huge ship and the huge guitar. In 1931, Martin introduced D-bodied guitars under their own name, and a new standard was set. Around the same time, to meet the needs of banjo players wanting to cash in the guitar’s new popularity, Martin unveiled a second line of letter-named guitars, the OMs. Taking the body of the 000-, squaring its shoulder to meet the body at the 14th fret, and lengthening the scale, they created a truly legendary line of instruments (OM- wood-and-trim packages ranged from the plain -18 (mahagony back and sides) and -21 (with rosewood) to the full-on pimpmobile OM-45. The 14-fret body of the OMs proved so popular that it quickly became the standard for 00-, 000-, and D- models as well.

There things stayed for about 45 years; then, in 1976, Martin debuted the M-36 and M-38. Keeping the narrow-waisted shape and moderate depth of the 000-, and combining it with a width slightly more than even that of a D-, the M-s (sometimes called 0000-) were phenomononally well-balanced in their tone.

These have lately been joined by the Gibson-Jumboesque J, and the even larger SJ. The numbers/letters denoting body size and shape are generally followed by a number that designates the guitar’s ornamentation and style, including the species of wood from which the guitar is constructed. Generally, the higher the number, the higher the level of ornamentation. Additional letters or numbers added to this basic system are used to designate special features (such as a built-in or a cutaway). Martin also periodically offers special models.

Many of these have a limited production run, or begin as a limited-production guitar that sells well enough to become regularly produced. Many of these special models are designed with, endorsed by, and named after well-known guitarists such as,,,,, and. In 1997, Martin launched its “Women in Music” series, which was followed in 1998 by the Signature guitar, a replica of the 0-45 Baez began her career with. Worked with C. Martin & Company to develop a seven-string folk guitar. McGuinn’s guitar (the D7) is tuned the same as a standard folk guitar with steel strings, but the third (G) string is augmented with a harmonic string one octave higher. The intention was to offer the six-string player the chance to play “jangly” twelve-string style lead guitar.

HD-28 Dreadnought in moulded case. As of 2005, Martin offers over 180 different guitars. Some of the more notable models are: • 000-1: Slightly smaller in all dimensions than a dreadnought guitar (the “standard” acoustic guitar), solid top, solid back, mahogany sides, tortoiseshell binding,. • 000-15: Base model of the upper end Martin Guitar line.

All or construction. ‘A Frame’ “X” top bracing, 14 frets clear, Optional model 000-15S 12 frets clear. All -16 and -16 series 000 instruments have long scales (25.4″) and 1-11/16″ nut widths, in contrast to the -18, -28, and -45 series, which have the ‘traditional’ 24.9″ 000 scale, retaining the 1-11/16″ nut width. • 000-28EC and 000-28ECB: Two of the five “Eric Clapton” models. Bluesoleil 8 Activation Crack Serial Number there.

Same body size as the 000-15, but with the Martin short scale (24.9″). This artist signature model is constructed with higher-quality woods (especially the more expensive 000-28ECB constructed from, hence the “B”), a different shape to the neck, and more ornamentation around the edge of the body. • 000-18: Mahogany body guitar similar to the 000-28, but with more warmth, brought by the lower frequencies available to mahogany. • The 000-28EC is one of Martin’s most popular guitars; unlike the bigger dreadnoughts, the 000-28EC is nearer to the size of a Spanish guitar, with a slimmer body and wider fretboard. • D-1: All solid dreadnought with a spruce top and sapele back and sides. The D-1, as stated above, was Martin’s first, originally built for the Oliver Ditson Company. • D-18: Dreadnought guitar, solid Sitka spruce top, solid back and sides.

• D-28: Dreadnought guitar, solid Sitka spruce top, solid East Indian rosewood (Brazilian rosewood before 1969) back and sides, fingerboard, black and white binding and ornamentation with 5/16″ non-scalloped braces. The D-28 has become Martin’s signature guitar. • The HD-28, introduced in 1976 replicates pre-1947 “‘bone” D-28s with herringbone purfling (then manufactured only in pre-war Germany ) and scalloped braces. It is an extremely popular guitar with a full sound, good balance between bass and treble.

• D-35: Introduced in the mid-1960s, has a distinctive 3-piece solid East Indian Rosewood back, black and white binding on body and neck with 1/4″ braces. • HD-35: Similar material and style to the HD-28, but has a distinctive 3-piece solid East Indian Rosewood back and 1/4″ scalloped braces. •: A luxuriously ornamented version of the D-28.

First made for. Pre- D-45s (only 91 were made) are the most expensive guitars in the United States.

• J-40: a “Jumbo” sized guitar, “0000” body profile but with the same depth as a Dreadnought (4-7/8″). It uses woods similar to those used in the D-28, but with the addition of scalloped bracing. Its ornamentation is similar to the D-45, but lacks the abalone in the body binding.

• OM-28: Similar to the 000-28 model in body size and ornamentation, but uses a 25.4″ scale, 1-2/4″ nut spacing, and 2-3/8″ string spacing at the bridge. Also known as the “orchestra” model, so named because of its association with banjo players transitioning to guitar in the late 1920s and early 1930s. The 14-fret neck-to-body design was designed to allow greater upper fret access, and thus feel more comfortable to banjo players accustomed to full acces the length of a 24-fret + neck. • OM-42PS: Paul Simon’s signature acoustic model (manufactured in the 1997 model year) is based on the OM-42, which had not been manufactured since 1930. Alterations were specifically requested by Simon himself.

From the original planned run of approximately 500, only 223 were produced, making these a collector’s item. A standard version of the OM-42 is in the current range. • 16-Series: Style 16 guitars were first introduced in 1961. Later, they were the first production Martins to utilize sustainable, native woods such as ash and walnut, as well as the first to implement hybrid A-frame “X” bracing.

Today, these models use solid woods such as mahogany, East Indian rosewood, koa, sapele and maple. Models include DC-16RE Aura, OMC-16E Koa, D-16 GT, 000C-16RGTE Aura and the J12-16GT, a 12-string jumbo-size guitar with the series 16 appointments.

Most -16 series instruments use the Martin long scale, 25.4″. • 15 Series: Constructed of solid all mahogany woods, featuring herringbone rosette, matte finish and A-frame “X” bracing. Models include D-15 and OMC-15E.

Also acoustic bass guitar BC-15E. Of the favors this series, himself owning two vintage O-15 acoustics. Used on solo albums (most notably on ) and albums with the band (like the recent ), Frusciante’s O-15s can be seen in action during live performances of songs, including Venice Queen (most memorably at ) and.

Of also uses Martin & Co. 15-series, which can be seen during concerts. Martin also made a line of D-15 style guitars for Guitar Center/Musician’s Friend. The Guitar Center model is called the DSR and has a solid sitka spruce top with solid rosewood back and sides. Musician’s Friend had two models labeled as a simply Custom-D. Both models have a solid sitka spruce top as well as either solid rosewood or mahogany back and sides.

• Road Series: Designed for extra durability, constructed of laminated 3-ply mahogany back and sides and solid spruce top. Also features specially designed top braces, shaped back braces and beveled rear block. Models include the DM. As of 2009, the Road Series has been discontinued.

• X-Series: Back and sides constructed from compressed wood fibers (high-pressure laminate or ““) and solid Sitka spruce or HPL top. Due to this construction these guitars are more environmentally-friendly. [ ] Models include: DX1, DX1-R, DXM, DCX1E, DCX1R3, 000CXE Black, and 000X1. Some earlier models used ‘Ebonite’ (black Micarta) fretboards, later models use koa or striped ebony.

Necks on all models are constructed from Stratabond, a laminated wood product used for decades in gun stocks and hunting bows. Some of the more recent models are made in Mexico. • Little Martin: Designed around a modified O-14 fret body, the Little Martin series is built at a smaller 23″ scale length. With the exception of the LX1 and LX1E, which both have solid Sitka spruce tops, Little Martin series guitars are constructed with HPL top, back, and sides. Recent models incorporate a greater amount of synthetic materials, such as necks and (as opposed to rosewood or morado) fretboards and bridges. The guitars employ Modified X-Series “X” bracing, reinforced by a bowtie plate made of graphite. Little Martin series guitars do not have or fretboard.

• Backpacker: A very small guitar with a body shaped like an elongated triangle, similar in shape to certain types of and designed to be portable and inexpensive while still being constructed of quality woods. In the early 1980s, Martin also offered an E-series of electric guitars. The company was not known, as of early May 2012, to have released sales figures for the E-series, and aside from the EB-series variant of electric basses described below, nor was it known as of early May 2012 whether these were still being offered. Bass guitars[] EB 18[].

EB18 Bass Guitar in flight case. The EB-18 was the first electric bass the Martin company produced in 1979. The single-pickup EB-18 was a partner to Martin’s E-series electric guitars. Its scroll-shaped headstock was reminiscent of the Stauffer-style pegheads of early Martins. The EB-28 was added to the line a year later. It had a mahogany body and PJ pickups.

Both models were discontinued in 1983. The general features of the EB-18 are: • • Scale length 34″ • Brass nut • bridge • Single • Through piece solid construction of hard and (body wings are glued on to central core), • BM series open M/C heads with a gear ratio of 1:20.

Some M/C heads have C.F. Martin stamped on them but look very similar to heads • Four figure printed on the back (where the ‘neck’ enters the ‘body’). • The has the C. Martin logo printed on the front. F.Martin and Co. Is printed on the back Pickup[] The is a DP120 (model 1) dual type with a multicore screened lead.

This contains red, white, black and green wires as well as an uninsulated wire. Controls[] The EB-18 is provided with a single volume control, one tone control, and a switch for altering the pickup wiring. The switch alters the tone from a bright to a more bassy sound by cutting one pickup coil out of the circuit.

The consists of a 0.1- microfarad in series with the variable that is adjusted by the control knob. This is placed directly from the red pickup lead to ground. The control is a simple wired between the red pickup lead and ground with the wiper being fed to the. The control compartment is covered on the rear surface of the body by a polished plate. The interior of the compartment is coated with a light colored conductive paint to act as a screen against unwanted pickup such as. Flight case[] The EB-18 was supplied with a quality hard.

The EB-18 body fits into the shaped recess and the case takes account of the oddly shaped ‘lizard-looking head and large tuning lugs. There is a pair of compartments inside for and other items. The inside is lined with a soft, burnt orange color, fur-like material. The case is closed with four latches and has a centrally placed carrying handle. Martin EB18 Headstock showing Martin machine heads.

Popularity[] The EB-18 was not all that popular among bass players, and total production has been estimated at 874. The more expensive follow-up model, the EB-28, was even less popular with a total production of 217 units. See also: E-18 series guitars Martin did not resume building basses until 1989 (during the era), in which their approach was more consistent with company history: Acoustic bass[] Martin’s B series basses were big flat-tops with 34″-scale mahogany necks. Designed by Dick Boak, these ABGs used the same bodies as Martin’s Jumbo guitars; measuring 16″ wide with a depth of 4 7/8″, they were large enough to produce decent acoustic volume without being ungainly like other maker’s attempts. The top was solid spruce, the fingerboard was ebony, and the body was either solid East Indian Rosewood (B40) or solid flamed maple (B-65).

A Fishman bridge-pickup system was available adding an “E” in the model number. Both basses were also available with fretless fingerboards. Martin B65E In 1992, two more models were added, the single-cutaway BC-40 and the 5-string B-540. Although widely admired [ ] for their high quality and lovely appointments, they proved to have limited appeal due to their $2000-plus list prices. By 1997, all four of these initial basses were dropped in favor of the B-1, a lower-priced ABG with laminated mahogany sides as part of Martin’s 1 series of guitars. The BM, an even less expensive model in Martin’s now discontinued Road series soon followed; it had laminated mahogany sides with a solid mahogany back.

Also around this time electronics became standard on Martin basses. The most recent additions are the BC-15, a single-cutaway version with a mahogany top, the BC-16GTE, also a single-cutaway with solid Genuine mahogany back and sides with a gloss top, and the 00C-16GTAE, which is a slimmer thin-line version of the previously mentioned model. As a special edition, Martin offered the Alternative X Bass with jet black High Pressure Laminate back and sides and a Graffiti-patterned Aluminum finish top. This bass was very similar in build to the other guitars in Martin’s X series.

There have been two Limited Edition Martin acoustic bass models. The first, the SWB Sting Signature Model, was released in 1999 and was made with woods certified by the Rainforest Alliance’s SmartWood program [ ]. The SWB’s top is made with book matched solid Sitka spruce reclaimed from pulp logs, the back, sides and neck are solid certified cherry, and the fingerboard is certified katalox. Sting’s signature is inlaid between the 18th and 19th frets, and a label inside the body states that a portion of the sale price is donated to the Rainforest Foundation International [ ].

The second and more recent Limited Edition is the B-28KV Klaus Voormann Signature model released in 2008 for the German market. It has a Sitka spruce top with Solid East Indian Rosewood back and sides and a black Ebony fingerboard. The headstock features a unique art design by Klaus as a circular inlay making each bass a one-of-a-kind. In addition to these U.S.-made instruments, Martin also markets Sigma ABGs made in Korea. • The Steve Howe Guitar Collection (Balfon Books UK) – (ISBN 871547-64-4) – (First British Edition 1994) – p65. Image of Levin LTS5 12-string c.1967.

Quote: “These were widely available in Europe, especially in the UK, during the 1960s into the 1970s when Levin was owned by Martin until closed in 1978” • Gura, Philip, F. Martin and His Guitars, The University of North Carolina Press, Page 106 • Gura, Philip, F. Martin and His Guitars •. Leroy Powell Live: Presented by Martin Guitars..

Retrieved 18 June 2012. • Eric Schoenberg and Robert Green.. Guitar ventures Schoenberg. Retrieved 30 March 2011. • • • • • • • • • • *Greenwood, Alan; Gil Hembree (April 2011).

“25 Most Valuable Guitars”.. • Moseley, Willie G. Marcelo Goncalves., “Vintage Guitar”, February 3, 2010, accessed February 2, 1011 • Bibliography[] • Denyer, Ralph; Guillory, Isaac; Crawford, Alastair M. The guitar handbook. New York: Knopf: Distributed by Random House.

• Denyer, Ralph (1992). “Acoustic guitars: Steel-string acoustic guitars (‘Martin guitars’ pp. 44–45 and ‘Martin ‘Dreadnoughts’’ p. 44–45)”. The guitar handbook. Special contributors Isaac Guillory and Alastair M. Crawford, Foreword by (Fully revised and updated ed.). London and Syndey: Pan Books. • Gura, Philip F. Martin and His Guitars, 1796-1973.

Chapel Hill.. • Gruhn, Elijah (1942). Guitars for Herpetologists. Pleasantville, NY: Reader’s Digest. ISBN 0-ohno-ohno-o.

• Washburn, Jim; Johnston, Richard; Stills, Stephen (2002). Martin Guitars: An Illustrated Celebration of America’s Premier Guitarmaker.

Pleasantville, NY: Reader’s Digest.. • Wilson, Carey.

“Profiles in Quality with Vince Gentilcore”. Quality Digest.

November 2007. External links[] Wikimedia Commons has media related to: • • • – Boak is Martin Guitars Director of Artist and Limited Editions • • WLVT Television News Show “Tempo” Episode 545, last segment, features interview with C.F.

• • by Guitarbench.com • This page gives details and shows photos of DeArmond pickups fitted in C. Martin’s range of archtop and flat-top electric guitars. Taylor Guitars.

Taylor Guitars is an, ‐based American guitar manufacturer, specializing in, as well as semi-hollow and solidbody. It was established in 1974 by and Kurt Listug. Notable players of Taylor Guitars include,,, and. History[] In 1972, at age 18, Bob Taylor began working at American Dream, a guitar making shop owned by Sam Radding, where Kurt Listug was already an employee. When Radding decided to sell the business in 1974, a triumvirate of Taylor, Listug, and Schemmer bought American Dream and renamed it the Westland Music Company. Needing a more compact logo suitable for the guitars’ headstock, the founders decided to change the name to “Taylor” as it sounded more American than “Listug” and because as Kurt Listug put it, “Bob was the real guitar-maker.” Listug became the businessman of the partnership while Taylor was responsible on design and production. In 1976, the company decided to begin selling their guitars through retailers.

In 1981, facing financial difficulties, Taylor Guitars took out a bank loan to purchase equipment. 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,, 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. Innovations[] Starting in January 1999, Taylor guitars are made with a patented bolt-on neck; the NT neck (new technology). It differs from other necks by using a continuous piece of wood all the way to the 19th fret to support the. The standard practice is to support the fretboard up to the fourteenth fret with the unsupported portion being glued to the constantly moving soundboard. The NT neck fits into a pocket on the top of the guitar body with the desired angle being achieved by small, accurately milled neck spacers (shims).

Over time, some guitars require the neck angle to be realigned (referred to as a neck reset). This process is greatly simplified by allowing the replacement of different sized neck spacers to return the neck to the required angle. Prior to 1999, Taylor Guitars had a simpler bolt-on neck. These guitar necks allow for simple adjustment later if needed. Traditional (Non-Taylor) guitars with a glued neck with a dovetail would need to be disassembled to be adjusted. Taylor’s proprietary pickup system, the Expression System, consists of a induction pickup mounted in the neck and a pair of dynamic soundboard transducers wired to an on board preamplifier designed by Rupert Neve. The entry-level 100 and 200 series use an externally similar system known as ES-T, which utilizes a single under-saddle pickup and no soundboard transducers.

The first generation system was powered by a pair of AA batteries. Starting in 2007 the electronics use a 9-volt battery similarly to common piezoelectric and microphonic pickup systems in other guitars. Model Identification[] Most Taylor guitars can be identified by their model number. It is made up of three numbers that are divided into three groups to identify the tonewood, shape and number of strings, six or twelve. As of 2013, the Taylor line of guitars is organized as follows: First digit identifies the series. All guitar models within each series share the same back and side tonewoods and appointments (decorations).

Second digit indicates whether it’s a 6-string (identified by the number 1) or 12-string (identified by the number 5). Third digit identifies the body shape. (Shapes are also abbreviated as DN, GC, GA, JB, GS, GO respectively) 0=Dreadnought Named after a battleship and introduced by C.F. Martin in the early 20th Century in rise of the popularity in American Country Music.

It was the very first Taylor guitar shape with refinements made to make it unique to the Taylor brand. It has a boxy shape with a shallow waist.

2=Grand Concert Smallest full-sized Taylor. Introduced in 1984, it was designed as a response to a resurgence in acoustic fingerstyle music. It’s shorter, shallower, and narrower than a GA. 4=Grand Auditorium Introduced as an Anniversary model in 1994, it soon became one of Taylor’s most popular shape because of its tonal balance and versatility. The GA is the same width and length overall as the DN, but the tighter, deeper waist of the GA gives it a more rounded look. 5=Jumbo First addition to the Taylor lineup after the dreadnought.

Inspired by Gibson, it was used mainly as a 12-string. 2011 was the last year this body shape was produced.

6=Grand Symphony Introduced in 2006, this body relates closely to a GA, but with subtle expansions that include a slightly higher and wider waist and a bigger, more rounded lower bout for more bass response. 8=Grand Orchestra The latest Taylor Guitar introduced in 2013, it was redesigned as a successor to the Jumbo. The GO shape features a slightly bigger footprint and a deeper body, creating more air volume to help produce a deeper low-end response. It is Taylor’s biggest, most complex voice while maintaining tonal balance. The model number can also contain letters after to indicate the following options: “C” to indicate a model with cutaway “E” to indicate models with onboard electronics. “-N” at the end to indicate Nylon String option As an example, a Taylor Guitar with model number 614ce would indicate: a 600 series guitar (6), 6 string (1), Grand Auditorium Shape (4) with a cutaway (c) and the Expression System® electronics. (e) Standard Models[] 100 Series features laminate back and sides with a top, black binding and a white three-ring rosette.

Models available 110, 110e, 110ce, 114, 114e, 114ce 200 Series features laminate back and sides with a Sitka spruce top and white binding with a white three-ring rosette. Models available: 210, 210e, 210ce, 214, 214e, 214ce 300 Series features solid sapele back and sides with a Sitka spruce top, black binding and a white three-ring rosette. Models available: 310, 310e, 310ce, 312, 312e, 312ce, 312ce-N, 314, 314e, 314ce, 354, 354e, 354ce, 314ce-N, 316, 316e, 316ce, 356, 356e, 356ce 400 Series features solid back and sides with a Sitka spruce top and white binding and a white 3-ring rosette. Models available: 410, 410e, 410ce, 412, 412e, 412ce, 412ce-N, 414, 414e, 414ce, 454, 454e, 454ce, 414ce-N, 416, 416e, 416ce, 456, 456e, 456ce 500 Series features solid Tropical back and sides and has the option of an,, or Stika Spruce top (depending on the model), accented by tortoise shell binding and an abalone rosette. Models available: 510, 510e, 510ce, 512, 512e, 512ce, 512ce-N, 512 12-Fret, 512e 12-Fret, 512ce 12-Fret, 514, 514e, 514ce, 554, 554e, 554ce, 514ce-N, 516, 516e, 516ce, 556, 556e, 556ce, 518e 600 Series features solid back, sides and neck, with a Sitka spruce top, white binding and an abalone rosette. The 600 series options include color finishes: Natural (Standard), Amber, Koi Blue, Trans Red, Trans Black, Trans Orange, Honey Sunburst, and Tobacco Sunburst.

Models available: 610, 610e, 610ce, 612, 612e, 612ce, 612ce-N, 614, 614e, 614ce, 654, 654e, 654ce, 614ce-N, 616, 616e, 616ce, 656, 656e, 656ce, 618e 700 Series features solid Indian Rosewood back and sides with an Engelmann spruce top, Ivoroid binding and an abalone rosette. All 700 Series models come in Taylor’s signature Vintage Sunburst. Models available: 710, 710e, 710ce, 712, 712e, 712ce, 712ce-N, 712 12-Fret, 712e 12-Fret, 712ce 12-Fret, 714, 714e, 714ce, 754, 754e, 754ce, 714ce-N, 716, 716e, 716ce, 756, 756e, 756ce 800 Series feature solid Indian Rosewood back and sides with a Sitka spruce top, curly maple binding and an abalone rosette. Models available: 810, 810e, 810ce, 812, 812e, 812ce, 812ce-N, 812 12-Fret, 812e 12-Fret, 812ce 12-Fret, 814, 814e, 814ce, 854, 854e, 854ce, 814ce-N, 816, 816e, 816ce, 856, 856e, 856ce 900 Series features solid Indian Rosewood back and sides with a Sitka spruce top, rosewood binding and an abalone trim and rosette. Models available: 910, 910e, 910ce, 912, 912e, 912ce, 912ce-N, 914, 914e, 914ce, 954, 954e, 954ce, 914ce-N, 916, 916e, 916ce, 956, 956e, 956ce, 918e Presentation Series and Koa Series follow the same pattern, but instead of using numbers they are identified with their initials, PS (Presentation Series) and K (Koa Series) The Presentation Series features solid back and sides with an Engelmann spruce top, ebony binding and is accented with an abalone trim and rosette.

Models available: PS10, PS10e, PS10ce, PS12, PS12e, PS12ce, PS14, PS14e, PS14ce, PS16, PS16e, PS16ce, PS56, PS56e, PS56ce The Koa Series feature solid back and sides with optional koa or Sitka spruce for the top, rosewood binding and a curly maple rosette. Models available: K20, K20e, K20ce, K22, K22e, K22ce, K24, K24e, K24ce, K26, K26e, K26ce, K66, K66e, K66ce Specialty Models[] Baritone (2009) First introduced as a 35th Anniversary Edition Guitar in 2009, it joined Taylor’s standard line up as a Specialty Model in 2010. The Baritone model features a Grand Symphony body and a longer 27-inch scale length which enables it to be tuned from B to B while maintaining normal string tension. It comes in either 6-string or 8-string option. The 8-string models incorporates a pair of octave strings that double the 3rd and 4th (D and A) strings. Solid wood back and sides available for the Baritone model are Tropical mahogany or Indian Rosewood with rosewood binding and an abalone rosette. Models Available: Baritone-6, Baritone-6e, Baritone-6ce, Baritone-6ce Mahogany Baritone-8, Baritone-8e, Baritone-8ce, Baritone-8ce Mahogany GS Mini (2010) A scaled down Grand Symphony travel size guitar.

It features sapele laminate back and sides with an option of a solid mahogany or Sitka spruce top. It has been acclaimed for having a full size guitar sound despite being a compact size. Although it doesn’t come with an onboard Expression System, an optional ES-Go Pickup can be easily installed for amplification. Models Available: GS Mini, GS Mini Mahogany Baby Taylor (1996) The smallest Taylor guitar available. The Baby Taylor series has been hailed for its easy-to-transport size and affordability. Features include sapele laminate back and sides with an optional Sitka spruce (identified as a BT1) or mahogany top (identified as a BT2). A larger bodied option is also available called the “Big Baby” (BBT introduced in 2002), which is a 15/16-size dreadnought with a neck that is standard scale (25-1/2”) and narrow width (1-11/16”).

The Big Baby however only comes with a Sitka spruce top. Models Available: Baby Taylor (BT1), Baby Taylor Mahogany (BT2), Big Baby Taylor (BBT) BTO Guitars[] Taylor also has a Build-To-Order program that allows anyone to design their very own guitar.

There’s an extensive menu of guitar options starting from tonewoods, including species and grades that aren’t offered through Taylor’s standard line; inlay, binding and purfling options; finish options such as solid colors, sunburst, or vintage finishes; wood accents like a backstrap, armrest or truss rod cover; neck options such as scale length and neck profiles; and finally body shapes including the deep-body Dreadnought and the new Grand Orchestra. Electric Guitars[] Taylor Guitars started to produce electric guitars in 2005 with the debut of the T5 semi-hollow body. In 2008, Taylor entered the electric market with its own unique SolidBody electric guitar. Thinline Series Referred to as “Thinline” because of the shallow, partially acoustic body design of the series. The body consists of a solid slab of sapele milled around the edges and hollowed out to form the back and sides. A wood top with stylized f-holes is then fitted to the back and sides.. T5 (2005) – Abbreviation stands for Thinline 5-way.

“5-way” refers to the five position pickup selector switch mounted on the top of the guitar which activates different combinations of components in the T5’s pickup system. When hooked up to an amplification system, it’s capable of producing a variety of acoustic and electric tones in a single guitar. Features: Includes various top wood options (Custom, Classic or Standard), acoustic-style bridge, “lipstick” pickup, and 6 or 12 string options. T3 (2009) – The T3 shares the same body styling as the T5 with some electronic and structural differences. It is a semi-hollow-body because it has a solid center block in the body.

It comes standard with a quilted maple laminated top, and has and electric style bridge. The electronics include multiple humbucker pickups, coil splitters, and push-pull tone and volume pots. The T3 is available with the optional Bigsby vibrato in the T3/B. SolidBody (2008) – Taylor’s take on a traditional solid electric guitar. Made from a solid slab of wood with cavities only for the pickguard or direct mounted pickups, and the bridge. Designed from the ground up, each SolidBody model features solderless pickups or a solderless pickguard which permit for musicians to effortlessly change the sound of their guitar.

The SolidBody line is fully customizable with a wide combination of wood, colors and electronic configurations, and single or double cutaway options which enables anyone purchasing a SolidBody to get the sound and look that they want. All options are available for customization through Taylor’s SolidBody Configurator on the Taylor website. Factory Tour[] A free, guided tour of the Taylor Guitars factory is given every Monday through Friday at 1 p.m. (excluding holidays). Taylor’s expansive 145,000 square foot manufacturing facility is located east of San Diego (about 20 minutes from the downtown area) in El Cajon, California. No reservations are necessary for the tour, although the company asks that large groups (more than 10) call in advance at (619) 258-1207. Taylor encourages guests to arrive at its Visitor Center, where the tour begins, 10-15 minutes prior to tour time to sign in at the reception desk.

The tour lasts approximately one hour and 15 minutes. While not physically demanding, it does include a fair amount of walking. Upon departure from the front lobby, guests will see the entire process of guitar building. From the seasoning of raw wood to final string-up, the tour group will walk directly through each department to see firsthand what goes into making each guitar.

Guests are welcome to shoot photos and video during the tour. Please note: The factory tour will not be offered on the following weekdays in 2013: • Monday-Friday, July 1-5 (company vacation, Independence Day) • Monday, September 2 (Labor Day) • Monday, October 14 (Taylor anniversary) • Thursday-Friday, November 28-29 (Thanksgiving holiday) • Monday, December 23 through Friday, January 3 (company vacation) Visitor Center[] The Taylor Guitars Visitor Center is located in the front lobby of its manufacturing complex, located at: 1980 Gillespie Way El Cajon, CA 92020 Open Monday-Friday from 8 a.m. To 4:30 p.m., the Visitor Center showcases a diverse selection of Taylor guitars, including standard models and seasonal limited edition offerings, for players to enjoy. To enhance the playing experience, two sound rooms are equipped with amplifiers, enabling players to plug in and play in a private environment. The Visitor Center also houses the Taylor Guitars store, where guests can purchase items including guitar parts and accessories, along with Taylor-branded clothing and other items from the company’s TaylorWare line. Cole Clark is an Australian manufacturer of and other fretted instruments.

Products [] Cole Clark produce the following products: • Acoustic guitars • 6 string • 12 string • (6 string) • • Materials [] Cole Clark guitars are made largely using Australian indigenous. Solid timber is used in preference to plywood. Clark’s discovery of the best type of wood for his guitars came whilst searching in Australia in 1998. He came across Bunya Pine, and found out that it had the perfect characteristics for the sound board on an acoustic guitar. Whilst researching this type of wood, Clark also discovered that Bunya is about 18% stronger than Spruce wood, which a traditional choice when constructing a guitar. Blackwood is also another favourite material of Cole Clark’s for building their guitars ().

Materials used include,,,, and. Cole Clark guitar played by Tim McMillan Some notable artists that use and endorse Cole Clark guitars include: • • • • • • • • • Fender Law Suit [] In 2008 Cole Clark came under fire from the corporation for the naming of two models of guitars, the ‘Offender’ ( style) and the ‘Defender’ ( style). The names of these models have since been changed to, respectively, Culprit and Guardian. Brad Clark [] Brad Clark is a former director of Cole Clark. His experience includes eleven years at, first as factory manager and then as CEO.

See also [] • Notes [] •, Cole Clark Website •, Cole Clark Website •, Cole Clark Website 11. Collings Guitars. Contents [] • • • • • • • • • • • Company history[] Bill Collings dropped out of medical school in the early 1970s and instead worked in a machine shop for five years. At the same time he built his first guitar. In 1975 he moved to Houston, Texas, where he worked as an engineer with a pipeline and oil field equipment company by day and a guitar builder by night.

Three years later he met renowned musician and built him a guitar. In the early 1980s Collings decided to move to San Diego, California but never made it further than Austin, Texas. He started out sharing work space with fellow luthiers Tom Ellis, a builder of mandolins, and Mike Stevens.

A few years later he decided to continue on his own and take the craft more seriously, moving into a one-stall garage shop. George Gruhn, a vintage-guitar collector and seller in Nashville hired Collings to make 25 guitars in 1987. Collings soon received considerable attention from other guitar stores as well as magazines for his guitars. Two years later he hired his first employee and the company began to grow. At the 2006 summer NAMM show the company moved into the electric guitar market, releasing three models: the I-35, the CL (City Limits), and the 290. In addition to acoustic and electric guitars, the company now also makes mandolins and ukuleles.

Their mandolins are highly regarded, they “more or less rule in the bluegrass market” in the United States. As of May 2012 the company has about 85 employees and manufactures six to seven acoustic guitars, three electric guitars, two mandolins, and two ukuleles per day. Notable Users[] • • Models[] 14 Fret Acoustic Guitars[] • D Series: The square-shouldered 14-fret is the most popular steel-string acoustic guitar body shape in the world. Collings D Series guitars are often employed by bluegrass flatpickers who must compete with inherently louder instruments such as banjos and fiddles. • OM Series: The ‘OM’ (for Orchestra Model)is a 14-fret model that is popular with fingerstyle guitar soloists who choose to play on steel strings.

Also used in. • 0 Series: With the exception of the Baby, the 0 is Collings’ smallest guitar and is offered with the same shorter scale found on the 12-fret 00. • Baby Series: Collings’ smallest guitar, approximately a 3/4 size version of their OM. 12 1/2 inches wide in the lower bout with a 24 1/8 inch scale.

• CJ Series: The Collings Jumbo is their version of the classic slope-shouldered. • SJ Series: The SJ is Collings’ version of what is commonly called a small Jumbo. Although the 16 inch lower bout is slightly wider than a dreadnought, and the sides almost as deep, the tight curve at the waist creates in a very different sound chamber. SJs, especially examples in maple, typically have a more pronounced midrange response when compared to a dreadnought. • C10 Series: Based on first introduced around the same time as the OM, the Collings C10 is a leaner alternative, with the narrow waist and small upper bout.

12 Fret Acoustic Guitars[] • DS Series: The original 12-fret shape. • 00 Series: Collings offers the 00 in its original, 12-fret configuration. This guitar shape was first designed around the time of the Civil War. Its dimensions are similar to a typical, with a slotted and small pyramid. • 000 Series: The 12-fret 000 has the same general appearance as the Collings 00, but in a larger size with longer string scale. Although it’s the same width and depth as the OM, the longer body typically produces more bass and overall volume.

Mandolins[] Collings began producing in 1999, and offers A-style and F-style mandolins as well as. Electric Guitars[] • 290: Named after the highway where the Collings factory is located. Features two hand-wound P90 pickups from Jason Lollar.

• 360: Similar in shape to a Gibson Les Paul, the 360 is slightly thinner and lighter. • CL and CL Deluxe: the City Limits is crafted from seasoned and Honduran. It is light weight, contoured for comfort and style, and features a hand-set mortise and tenon neck joint.

[ ] • Collings I-35: Named for infamous traffic artery, the I-35 is aesthetically reminiscent of a ES-335. The body is pared down slightly at 15″ wide, and it has a slightly more angular shape that comparatively reduces its size and weight. • SoCo Deluxe: Named afer Austin’s funky and eclectic Avenue, the SoCo Deluxe brings in elements from both the I-35 and CL models to create a unique hybrid. Archtop Guitars[] • Standard: Collings Archtops come with a lower bout width of 16″, 17″, and 18″. Based on the earliest American f-hole archtops of the 1920s, the 16″ archtops are a rarity among modern archtop models in that they are designed to be played as acoustic guitars. • CL Jazz: Built with a fully hollow one-piece Honduran mahogany body, carved European spruce top, and modern stylings. Ukuleles[] Collings began producing in 2010, and offers a variety of models in both concert and tenor sizes.

• Feser, Phil (April 2008). “Super Semi-Hollow, The Collings SoCo Deluxe”.. • Nobles, Tony (November 2006).

“Soul in the Details”.. • ^ Paul, Gayla Drake (July 2010).. Premier Guitar. Retrieved October 21, 2012. • ^ Hall, Michael (May 2012).. Texas Monthly. Retrieved October 23, 2012.

• ^ “Interview: Bill Collings”. Acoustic Guitar.

November 2008. • Marten, Neville (November 2006). “Collings I-35 Deluxe”.. Acoustic Guitar. Retrieved 2011-01-27. Premier Guitar. Retrieved 2011-01-27.

Premier Guitar. Retrieved 2011-01-27. Retrieved 2011-01-27. • iNet Technologies, (2010-12-22)..

Retrieved 2011-01-27. [ ] • iNet Technologies, (2010-09-29).. Retrieved 2011-01-27. Retrieved 2011-01-27. External links[] • • 12. 1928 Dobro style 37 tenor guitar from Lowell Levinger’s collection The name has a long and involved history that is interwoven with that of the resonator guitar. Originally coined by the brothers when they formed the Dobro Manufacturing Company, in time it came to commonly mean a resonator guitar, or specifically one with a single inverted resonator.

This particular design was introduced by the Dopyeras’ new company, in competition to the already patented Tricone and biscuit designs owned and produced by the. The Dobro later also appeared on other instruments, notably electric and and on other resonator instruments such as Safari.

When Gibson acquired the trademark in 1994, the company announced that it would defend its right to Dobro’s exclusive use. Resonator guitar with single inverted resonator The name originated in 1928 when the brothers formed the Dobro Manufacturing Company. “Dobro” is both a contraction of “ Dopyera brothers” and a word meaning “goodness” in their native (and also in most ). An early company motto was “Dobro means good in any language.” The Dobro was the third design by, the inventor of the resonator guitar, but the second to enter production. Unlike his earlier design, the Dobro had a single resonator cone and it was inverted, with its concave surface facing up.

The Dobro company described this as a bowl shaped resonator. The Dobro was louder than the tricone and cheaper to produce. In Dopyera’s opinion, the cost of manufacture had priced the resonator guitar beyond the reach of many players. His failure to convince his fellow directors at the to produce a single-cone version was part of his motivation for leaving. Since National had applied for a patent on the single cone (US patent #1,808,756), Dopyera had to develop an alternative design. He did this by inverting the cone so that, rather than having the strings rest on the apex of the cone as the National method did, they rested on a cast spider that had eight legs sitting on the perimeter of the downward-pointing cone (US patent #1,896,484). In the following years both Dobro and National built a wide variety of metal- and wood-bodied single-cone guitars, while National also continued with the Tricone for a time.

Both companies sourced many components from National director, and John Dopyera remained a major shareholder in National. By 1934, the Dopyera brothers had gained control of both National and Dobro, and they merged the companies to form the National-Dobro Corporation. Man playing dobro. From the outset, wooden bodies had been sourced from existing guitar manufacturers, particularly the student guitar bodies made by the.

Dobro had granted Regal a license to manufacture resonator instruments. By 1937, it was the only manufacturer, and the license was officially made exclusive. Regal continued to manufacture and sell resonator instruments under many names, including Regal, Dobro, Old Kraftsman, and Ward. However, they ceased all resonator guitars production following the U.S. Entry into the in 1941.

Emil Dopyera (also known as Ed Dopera) manufactured Dobros from 1959 under the brand name Dopera’s Original before selling the company and name to. Moseley merged it with his guitar company and manufactured Dobros for a time. Meanwhile, in 1967, Rudy and Emil Dopyera formed the (OMI) to manufacture resonator guitars, which were at first branded Hound Dog. However, in 1970, they again acquired the Dobro name, Mosrite having gone into temporary liquidation. Along with the Dobro name, OMI was acquired by the in 1993. They renamed the company Original Acoustic Instruments and moved production to. Gibson now uses the name Dobro only for models with the inverted-cone design used originally by the Dobro Manufacturing Company.

Gibson also manufactures biscuit-style single-resonator guitars, but it sells them under names such as Hound Dog and. The Dobro was first introduced to country music. Wider usage of the name[]. American old-time musicians with the LoBro, a bass instrument modeled on the Dobro The name Dobro is generically associated with the single-inverted-cone design, as opposed to the and biscuit designs, which are both similarly associated with the brand. Gibson now restricts the use of the name Dobro to its own product line, but care should be taken in interpreting documents written before 1993 or from outside the US. In these cases, the terms “Dobro” and “dobroist” may not necessarily refer to a Gibson Dobro. For example, consider the references to the use of a Dobro guitar on songs like “” by, “Valium Waltz” by the, “When Papa Played the Dobro” by on the album, or ““, a song by from the album which features a Dobro.

Of is famous for his guitar of this style, featured on the cover of the album.

I have been saving my money to buy a Stratocaster. I have enough saved to buy a nice model and the American Deluxe FMT or QMT HSS caught my eye. Has anyone owned this guitar? It has been produced since 2004. Looking at the online catalog, I think this may be the guitar for me but it is not in stock in any of the local stores for me to examine, touch, feel, play. I was wondering if any of you have an opinion.

It is definitely not for the Strat traditionalist. It has a maple top, an ebony fretboard, and no pickguard. But I like the tobacco sunburst and the black pickups and knobs. Another thought is the quilting and the flame. I have seen photos of beautiful examples and I have seen photos of others not worth the extra bucks, with mismatched or sloppily matched figuring. Since this may be the last guitar I ever buy, I want to do it once and keep it for the rest of my life.

Anyone have some point they want to share? Thanks for kickin' in, Ryp. I appreciate your point that they would feel pretty similar to other American Deluxe models. I've been doing some searching on the net to try to find out more about this model.

Mostly, I've found reviews that are rewrites of the Fender catalog text. Nothing yet from an actual owner, though. (I did get directed to a you-tube entry that was a comparison between this model and a PRS but the test was sloppy and the comments were useless, as they turned into a flaming free for all.) I still hope to find some firsthand accounts on the soul or tone of the model. For example, owners' thoughts on the non-Strat aspects of the model, like the combination of maple top, ebony fretboard and HSS pups, and how that affects the tone and playability of a Strat.

The good, the bad, the ugly. I might take a day trip to a big city dealer if I find one with some flame tops in stock.

Thanks again for your input. Hey, no problem JB! I'm happy to help you! Well I still don't have any firsthand knowledge but the maple top should add little bit of brightness to the tone. And the way pups are mounted, straight to the body, makes also a difference, more woody tone I guess. Musician's Friend has some user reviews of this guitar, you might want to check them out.

They are on the bottom of the page: By the way, American Deluxe FMT/QMT HSS Strat was my dream guitar for some time. It would deffinetly be a cool guitar and I still want it but my heart is sold to vintage Strats so I'll probably buy Eric Johnson or American Vintage Stratocaster. I called around and found a music store with an FMT in stock and I checked it out after work today. It felt light and balanced and played beautifully but so did another Am. Deluxe Custom that I tried.

I lack the experience to comment on the tonal qualities as compared to other Strats. I'm afraid it's the look of this model that has me and that's not a reason to buy a guitar.

Anyhow,some observations: The shop price is 1395, firm (last wk the Guitar Center had quoted me 1200 but they would have to order it, 3-4 wk wait). Pos: The maple top was very nicely figured and matched, professional cabinetmaker quality. Neg: There is approx. Half inch gap between the edge of the pup surface end and the edge of the maple top, for access to the flange on each end that takes the mounting screws.

This results in an unfinished look at these places (the pick guard on normal Strats hides this gap I guess). Pos: The ebony fretboard was extremely dense and smooth, almost like metal. I'm surprised at how much I liked it; normally I like rosewood and its grain. Neg: When I played the guitar, it was the first time I had seen it from behind.

The white of the maple neck and headstock is kind of cold in contrast to the tobacco sunburst of the body. I'd rather the neck was the same color as the body. Again, hung up on looks. Well, just wanted to write down first impressions after having hefted, played, and examined closely. Thanks for the links to the reviews Ryp.

I need to go back to the shop and play the guitar a bunch before I decide where to go from here.