Evolution Once Again Big Dater Guitar Chords

Electric string musical instrument

Electric guitar

1954 Gibson Les Paul Custom electric guitar
Cord instrument
Other names	Guitar, solid-body guitar
Classification	String instrument (fingered or picked or strummed)
Hornbostel–Sachs classification	321.322 (Composite chordophone)
Developed	1932
Playing range
(a guitar tuned to E standard)
Sound sample
Electric guitar lick in the fashion of Chuck Berry

An electrical guitar is a guitar that requires external distension in order to exist heard at typical functioning volumes, unlike a standard acoustic guitar (all the same combinations of the 2 - a semi-audio-visual guitar and an electrical audio-visual (see below) guitar - exists). It uses 1 or more than pickups to convert the vibration of its strings into electric signals, which ultimately are reproduced as sound by loudspeakers. The audio is sometimes shaped or electronically altered to achieve different timbres or tonal qualities on the amplifier settings or the knobs on the guitar from that of an acoustic guitar. Often, this is done through the use of effects such as reverb, distortion and "overdrive"; the latter is considered to be a key element of electric blues guitar music and rock guitar playing.

Invented in 1932, the electric guitar was adopted by jazz guitar players, who wanted to play unmarried-note guitar solos in big big band ensembles. Early proponents of the electric guitar on record include Les Paul, Lonnie Johnson, Sister Rosetta Tharpe, T-Os Walker, and Charlie Christian. During the 1950s and 1960s, the electric guitar became the most important instrument in popular music.^[ane] It has evolved into an instrument that is capable of a multitude of sounds and styles in genres ranging from popular and stone to folk to land music, blues and jazz. Information technology served as a major component in the development of electrical blues, stone and roll, rock music, heavy metallic music and many other genres of music.

Electric guitar design and construction varies profoundly in the shape of the trunk and the configuration of the cervix, bridge, and pickups. Guitars may have a fixed span or a spring-loaded hinged span, which lets players "bend" the pitch of notes or chords up or down, or perform vibrato effects. The sound of an electric guitar can be modified by new playing techniques such as string bending, tapping, and hammering-on, using audio feedback, or slide guitar playing.

At that place are several types of electric guitar, including: the solid-trunk guitar; various types of hollow-body guitars; the six-cord guitar (the almost mutual blazon), which is normally tuned East, A, D, One thousand, B, E, from everyman to highest strings; the seven-string guitar, which typically adds a depression B cord below the low E; the eight-string guitar, which typically adds a low Eastward or F# string below the low B; and the twelve-string guitar, which has six pairs of strings.

In pop and rock music, the electrical guitar is often used in 2 roles: as a rhythm guitar, which plays the chord sequences or progressions, and riffs, and sets the beat (equally part of a rhythm section); and every bit a pb guitar, which provides instrumental melody lines, melodic instrumental fill passages, and solos. In a small group, such as a ability trio, ane guitarist switches between both roles. In big rock and Metal bands, in that location is frequently a rhythm guitarist and a lead guitarist.

History [edit]

Many experiments with electrically amplifying the vibrations of a string instrument were made dating dorsum to the early role of the 20th century. Patents from the 1910s show telephone transmitters were adapted and placed inside violins and banjos to amplify the sound. Hobbyists in the 1920s used carbon button microphones attached to the span; however, these detected vibrations from the span on meridian of the instrument, resulting in a weak signal.^[2]

Electric guitars were originally designed by acoustic guitar makers and instrument manufacturers. The need for amplified guitars began during the big ring era; as orchestras increased in size, guitar players soon realized the necessity in guitar amplification and electrification.^[3] The first electric guitars used in jazz were hollow archtop acoustic guitar bodies with electromagnetic transducers.

The first electrically amplified stringed instrument to exist marketed commercially was a cast aluminium lap steel guitar nicknamed the "Frying Pan" designed in 1931 by George Beauchamp, the general manager of the National Guitar Corporation, with Paul Barth, who was vice president.^[4] George Beauchamp, along with Adolph Rickenbacker, invented the electromagnetic pickups.^[five] Coils that were wrapped around a magnet would create an electromagnetic field that converted the vibrations of the guitar strings into electrical signals, which could then exist amplified. Commercial production began in late summertime of 1932 by the Ro-Pat-In Corporation (Electro-Patent-Instrument Company), in Los Angeles,^{[half-dozen] [7]} a partnership of Beauchamp, Adolph Rickenbacker (originally Rickenbacher), and Paul Barth.^[8]

In 1934, the company was renamed the Rickenbacker Electro Stringed Instrument Company. In that year Beauchamp applied for a United States patent for an Electric Stringed Musical Instrument and the patent was later on issued in 1937.^{[9] [x] [eleven] [12]} Past the time information technology was patented, other manufacturers were already making their own electric guitar designs.^[thirteen] Early on electric guitar manufacturers include Rickenbacker in 1932; Dobro in 1933; National, AudioVox and Volu-tone in 1934; Vega, Epiphone (Electrophone and Electar), and Gibson in 1935 and many others past 1936.

Electro-Spanish past Ken Roberts, 1935

By early on-mid 1935, Electro Cord Instrument Corporation had accomplished success with the "Frying Pan", and ready out to capture a new audience through its release of the Electro-Spanish Model B and the Electro-Spanish Ken Roberts, which was the kickoff total 25-inch scale electric guitar ever produced.^{[14] [9] [10] [11] [12]} The Electro-Spanish Ken Roberts was revolutionary for its time, providing players a full 25-inch scale, with easy access to 17 frets complimentary of the body.^[xv] Unlike other lap-steel electrified instruments produced during the time, the Electro-Castilian Ken Roberts was designed to play while standing upright with the guitar on a strap, equally with acoustic guitars.^[xv] The Electro-Spanish Ken Roberts was too the first musical instrument to feature a hand-operated vibrato as a standard appointment,^[fifteen] a device called the "Vibrola," invented by Doc Kauffman.^{[15] [sixteen]} It is estimated that fewer than l Electro-Spanish Ken Roberts were constructed between 1933 and 1937; fewer than x are known to survive today.^{[nine] [10] [11] [12]}

The solid-body electric guitar is made of solid wood, without functionally resonating air spaces. The kickoff solid-body Castilian standard guitar was offered by Vivi-Tone no later than 1934. This model featured a guitar-shaped body of a single canvas of plywood affixed to a wood frame. Another early, substantially solid Spanish electric guitar, called the Electro Spanish, was marketed by the Rickenbacker guitar company in 1935 and fabricated of Bakelite. By 1936, the Slingerland visitor introduced a wooden solid-torso electric model, the Slingerland Songster 401 (and a lap steel counterpart, the Songster 400).

Gibson's first production electric guitar, marketed in 1936, was the ES-150 model ("ES" for "Electrical Spanish", and "150" reflecting the $150 toll of the instrument, along with matching amplifier). The ES-150 guitar featured a single-gyre, hexagonally shaped "bar" pickup, which was designed by Walt Fuller. It became known as the "Charlie Christian" pickup (named for the great jazz guitarist who was amidst the outset to perform with the ES-150 guitar). The ES-150 achieved some popularity just suffered from unequal loudness across the six strings.

A functioning solid-trunk electrical guitar was designed and built in 1940 past Les Paul from an Epiphone acoustic archtop as an experiment. His "log guitar" — a wood post with a neck attached and ii hollow-body halves attached to the sides for appearance only — shares zero in common for design or hardware with the solid-body Gibson Les Paul, designed by Ted McCarty and introduced in 1952.

The feedback associated with amplified hollow-bodied electrical guitars was understood long before Paul's "log" was created in 1940; Cuff Brewer's Ro-Pat-In of 1932 had a top so heavily reinforced that it substantially functioned as a solid-body instrument.^[2]

Types [edit]

Solid-trunk [edit]

Unlike acoustic guitars, solid-body electric guitars have no vibrating soundboard to amplify string vibration. Instead, solid-body instruments depend on electric pickups (microphones) and an amplifier (or amp) and speaker. The solid body ensures that the amplified sound reproduces the string vibration alone, thus avoiding the wolf tones and unwanted feedback^[19] associated with amplified acoustic guitars. These guitars are by and large made of hardwood covered with a hard polymer cease, often polyester or lacquer. In large product facilities, the wood is stored for iii to six months in a wood-drying kiln before being cut to shape. Premium custom-congenital guitars are ofttimes made with much older, hand-selected wood.

One of the first solid-body guitars was invented by Les Paul. Gibson did not nowadays their Gibson Les Paul guitar prototypes to the public, equally they did non believe the solid-body fashion would catch on. Another early solid-torso Spanish style guitar, resembling what would become Gibson's Les Paul guitar a decade later, was developed in 1941 past O.West. Appleton, of Nogales, Arizona.^[20] Appleton fabricated contact with both Gibson and Fender just was unable to sell the idea behind his "App" guitar to either company.^[21] In 1946, Merle Travis commissioned steel guitar builder Paul Bigsby to build him a solid-body Spanish-fashion electric.^[22] Bigsby delivered the guitar in 1948. The first mass-produced solid-trunk guitar was Fender Esquire and Fender Broadcaster (later to become the Fender Telecaster), beginning fabricated in 1948, five years after Les Paul fabricated his paradigm. The Gibson Les Paul appeared soon subsequently to compete with the Broadcaster.^[23] Another notable solid-body pattern is the Fender Stratocaster, which was introduced in 1954 and became extremely popular amid musicians in the 1960s and 1970s for its broad tonal capabilities and more comfortable ergonomics than other models. Different styles of guitar accept unlike pick-upward styles, the chief existence 2 or three 'single-curl' pick-ups or a double humbucker, with the Stratocaster being a triple single-scroll guitar.

The history of Electric Guitars is summarized by Guitar World magazine, and the primeval electrical guitar on their top x list is the Ro-Pat-In Electro A-25 "Frying Pan" (1932) described as 'The showtime-fully functioning solid-body electric guitar to be manufactured and sold'.^[24] The most recent electrical guitar on this list is the Ibanez Jem (1987) which featured '24 frets', 'an impossibly thin neck' and was 'designed to be the ultimate shredder motorcar'. Numerous other important electric guitars are on the list including Gibson ES-150 (1936), Fender Telecaster (1951), Gibson Les Paul (1952), Gretsch 6128 Duo Jet (1953), Fender Stratocaster (1954), Rickenbacker 360/12 (1964), Van Halen Frankenstrat (1975), Paul Reed Smith Custom (1985) many of these guitars were 'successors' to before designs.^[24] Electrical Guitar designs somewhen became culturally important and visually iconic, with various model companies selling miniature model versions of peculiarly famous electric guitars, for example the Gibson SG used by Angus Young from the group Air conditioning/DC.

Chambered-body [edit]

Some solid-bodied guitars and some others, such as the Gibson Les Paul Supreme, the PRS Singlecut, and the Fender Telecaster Thinline, are built with hollow chambers in the trunk. These chambers are designed to non interfere with the critical span and string ballast point on the solid body. In the case of Gibson and PRS, these are chosen chambered bodies. The motivation for this may be to reduce weight, to achieve a semi-acoustic tone (see below) or both.^{[25] [26] [27]}

Semi-acoustic [edit]

Epiphone semi-acoustic hollow-body guitar

Semi-acoustic guitars have a hollow body (like in depth to a solid-body guitar) and electronic pickups mounted on the trunk. They work in a similar way to solid-body electrical guitars except that considering the hollow body also vibrates, the pickups convert a combination of string and trunk vibration into an electrical signal. Whereas chambered guitars are fabricated, like solid-trunk guitars, from a unmarried block of wood, semi-acoustic and full-hollow-body guitars bodies are made from thin sheets of woods. They practice not provide enough audio-visual book for live performance, just they can exist used unplugged for quiet do. Semi-acoustics are noted for being able to provide a sweet, plaintive, or funky tone. They are used in many genres, including dejection, funk, sixties pop, and indie rock. They by and large take cello-style F-shaped sound holes. These tin exist blocked off to forbid feedback. Feedback can as well exist reduced by making them with a solid block in the center of the soundbox.

Full hollow-trunk [edit]

Full hollow-body guitars have large, deep bodies made of glued-together sheets, or "plates", of woods. They can often be played at the same book as an acoustic guitar and therefore tin can be used unplugged at intimate gigs. They qualify as electric guitars inasmuch as they have fitted pickups. Historically, archtop guitars with retrofitted pickups were among the very primeval electric guitars. The instrument originated during the Jazz Age, in the 1920s and 1930s, and are still considered the archetype jazz guitar (nicknamed "jazzbox"). Like semi-acoustic guitars, they often have f-shaped sound holes.

Having humbucker pickups (sometimes just a neck pickup) and usually strung heavily, jazz boxes are noted for their warm, rich tone. A variation with single-ringlet pickups, and sometimes with a Bigsby tremolo, has long been pop in country and rockabilly; it has a distinctly more twangy, biting tone than the classic jazz box. The term archtop refers to a method of construction subtly dissimilar from the typical acoustic (or "folk" or "western" or "steel-string" guitar): the superlative is formed from a moderately thick (one inch (2.5 cm)) piece of wood, which is then carved into a thin (0.1 inches (0.25 cm)) domed shape, whereas conventional acoustic guitars have a thin, flat tiptop.

Electric acoustic [edit]

Some steel-string audio-visual guitars are fitted with pickups purely equally an culling to using a split microphone. They may besides exist fitted with a piezoelectric pickup under the span, fastened to the bridge mounting plate, or with a low-mass microphone (commonly a condenser mic) inside the body of the guitar that converts the vibrations in the body into electronic signals. Combinations of these types of pickups may be used, with an integral mixer/preamp/graphic equalizer. Such instruments are called electrical acoustic guitars. They are regarded every bit acoustic guitars rather than electric guitars considering the pickups do not produce a betoken straight from the vibration of the strings, but rather from the vibration of the guitar elevation or trunk.

Electric audio-visual guitars should not exist confused with semi-acoustic guitars, which have pickups of the type establish on solid-torso electric guitars, or solid-body hybrid guitars with piezoelectric pickups.

Structure [edit]

Electric guitar design and construction vary greatly in the shape of the body and the configuration of the neck, bridge, and pickups. However, some features are present on most guitars. The photo below shows the different parts of an electric guitar. The headstock (i) contains the metal machine heads (1.1), which use a worm gear for tuning. The nut (i.4)—a thin fret-like strip of metal, plastic, graphite, or bone—supports the strings at the headstock end of the instrument. The frets (two.three) are thin metallic strips that stop the cord at the correct pitch when the player pushes a cord against the fingerboard. The truss rod (1.2) is a metal rod (usually adjustable) that counters the tension of the strings to keep the neck straight. Position markers (2.2) provide the player with a reference to the playing position on the fingerboard.^[28]

The cervix and fretboard (two.i) extend from the body. At the neck joint (ii.4), the cervix is either glued or bolted to the trunk. The body (three) is typically made of woods with a difficult, polymerized finish. Strings vibrating in the magnetic field of the pickups (3.i, three.2) produce an electric current in the pickup winding that passes through the tone and volume controls (3.8) to the output jack. Some guitars have piezo pickups, in improver to or instead of magnetic pickups.

Some guitars take a fixed span (3.4). Others have a spring-loaded hinged bridge called a vibrato bar, tremolo bar, or whammy bar, which lets players bend notes or chords upwards or down in pitch or perform a vibrato embellishment. A plastic pickguard on some guitars protects the body from scratches or covers the control crenel, which holds most of the wiring. The caste to which the selection of forest and other materials in the solid-guitar body (3) affects the sonic character of the amplified indicate is disputed. Many believe information technology is highly significant, while others think the difference between woods is subtle. In audio-visual and archtop guitars, wood choices more than clearly affect tone.

Wood typically used in solid-body electric guitars include alder (brighter, but well rounded), swamp ash (similar to alder, only with more than pronounced highs and lows), mahogany (nighttime, bassy, warm),^[29] poplar (similar to alder), and basswood (very neutral).^[30] Maple, a very bright tonewood,^[30] is too a popular torso wood simply is very heavy. For this reason, it is oftentimes placed as a "cap" on a guitar made primarily of some other wood. Cheaper guitars are frequently made of cheaper woods, such as plywood, pine, or agathis—non true hardwoods—which can affect durability and tone. Though most guitars are fabricated of wood, whatever cloth may be used. Materials such as plastic, metal, and fifty-fifty cardboard have been used in some instruments.

Roughly speaking, nigh popular guitar bodies are made of^[31] Alder, Ash, Poplar, Basswood, Mahogany and Maple. Maple solid-torso is uncommon though, because information technology is a hardwood, although custom shops and more eccentric guitarists may utilise it.

The guitar output jack typically provides a monaural signal. Many guitars with agile electronics use a jack with an extra contact commonly used for stereo. These guitars utilize the extra contact to suspension the footing connection to the on-board bombardment to preserve battery life when the guitar is unplugged. These guitars require a mono plug to shut the internal switch and connect the battery to ground. Standard guitar cables utilize a high-impedance 1⁄four inch (6.35 mm) mono plug. These accept a tip and sleeve configuration referred to as a TS phone connector. The voltage is commonly effectually 1 to nine millivolts.

A few guitars feature stereo output, such as Rickenbacker guitars equipped with Rick-O-Sound. There are a variety of means the "stereo" effect may be implemented. Unremarkably, but not exclusively, stereo guitars route the neck and bridge pickups to separate output buses on the guitar. A stereo cable then routes each pickup to its signal chain or amplifier. For these applications, the nigh pop connector is a loftier-impedance 1⁄4 inch (half dozen.35 mm) plug with a tip, band, and sleeve configuration, also known every bit a TRS phone connector. Some studio instruments, notably certain Gibson Les Paul models, incorporate a low-impedance 3-pin XLR connector for balanced audio. Many exotic arrangements and connectors be that back up features such equally midi and hexaphonic pickups.

Bridge and tailpiece systems [edit]

The bridge and tailpiece, while serving separate purposes, work closely together to affect playing style and tone. There are four basic types of span and tailpiece systems on electric guitars. Within these four types are many variants.

A hard-tail guitar bridge anchors the strings at or directly behind the bridge and is fastened securely to the top of the instrument.^[32] These are common on carved-top guitars, such as the Gibson Les Paul and the Paul Reed Smith models, and on slab-torso guitars, such every bit the Music Homo Albert Lee and Fender guitars that are non equipped with a vibrato arm.

A floating or trapeze tailpiece (similar to a violin's) fastens to the body at the base of the guitar. These announced on Rickenbackers, Gretsches, Epiphones, a broad variety of archtop guitars, specially jazz guitars, and the 1952 Gibson Les Paul.^[33]

Pictured is a tremolo arm or vibrato tailpiece-style bridge and tailpiece organisation, frequently called a whammy bar or trem. Information technology uses a lever ("vibrato arm") attached to the bridge that tin can temporarily slacken or tighten the strings to alter the pitch. A player tin can use this to create a vibrato or a portamento outcome. Early vibrato systems were often unreliable and made the guitar leave of melody easily. They also had a limited pitch range. After Fender designs were better, but Fender held the patent on these, and so other companies used older designs for many years.

Detail of a Squier-made Fender Stratocaster. Notation the vibrato arm, the 3 single-coil pickups, the volume and tone knobs.

With the expiration of the Fender patent on the Stratocaster-fashion vibrato, various improvements on this type of internal, multi-spring vibrato system are now bachelor. Floyd Rose introduced one of the first improvements on the vibrato system in many years when, in the late 1970s, he experimented with "locking" nuts and bridges that prevent the guitar from losing tuning, fifty-fifty under heavy vibrato bar utilize.

Melody-o-matic with "strings through the body" construction (without stopbar)

The fourth type of system employs string-through torso anchoring. The strings pass over the bridge saddles, and then through holes through the superlative of the guitar body to the back. The strings are typically anchored in place at the dorsum of the guitar by metal ferrules. Many believe this blueprint improves a guitar's sustain and timbre. A few examples of cord-through body guitars are the Fender Telecaster Thinline, the Fender Telecaster Deluxe, the B.C. Rich IT Warlock and Mockingbird, and the Schecter Omen 6 and 7 series.

Pickups [edit]

Pickups on a Fender Squier "Fat Strat" guitar—a "humbucker" pickup on the left and two single-coil pickups on the right.

Compared to an acoustic guitar, which has a hollow trunk, electric guitars make much less aural audio when their strings are plucked, so electric guitars are normally plugged into a guitar amplifier and speaker. When an electrical guitar is played, string movement produces a signal by generating (i.due east., inducing) a pocket-size electric electric current in the magnetic pickups, which are magnets wound with coils of very fine wire. The signal passes through the tone and volume circuits to the output jack, and through a cable to an amplifier.^[34] The electric current induced is proportional to such factors as cord density and the amount of movement over the pickups.

Because of their natural qualities, magnetic pickups tend to pick up ambience, usually unwanted electromagnetic interference or EMI.^[35] This mains hum results in a tone of l or 60 cycles per second depending on the powerline frequency of the local alternating current supply.

The resulting hum is particularly strong with single-scroll pickups. Double-coil or "humbucker" pickups were invented as a way to reduce or counter the sound, as they are designed to "cadet" (in the verb sense of oppose or resist) the hum, hence their name. The high combined inductance of the two coils besides leads to the richer, "fatter" tone associated with humbucking pickups.

Guitar necks [edit]

Roasted Maple guitar neck blanks with flame figure before shaping

Electric guitar necks vary in composition and shape. The chief metric of guitar necks is the calibration length, which is the vibrating length of the strings from nut to bridge. A typical Fender guitar uses a 25.v-inch (65 cm) scale length, while Gibson uses a 24.75-inch (62.9 cm) calibration length in their Les Paul. While the scale length of the Les Paul is often described equally 24.75 inches, it has varied through the years past as much every bit a half inch.^[36]

Frets are positioned proportionally to scale length—the shorter the scale length, the closer the fret spacing. Opinions vary regarding the effect of scale length on tone and experience. Pop opinion holds that longer scale length contributes to greater amplitude. Reports of playing experience are profoundly complicated by the many factors involved in this perception. String gauge and design, neck structure and relief, guitar setup, playing manner, and other factors contribute to the subjective impression of playability or feel.

Necks are described equally commodities-on, set-in, or cervix-through, depending on how they attach to the body. Ready-in necks are glued to the body at the factory. This is the traditional type of joint. Leo Fender pioneered bolt-on necks on electric guitars to facilitate easy aligning and replacement. Neck-through instruments extend the neck to the length of the instrument and then that it forms the center of the trunk. While a set-in neck can be advisedly unglued by a skilled luthier, and a bolt-on neck can only be unscrewed, a neck-through design is difficult or even impossible to repair, depending on the damage. Historically, the commodities-on way has been more than popular for ease of installation and adjustment. Since bolt-on necks can be easily removed, there is an after-market in replacement bolt-on necks from companies such as Warmoth and Mighty Mite. Some instruments—notably most Gibson models—continue to use set-in glued necks. Neck-through bodies are somewhat more common in bass guitars.

Materials for necks are selected for dimensional stability and rigidity,^[37] and some criminate that they influence tone. Hardwoods are preferred, with maple, mahogany, and ash topping the listing. Today there are expensive and budget guitars exploring other options for breadboard forest for instance Pau-Ferro, both for availability and inexpensive prince while even so maintaining quality.^[38] Mahogany is more than common on expensive guitars. The neck and fingerboard tin be fabricated from different materials; for instance, a guitar may have a maple neck with a rosewood or ebony fingerboard. In the 1970s, designers began to use exotic homo-fabricated materials such equally aircraft-class aluminum, carbon cobweb, and ebonol. Makers known for these unusual materials include John Veleno, Travis Edible bean, Geoff Gould, and Alembic.

Aside from possible engineering advantages, some experience that with the ascent cost of rare tonewoods, man-fabricated materials may be economically preferable and more ecologically sensitive. Even so, wood remains pop in product instruments, though sometimes in conjunction with new materials. Vigier guitars, for example, use a wooden neck reinforced by embedding a light, carbon cobweb rod in place of the usual heavier steel bar or adaptable steel truss rod. After-marketplace necks made entirely from carbon cobweb fit existing bolt-on instruments. Few, if any, extensive formal investigations have been widely published that confirm or refute claims over the furnishings of different woods or materials on the electrical guitar sound.

A neck-through bass guitar

Several neck shapes appear on guitars, including shapes known equally C necks, U necks, and V necks. These refer to the cross-sectional shape of the neck (peculiarly almost the nut). Several sizes of fret wire are available, with traditional players often preferring thin frets, and metal shredders liking thick frets. Thin frets are considered ameliorate for playing chords, while thick frets permit pb guitarists to curve notes with less effort.

An electrical guitar with a folding neck called the "Foldaxe" was designed and built for Chet Atkins past Roger C. Field.^[39] Steinberger guitars developed a line of exotic, carbon fiber instruments without headstocks, with tuning done on the bridge instead.

Fingerboards vary as much every bit necks. The fingerboard surface usually has a cross-exclusive radius that is optimized to adapt finger motility for different playing techniques. Fingerboard radius typically ranges from almost flat (a very large radius) to radically arched (a small radius). The vintage Fender Telecaster, for example, has a typical minor radius of approximately seven.25 inches (eighteen.4 cm). Some manufacturers have experimented with fret profile and material, fret layout, number of frets, and modifications of the fingerboard surface for diverse reasons. Some innovations were intended to improve playability by ergonomic means, such as Warmoth Guitars' compound radius fingerboard. Scalloped fingerboards added enhanced microtonality during fast legato runs. Fanned frets intend to provide each cord with an optimal playing tension and enhanced musicality. Some guitars have no frets—and others, like the Gittler guitar, have no neck in the traditional sense.

Run across also [edit]

• List of electric guitar brands
• Bass guitar
• Bahian guitar
• Baloney (guitar)
• Effects pedal
• Electric pipa
• Electromagnetic induction
• Electronic tuner
• Guitar harmonics
• Guitar synthesizer
• Guitar amplifier
• Keytar
• List of guitars
• List of guitarists
• Pickup
• Sitarla
• Stars and Their Guitars: A History of the Electric Guitar (documentary film)
• Vintage guitar

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30. ^ ^{a b} Warmoth Custom Guitars, (retrieved sixteen Dec 2013)
31. ^ "What are the tonal differences on solid body guitars, between Alder, Ash, Poplar, Basswood, Mahogany and Maple? · Customer Self-Service". support.fender.com . Retrieved 18 March 2022.
32. ^ Hunter, Dave (2006). The Electric Guitar Sourcebook: How to Observe the Sounds Yous Similar (1. ed.). San Francisco: Backbeat. p. 20. ISBN0879308869.
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Sources [edit]

• Broadbent, Peter (1997). Charlie Christian: Solo Flight – The Seminal Electrical Guitarist. Ashley Mark Publishing Company. ISBNi-872639-56-9.

External links [edit]

• ON! The Beginnings of Electrical Sound Generation – an exhibit at the Museum of Making Music, National Clan of Music Merchants, Carlsbad, CA – some of the primeval electric guitars and their history, from the collection of Lynn Wheelwright and others
• King of Kays Vintage guitar's from America, Nihon, and Italy. Pictures, history, and forums.
• The Invention of the Electric Guitar – Online exhibition at the Smithsonian Institution'due south National Museum of American History

adamswituessarks.blogspot.com

Source: https://en.wikipedia.org/wiki/Electric_guitar