Rickenbacker Guitar.

Story of Rickenbacker Guitars.

      Rickenbacker guitars, the history of the electric guitar to pursue themselves. George Beauchamp and Adolph Rickenbacker worked for the first time since about 1931, the production and sale of the first real electric guitar.

      Beauchamp has long been experimenting with electric guitars, and varying degrees of success. For many years, tried everything to put his voice and guitar and turned to the public several attempts, the devices are placed on the guitar. Beauchamp, who was out on the table the knowledge and experience with electric guitars and a set of skills and Rickenbacker the money.

     Rickenbacker also brought his name, which is jointly Eddie Rickenbacker war hero in the region. Eddie was the ace of World War II and too little weight to give them a kick in a few instruments.

     Not that I needed a shock after of all add, was the first fully functional, electric guitars. His guitar, if all the necessary shock. These guitars were called in  the Lord, his appearance and the fact that he played in Hawaii, flat on his lap. Rickenbacker was unfortunately his new invention, a good team in a terrible economic situation.

     His guitar quickly copy and other companies and individuals. In 1950, Fender and Gibson guitars were released, which won a wide audience and popularity. the steel guitars no longer rare, and is not good, power should be condemned. Rickenbacker wanted to leave the company and sold it to FC Hall.

    Under his leadership, the company and its instruments are not dealt with in a different direction. They began the standard guitars, acoustic and electric models ready. Rickenbackers were recognized for their quality, durability and great sound famous.

     1960, when he saw the increased interest in Rickenbackers. How it works again and again in the music industry, you need a popular artist's tool and you have sold the belief in good faith.

Rickenbacker guitars u2019t% can not better apply to advertising as a group called The Beatles began to spray and play guitar when Rickenbacker ask.

     Today the company sells Rickenbacker 1960-versions of these models, and many of its old models of guitars and years. From Beatles to Tom Petty, Rick James, John Fogerty and many other great artists, Rickenbackers, popular was their businesses to create music.

     

      Fender, changes in the music industry for popularizing the electric guitar request. They developed a mass production guitar, practical and trendy, and involve the public in the study.

     But the story of the history of Rickenbacker guitars electric guitar itself. From the beginning, Mr. Frying day today in the latest edition of the classic and new models, has been since the beginning scene Rickenbacker electric guitar .

Fender Guitar.

The Story of Fender Guitar. 

      Fender Musical Instruments Corporation (FMIC) is the leading manufacturer of guitars, basses, amplifiers and related equipment in the world.

      During a long and glorious history that sees its beginnings in 1946, Fender has literally transformed the way of making music around the world and in all musical genres, from rock 'n roll to country western to jazz, rhythm and blues, country and many more. Everyone, from absolute beginners, hobbyists, as acclaimed artists have used at least once in their life, Fender instruments and amplifiers, and this company is not only a respected brand name in the field of musical instruments, but a real cultural icon. Legendary guitars as the Telecaster ® and Stratocaster ®, Precision Bass ®, and like the Jazz Bass ® models are universally recognized as the absolute reference in terms of design.

  

Leo Fender.

      Leo Fender in the '40s, brilliant inventor of the original Southern California, made some substantial changes to the amplified instruments, then traditional hollow-body, using a simple yet innovative solid-body design, especially for electric guitars. The next step was the realization of the construction process into a set of new tools.

Telecaster 1951

     In 1951 he introduced a prototype solid-body guitar, called the Telecaster ®. The Teler ®, as was often, and this instrument is still called, was the first solid-body electric guitar Spanish Style to be commercialized and mass produced.

      The same year, Fender introduced a revolutionary new invention, the low precision: it could be played like a guitar, and in addition had the keys, and then compared to the double bass, allowed execution much more "precise" (hence the name ) and pitch of the notes, and could be amplified, thus liberating bassists from the slavery of the bulky size and low volume bass and acoustic basses.

      These two historic instruments allowed the establishment of new bands and the advent of a revolution in the field of popular music, what we now refer to as the birth of the classic rock formations. Unlike the big-band popular in the period, the new Fender instruments made it possible to assemble small groups of musicians band small number of items that could still be heard perfectly!

Statocaster 1954

      The Stratocaster made its first appearance in 1954, incorporating many innovations stemming from the suggestions of professionals and musicians of the period, the infant staff and Leo Fender himself. With three single-coil pickup, offered more tonal possibilities, while the body's softly rounded guaranteed by a major executive comfort, and the double cutaway design made it finally possible effortless access to the latest keys.

      The most important innovation, however, was the addition of a vibrato (or "tremolo") bridge built in, this innovation was initially intended to let guitarists bend that could imitate the typical sound of guitar and lap steel Hawaiian guitar, sounds extremely popular among the country artists of that period.

      Nobody could imagine how the Stratocaster would revolutionize pop music! Virtually unchanged from the technical point of view, since 1954, the Stratocaster guitar is the most popular and historically influential of all time, and musicians of all levels continue to rely on its sound, its playability and versatility, today in all musical genres and styles.

      Leo Fender took advantage of the renewed push to introduce creative, in the next decade, a number of instruments that eventually would become the other "classics", including the Jazz Bass ®, Jaguar ® Jazzmaster ® and for guitars, and as the Twin Reverb ® amplifier.

      Because of poor health, Leo Fender was forced to sell the company to CBS in 1965, FMIC and subsequent decades saw a period of huge growth, although the lack of attention to the musicians and music by CBS soon became evident.

      To "re-invent" Fender, CBS was entrusted in 1981 to a new management; William Schultz became company president, with the support of William Mendello. Their five-year plan was based on increasing market share for the Fender brand, thanks to a substantial increase in the quality of products and a renewed investment in research and development.

      When CBS dropped the areas of business unrelated to the broadcast during the 80s, a group of employees and investors led by Schultz bought Fender from CBS in 1985. Finally reported that purchase the brand in the hands of a group of people with a project: design and build the best guitars and amplifiers best in the world!

Fender Broadcaster 1950

      The new Fender Musical Instruments Corporation (FMIC) is born without that was included in the sale or factory machinery. Among other things, FMIC purchased the brand, intellectual property and some shares of stock. Schultz and his colleagues, supported by a small group of loyal employees, dealers and suppliers (some of whom were holding since it was founded by Leo Fender) gave birth to the rebirth of an American icon.

      The new Fender is limited initially to import tools from foreign companies with proven ability to produce reliable, low-cost tools, but soon the need for a higher level of quality led to the construction of main factory in the United States, the Corona, California, in 1985. Subsequently, in 1987, a second factory, modern and avant-garde, was inaugurated in Ensenada, Mexico.

      Also in 1987, in the establishment of Corona, was born the new Custom Shop, with the aim of providing tools to professionals and amateurs dream: Fender has always given great weight to the policy of "open doors" to the professionals and their demands on time and rigorous, and so the Custom Shop has become known very quickly throughout the world as the "temple" of perfection in the realization liuteristica handmade guitars and basses. In 1991, FMIC has moved quarier general of the company in Scottsdale, Arizona: from there are coordinated operations management, marketing, advertising, sales and exports, both in the United States for satellite companies in England, France, Germany, Japan , Mexico, Netherlands, Spain and Sweden.

William Schultz retired in 2005, and since then has been CEO Bill Mendello.

       Since its founding, the group FMIC grown to become a world leader in the fields of construction and distribution of musical instruments. Manufactures and distributes everything guitarists and bassists need, instruments, amplifiers, strings and accessories, but also pro-audio products in the industry. Fender became the world leader in its industry by defining the sound of the music we hear today everywhere, constantly going to meet the needs of musicians, designing and manufacturing high quality tools and always ensuring a service to its reputation. With the advent of the 21st century, management of FMIC intends to maintain this leading position gained from the winning combination of business acumen and ... absolute love for music!

Gibson Guitar.

Story of Gibson Guitar.

       In the summer of 1894, Orville Gibson, born in 1856 in Châteaugay, NY, USA, you could certainly imagine the influence that its actions would have in the next century. In his small workshop of mandolins in Kalamazoo (Michigan, USA) began production of mandolins characterized by high quality and great design studio.

       The quest for excellence made it possible to OrvilleGibson's 

patent for his greatest innovation: a mandolin with a completely re-engineered design, simple to build and pleasing to the ear. This was the only patent filed by Orville, who died later in 1918.

      Load Lloyd, an accomplished mandolin player of the time, he joined Gibson in 1919, continuing the legacy of Orville: the concepts of curvature. These gave birth to the F-5 mandolin and guitar L-5, the first key instruments for the classic holes to "f". The L-5 was imposed in the music scene and became the first guitar to play a key role in the orchestra, often replaced, the tenor banjo. Loar left the company in 1924, after studying a prototype electric bass that was not well received by the management of Gibson and the public. Both were not ready for a revolution so important.

BB King.

      The Depression saw the company range from the toy market in the music market, where he introduced a new line of violins (the same that inspired Orville at the beginning) and a line of acoustic guitars economic.

L-5

     Until 1937 the problems facing the engineers Gibson was the volume: the solutions were basically designed to try to dominate the volume of other instruments, especially brass. For this reason, engineers widened the case of the L-5 in 1934, allowing it to compete in volume with other instruments. However, the revolution was just around the corner, and from that moment on, the guitar would have a role in the development of the magic music.

ES-150

    Just in 1937 it became part of the first Gibson catalog-electric Spanish guitar, the ES-150. Other companies were already producing electric guitars (see the history of electric guitar), but the ES-150 was the first commercially successful . The instrument was designed to be amplified by the magnetic pickup which was equipped. It was this feature that allowed Charlie Christian, Benny Goodman Sextet and guitarist of the Orchestra, to invent a completely new style, which featured a guitar undisputed star of the music. Perhaps Christian ignored him, but he was creating something that lasts to this day.

      The Second World War marked a turnaround for the company. The lack of wood prevented the production of Gibson guitars, but the company is dedicated to profitably supply of wooden parts for the war industry.

ES-175

     In 1946, the filming and production of musical instruments, thanks to growing demand, was already shaping the commercial success of the company. In 1948 he was hired Ted McCarty, a veteran of the music industry, which later became president of the company. In 1949 it was introduced the ES-175, an electric guitar that made history and is still available today.

Les Paul.

     McCarty knew that Fender Telecaster with her, she was attacking the market. For this reason he decided to create an electric guitar solid body that followed the lines of Gibson and his production design trends. He signed a contract with the guitarist Les Paul to give his name to the new guitar, Les Paul. Les was a technological pioneer and had already developed a concept of all solid-body craft of cutting in half an Epiphone and producing "The Log", the trunk, in 1941. However, the contribution he gave to the development of the Les Paul was minimal.

Guitar.

History of Guitars.

      Almost certainly the guitar was created within the Middle East, according to the representations of the second millennium BC Hittite and etymological theory that derives the word "guitar" from Sanskrit to mean "an instrument with four strings."

      However, we have virtually no information on its use and its characteristics until the mid-twelfth century, because of the preference given to the most noble lyre and harp by the Greeks and Romans.

      From the thirteenth century, the flourishing of culture and the birth of secular courtly figure of the wandering minstrel, the guitar comes from oblivion and is introduced in the higher cultural circles.

At this stage, the guitar keeps some similarities with the old instruments: small (the case does not exceed the width of the chest of the performer), how to play (right forearm supported and played with the pick), four strings.

      The lute, as the theorists would be originating in Persia and Mesopotamia, which origin is confirmed by the etymology of the word Arab AL'UD. Introduced by the Arabs in southern Italy and Spain, the lute is finally absorbed by European culture all'iniizio the fourteenth century, when it starts to have been supplied with eleven gut strings (a simple, five doubles, the "chorus"), keyboard divided in seven keys and cash from the bottom curved features maintained throughout the Renaissance period.

      In Spain, however, the lute is not able to spread among the non-Arab population, which perceives it as a means precisely "foreign." Has the most luck vihuela, an instrument similar to guitar, which has traditionally been inferred from fidicula Roman (but its origins remain somewhat obscure).

     Although the names and characteristics of these instruments are not yet well defined (the expressions vihuela, guitarra Latin guitarra morisca, lavish etc. are often used interchangeably), it is important to remember that, contrary to what they tell us our subsidiaries, guitar , lute and vihuela are three separate instruments, by origin, distribution, and evolution of the organic literature.

      Instead come from the guitar several popular tools in areas of "national" characteristics organological slightly different from each other: little guitar (Italy), Guist de Barbarie (France, with curved bottom),  guitar (even France) and gittern (England, hexagonal ) etc..

      Because of their ease of handling, these three instruments were highly appreciated by the medieval troubadours and singers, which is often appreciated the ability to instrumental performance, mainly based on improvisation - which is why we have practically no trace of the works of this period.

The Renaissance

      The literature written for guitar flourishes in the shadow of the lute and vihuela in the mid-sixteenth century, more precisely between 1546 and 1556.

Since knowledge of stringed instruments essential part of cultural education of gentlemen, the fledgling music publishing strives in the production of pamphlets and treatises on character education and printing of booklets specifically dedicated to "those who can not play" (one could say anything new under the sun, with all of today's methods to learn to play without the music theory ...).

The collections of music for stringed instruments since the beginning Intavolata make use of notation or tablature. It is simply a graphical representation of the strings of the instrument, a flow rate of 4 or 6 lines (depending on the number of choirs) on which are displayed each time you press the keys with the fingers of his left hand by numbers (and Italian tablature Spanish) or letters of the alphabet (French tablature). Above the door are the figures reported for the rhythmic musical notes, with the arms that progressively take on the meaning of the "joke" itself.

     String instruments are also freed from the role of simple "guides" through the development of a purely instrumental polyphonic language, exemplified by the shape of the imagination - as well as the improvement of dance music and secular music in general.

      Also, perhaps because of their continuous contact with the popular repertoire, guitarists before they sense the trend towards simplification of the theoretical geometry polyphonic, which bears the phasing out of the way and the adoption of elements and tonal harmony and logical recognized in practice, this intuition is made concrete instrumental in the development of chordal style in accompaniment to the melody, well before the theory of "basso continuo" (I know, is a step a little 'obscure: see it.wikipedia.org / wiki / Basso_continuo for clarification).

      As for literature, for a time the songs are related to the repertoire for guitar lute, being written by professionals of this instrument.

While music for lute are already being printed at the beginning of the century (see Francis Spinacino, Intabolatura de Laut, the first book, Venice, Petrucci, 1507) for guitar tracks have to wait until mid-century to learn the new dignity given by the diffusion written.

In addition to the exploratory (polyphonic pieces in imitation from which descend the Fugue), the collections also include several dances for the lute, which over time are organized in suites, or groups of three or four songs made up of complementary elements melodic and harmonic common.

      The foremost lute players of the time were Bossiniensis Franciscus ("Bosnian") and no doubt Francesco da Milano (1497-1543), author of a vast quantity of songs, published in collections with other authors such as Peter Paul Borra and Antonio Rotta; among other authors who contributed to svuluppo the "search" citio Joan Maria da Crema and Domenico Bianchini, called the "Lipstick", strongly influenced by the Venetian organ school (of which two sound pieces to the diploma, but will present them later).

In the second half of the century witnessed from Milan is collected by James Gorzanis (1557 - 1576ca), Puglia birth, became known as "leutonista of the magnificent city of Trieste," important for the development of the suite of dances varied, as well as its exploratory and fantasies.

      In Italy the only collection that includes Renaissance music for guitar (four patterns) is the 10th volume of the 'Opera entitled Contina. Intabolatura of lavish " of Melchior de Barberis, published in Venice in 1549.

      In Spain, the vihuela contribute to the development of a style more characteristic of the guitar style with frequent examples of stolen and variations. Major center of music production is Seville, a city of great artistic and economic activities. Printed here are the only two Spanish collections, including pieces for guitar: "Tres libros de musica .. para vihuela"(1546) of Alonso Mudarra (four patterns, Pavan, Roman-inspired folk) and "Paper de musica para vihuela intitulado Orphenica Lyra"(1554) of Miguel de Fuenllana (six fantasies and some songs together, in a more "elitist" and spiritual).

      The economic crisis of the second 500 and the centralization of power in the hands of King Philip II causing the decline of the Spanish noble class, so that leaves the important work of patronage that allowed the flourishing of literature vihuelistica, this process is accompanied the diffusion of the guitar in the lower layers of the population, which it seizes and makes the Spanish national instrument par excellence.

      In France, the love of the guitar is encouraged, inter alia, by the poetry of Pierre de Ronsard, who celebrates it, along with lute and lyre, the instrument as a symbol of antiquity, in contrast to the medieval tradition.

Surprisingly, compared to Italy and Spain, the amount of music for guitar, published in Paris by the publishers Le-Roy Ballard and Granjon-Fezandat between 1551 and 1559, the repertoire includes a wide variety of musical genres, from fantasy to the songs for voice and guitar, transcriptions of polyphonic works of Italian authors to the dances (often followed by changes and organize them in suite) both French and foreign.

Among the authors stand out: Adrien Le Roy (1520ca-1598), author and editor of four collections for guitar, Morlaye Guillaume , merchant of strings and lute, also the author of four volumes include both original compositions and transcriptions, and Simon Gorlier .

      The French musical production is stopped abruptly, however, around 1559, with the outbreak of the bloody conflict between Catholics and Huguenots and the spread of Calvinism, which hampers the musical activity of converts survivors (as the only acceptable art form by this current were psalms to be sung during services).

      Other collections devoted to the guitar are published in the Netherlands ("Selectissima .. guiterna ludenda carmina"Phalèse-Bell, 1570) and England, where the instrument is already appreciated at the time of Henry VIII and is also cultivated by his successors .

     However,polyphonic notation and style of music is still strongly affected the performance practice of the lute, which maintains its aura of nobility than the guitar, always somehow considered "folk instrument" and therefore inherently inferior.