An electric guitar is a guitar that uses one or more pickups to change the vibration of the strings into electrical signals. Vibrations occur when the guitarist picks, picks, cuts off a finger, or taps a string. Pickup used to feel vibration generally uses electromagnetic induction to do so, although there are other technologies. In any case, the signal generated by the electric guitar is too weak to move the loudspeaker, so it is sent to the guitar amplifier before it is sent to the speaker, which converts it into audible sound.
Since the output of the electric guitar is an electrical signal, it can be changed electronically by to change the timbre of sound. Often, signals are modified using effects such as reverb and distortion and "overdrive", the latter effect being considered a key element of blues electric guitar music and rock guitar playing.
Created in 1931, an amplified electric guitar was adopted by a jazz guitarist, who wanted to play a single-note guitar solo in a large big band ensemble. Early supporters of electric guitars on record include Les Paul, Lonnie Johnson, Sister Rosetta Tharpe, T-Bone Walker, and Charlie Christian. During the 1950s and 1960s, electric guitars became the most important musical instrument in pop music. It has evolved into an instrument capable of having a lot of sound and style in genres ranging from pop and rock to country music, blues and jazz. It serves as a major component in the development of electric blues, rock and roll, rock music, heavy metal music and many other musical genres.
The design and construction of electric guitars vary greatly in body shape and configuration of the neck, bridge, and pickup. The guitar may have a fixed bridge or a spring hinged bridge that allows the player to "bend" the tone or chord notes up or down or engages in a vibrato effect. Guitar sounds can be modified with new playing techniques such as bending straps, tapping, hammering, using audio feedback, or playing a sliding guitar. There are several types of electric guitars, including solid-body guitars, various types of hollow-body guitars, six-string guitars (the most common type, usually tuned E, A, D, G, B, E, from lowest to highest strings), guitars seven strings, which usually add low B strings under low E, and twelve-stringed electric guitars, which have six pairs of strings.
Popular music and rock groups often use electric guitars in two roles: as a rhythm guitar, which plays a chord or progression sequence and riffs and sets the tap (as part of the rhythm section), and as the main guitar, used to perform instrumental melodic lines, melodic instrumental filling sections, and solos. In small groups, like a power trio, one guitarist switches between the two roles. In larger rock and metal bands, there are often rhythm guitarists and lead guitarists.
Video Electric guitar
History
Many experiments have electrically amplified the vibrations of stringed instruments made dating back to the early part of the 20th century. Patents from the 1910s show telephone transmitters adapted and placed inside the violin and banjo to amplify sound. The fans in the 1920s used a carbon button microphone attached to the bridge; However, the vibrations detected from the bridge over the instrument, producing a weak signal. With many people experimenting with electrical instruments in the 1920s and early 1930s, there were many prosecutors who became the first to discover electric guitars.
The electric guitar was originally designed by an acoustic guitar maker and instrument manufacturer. Some of the earliest electric guitars adapt the hollow-acoustic instruments and use the tungsten pickup. The reinforced electric guitar was first designed in 1931 by George Beauchamp, general manager of the National Guitar Corporation, with Paul Barth, who was vice president. The maple body prototype for a one-piece cast aluminum fryer was built by Harry Watson, supervisor of the National Guitar Corporation plant. Commercial production began in late summer 1932 by Ro-Pat-In Corporation (Company ro - Pat ent- In strument Company), at Los Angeles, the partnership of Beauchamp, Adolph Rickenbacker (originally Rickenbacher), and Paul Barth. In 1934, the company was renamed Rickenbacker Electro Stringed Instrument Company. That year Beauchamp filed a US patent application for the Stringed Instrument of Electric Instruments and the patent was issued in 1937.
In the early half of 1935, the Electro String Instrument Corporation had achieved mainstream success with Frying Pan's "Frying Pan" A-22 steel guitar, and set out to capture a new audience through its release of Electro -Spanish Model B > and Electro-Spanish Ken Roberts , which is the first full-scale 25-liter electric guitar to be produced. Electro-Spanish Ken Roberts gives players a full 25 "scale, with 17 frets free from the fretboard It is estimated that fewer than 50 Electro-Spanish Ken Roberts were built between 1933 and 1937; less than 10 are known to survive today.
The need for reinforced guitars becomes evident during the big band era as the orchestra gets bigger, especially when the acoustic guitar has to compete with the big and hard brass parts. The first electric guitar used in jazz is hollow archtop acoustic guitar bodies with electromagnetic transducers. Early electric guitar producers including 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 in 1936.
The solid-body electric guitar is made of solid wood, with no functional functional air chamber. The world's first solid-language standard guitar is offered by Vivi-Tone no later than 1934. This model features a guitar-shaped body of one sheet of plywood embedded in a wooden frame. Another early substantial Spanish electric guitar, called Electro Spanish, was marketed by Rickenbacker guitar company in 1935 and made of Bakelite. In 1936, the Slingerland company introduced a solid-body wood electric model, the Slingerland Songster 401 (and its steel coat, Songster 400).
The first Gibson production electric guitars, marketed in 1936, were ES-150 models ("ES" for "Electric Spanish", and "150" which reflected the $ 150 price of the instrument, along with suitable amplifiers). The ES-150 guitar features a single, hexagonal-shaped "bar" pickup, designed by Walt Fuller. This is known as the "Charlie Christian" pickup (named for the great jazz guitarist who was the first to appear with an ES-150 guitar). The ES-150 achieved some popularity but suffered from uneven violence in six strings.
Early recording of recorded electric guitar included Alvino Rey (Phil Spitalney Orchestra), Les Paul (Fred Waring Orchestra), Danny Stewart (Andy Iona Orchestra), George Barnes (under many aliases), Eddie Durham, Lonnie Johnson, Floyd Smith, Big Bill Broonzy, T-Bone Walker, George Van Eps, Charlie Christian (Benny Goodman Orchestra), Tampa Red, Memphis Minnie, and Arthur Crudup.
A solid-body functional electric guitar designed and built in 1940 by Les Paul of Epiphone Acoustic Archit. His "guitar log" (so called because it consists of a simple 4x4 wooden pole with a neck attached to it and pickup and homemade hardware, with two detachable Epiphone perforated parts attached to the side for appearance only) has no part in the design or hardware with solid-body Gibson Les Paul was introduced in 1952. However, the feedback associated with the hollow-bodied electric guitar was understood long before Paul's "log" was invented in 1940; Gage Brewer's Ro-Pat-In in 1932 has a highly reinforced top so it basically serves as a solid-body instrument. In 1945, Richard D. Bourgerie made an electric guitar pickup and amplifier for professional guitarist George Barnes. Bourgerie worked through World War II at Howard Radio Company, making electronic equipment for the American military. Barnes showed the results to Les Paul, who then arranged for Bourgerie to have one made for him.
Maps Electric guitar
Construction
The design and construction of electric guitars vary greatly in body shape and configuration of the neck, bridge, and pickup. However, some features exist on most guitars. The photo below shows the different parts of the electric guitar. Headstock (1) contains a metal machine head (1.1), which uses a worm gear for tuning. Nuts (1,4) - thin strips such as metal, plastic, graphite or bone - support the strings on the head of the instrument. The frets (2.3) are thin metal strips that stop the string on the correct pitch when the player pushes the string against the fingerboard. The frame shaft (1.2) is a metal rod (usually adjustable) that holds strain tension to keep the neck straight. The position marker (2.2) gives the player with a reference to the playing position on the fingerboard.
The neck and fretboard (2.1) extends from the body. On the neck joint (2.4), the neck is nailed or bolted to the body. Body (3) is usually made of wood with a hard finish and polymerized. The vibrating string in the magnetic field of the pickup (3.1, 3.2) generates an electric current in the pickup winding passing through the tone and volume control (3.8) to the output jack. Some guitars have a piezo pickup, on the side or as a replacement for magnetic pickup.
Some guitars have a fixed bridge (3.4). Others have a spring-hunged bridge called the vibrato bar , tremolo stem , or whammy bar , which allows players to bend notes or chords or descend into the field or do a vibrato decoration. A plastic pickguard on some guitars protects the body from scratches or covering the control cavity, which holds most of the wires. The extent to which the choice of wood and other materials in the body of a solid guitar (3) affects the sonic character of the debated amplified signals. Many believe this is very significant, while others think that the difference between wood is very smooth. In acoustic guitars and archtop, the choice of wood more clearly affects the tone.
Woods are commonly used in solid-body electric guitars including alder (brighter, but rounded), swamp ash (similar to alder, but with higher and higher higher), mahogany (dark, bassy, ​​warm) poplar (similar to alder), and basswood (very neutral). Maple, very bright wood, is also a popular body wood, but very heavy. For this reason it is often placed as a "cap" on a guitar made primarily of other wood. Less expensive guitars are often made of cheaper timber, such as plywood, pine or agathis - not true hardwoods - that can affect durability and tone. Although most guitars are made of wood, any material can be used. Materials such as plastic, metal, and even cardboard have been used in some instruments.
Output guitar jacks usually provide monaural signals. Many guitars with electronics actively use the jack with extra contacts that are normally used for stereo. These guitars use extra contacts to disconnect to the on-board battery to save battery life when the guitar is unplugged. This guitar requires a mono plug to close the internal switch and connect the battery to ground. The standard guitar wire uses a high impedance mono plug 1 / 4 inch (6.35 mm). It has a tip and arm configuration called a TS telephone connector. Voltage is usually about 1 to 9 millivolts.
Some guitars feature stereo output, such as the Rickenbacker guitar that comes with Rick-O-Sound . There are various ways the "stereo" effect can be applied. Generally, but not exclusively, the stereo guitar routes the neck and bridge pickup to separate the output bus on the guitar. The stereo cable then directs each pickup to the chain or the signal amplifier itself. For this application, the most popular plug is the high impedance plug 1 / 4 inch (6.35 mm) with the tip, ring and arm configuration , also known as a TRS telephone connector. Some studio instruments, especially certain Gibson Les Paul models, incorporate a three pin low impedance XLR connector for balanced audio. Many exotic settings and connectors exist that support features such as midi and hexaphonic pickups.
Bridges and tailpiece systems
Bridges and tailpieces, while serving a separate purpose, work together to influence the style of play and tone. There are four basic types of bridges and tailpiece systems on electric guitars. In these four types many variants.
Hard-tail
A hard-anchor guitar bridge hooks the strings on or just behind the bridge and securely fastened to the top of the instrument. These are common on carved guitars, such as Gibson Les Paul and Paul Reed Smith models, and on slab-body guitars, such as the Albert Man Music Man guitar and Fender which are not equipped with vibrato arms.
Floating Tailpiece
A floating floating or trapeze (similar to a violin) binds to the body at the base of the guitar. It appeared in Rickenbackers, Gretsches, Epiphones, various archtop guitars, especially the Jazz guitar, and 1952 Gibson Les Paul.
Vibrato arm
Photos are the tremolo arm or vibrato tailpiece bridge style and tailpiece system, often called the whammy bar or tram . It uses a lever ("vibrato arm") attached to a bridge that can temporarily loosen or tighten the strings to change the pitch. A player can use this to create vibrato or portamento effects. Early vibrato systems are often unreliable and make guitars out of sync with ease. They also have a limited pitch range. Then the Fender design is better, but Fender holds this patent, so other companies use the old design for years.
With the end of the Fender patent on the Stratocaster-style vibrato, various improvements to this type of internal multi-spring vibrato system are now available. Floyd Rose introduced one of the first improvements to the vibrato system over the years when, in the late 1970s, he experimented with "locking in" my nuts and bridges that prevented the guitar from losing its tuning, even under the heavy use of vibrato bars.
Body string-through
The fourth type of system uses a string-through body restraint. The strings pass through the saddle of the bridge, then through the hole through the top of the body of the guitar backward. The strings are usually anchored in place on the back of the guitar with metal ferrules. Many believe this design improves the continuity and timbre of the guitar. Some examples of body-string guitar strings are Thin Thiner Fender Telecaster, Fender Telecaster Deluxe, B.C. Rich IT Warlock and Mockingbird, and Schecter Omen 6 and 7 series.
Pickups
Compared with acoustic guitars, which have hollow bodies, electric guitars make sounds much less audible when their strings are unplugged, so the electric guitar is usually plugged into guitar and speaker amplifiers. When an electric guitar is played, string movements generate a signal by generating (ie, inducing) a small electric current in the magnetic pickup, which is magnetic wound with a very fine wire coil. The signal passes the tone and volume circuitry to the output jack, and through the cable to the amplifier. The induced current is proportional to factors such as string density and the amount of movement above the pickup.
Because in many cases it is desirable to isolate the wound coils from unwanted sounds from the internal vibrations of the loose winding rolls, the typically embedded guitar pickup or "pot" in wax, lacquer, or epoxy to prevent microphonic effects. Because of their natural inductive quality, all magnetic pickups tend to take on ambient, usually undesirable electromagnetic interference or EMI. The resulting hum is very strong with single-coil pickups, and this is exacerbated by the fact that many classical guitars are not protected from electromagnetic interference. The most common sources are hum 50- or 60-Hz of the power transmission system (home wiring, etc.). Since almost all amplifiers and audio equipment associated with an electric guitar must be plugged in, it is an ongoing technical challenge to reduce or eliminate unwanted drone.
Double-coil or "humbucker" pickups are created as a way to reduce or counteract unwanted ambient humming sounds (known as 60-cycle hum). Humbuckers have two magnetic polarity and opposite electric coils to produce differential signals. Electromagnetic sounds that affect both coils alike try to push the pickup signal in a positive direction on one winding and toward the negative on the other side, which cancels out the noise. The two coils are connected gradually, so their signals are complementary. The high combined inductance of these two scrolls leads to a richer and "fatter" tone associated with a humbucking pickup.
Piezoelectric pickups use "sandwich" quartz crystals or other piezoelectric materials, usually placed under a saddle of straps or nuts. This device responds to the pressure changes of all vibrations at these specific points.
The optical pickup is a type of pickup that senses the string and vibration of the body using infrared LED lights. This pickup is not sensitive to EMI.
Some "hybrid" electric guitars are equipped with additional microphones, piezoelectric, optical, or other transducer types to match the tone of the acoustic instrument and expand the sonic palette of the instrument.
Neck guitar
Electric guitar neck varies in composition and shape. The guitar neck's main metric is the long scale , which is the long vibrating string from the nut to the bridge. The typical Fender guitar uses a 25.5-inch (65 cm) length scale, while Gibson uses a 24.75-inch (62.9 cm) long scale on their Les Paul . While the long scale of Les Paul is often described as 24.75 inches, it has varied over the years by as much as half an inch.
Frets are positioned proportionately to the length scale - the shorter the scale, the closer the fret. Opinions vary about the effect of long scales on tone and nuance. Popular opinion suggests that longer length scales contribute to larger amplitudes. The play report feels very complicated by the many factors involved in this perception. Gauges and string design, neck and relief construction, guitar settings, play styles, and other factors contribute to a subjective impression of playback or taste.
The necks are described as bolt-on , set-in , or neck-through , depending on how they are attached to the body. The attached neck attaches to the body in the factory. They are said to have a warmer tone and are better preserved. This is a traditional connection type. Leo Fender pioneered the electric guitar neck to facilitate easy adjustment and replacement. The neck-through instrument extends the instrument's long neck, thus forming the center of the body, and is known for its long and very sturdy defending. While the attached neck can be carefully not restrained by a skilled luthier, and the attached neck can be removed, the neck-design is difficult or even impossible to repair, depending on the damage. Historically, the bolt-on style is more popular for easy installation and customization. Because the neck of the bolt can be easily removed, there is an after-market in the replacement neck bolts of companies such as Warmoth and Mighty Mite. Some instruments - especially most Gibson models - continue to use attached necks. The neck-through body is somewhat more common in bass guitar.
Materials for the neck are chosen for stability and dimensional stiffness, and some claim that they affect the tone. Hardwood is preferred, with maple, mahogany, and ash at the top of the list. Neck and fingerboard can be made from different materials; for example, a guitar may have a maple neck with a rosewood or ebony fingerboard. In the 1970s, designers began using exotic man made materials such as aircraft-grade aluminum, carbon fiber, and ebonol. The makers known for these unusual materials include John Veleno, Travis Bean, Geoff Gould, and Alembic.
In addition to possible engineering gains, some feel that due to the rising cost of rare wood tonic, man-made materials may be more economical and more ecologically sensitive. However, wood remains popular in the instrument of production, although sometimes simultaneously with new materials. Vigier guitars, for example, use a reinforced wooden neck by implanting a carbon fiber, light rod in place of a heavier heavy steel bar or adjustable truss steel bar. The after-market neck is made entirely of carbon fiber in accordance with existing bolt instruments. Few, if any, extensive official investigations have been widely published which confirm or disprove claims for the influence of various wood or materials on electric guitar sounds.
Some forms of the neck appear on the guitar, including a form known as the C neck, U neck, and V neck. This refers to the cross-sectional shape of the neck (especially near the nuts). Some restless wire sizes are available, with traditional players often preferring thinner frets, and metal shredders liking thick frets. Thin frets are considered better for playing chords, while thick frets allow the main guitarist to bend the note with little effort.
The electric guitar with a folding neck called "Foldaxe" was designed and built for Chet Atkins by Roger C. Field. Guitar Steinberger developed an exotic line, a carbon fiber instrument with no headstocks, with tuning done on the bridge instead.
Fingerboards vary as much as the neck. The fingerboard surface usually has a cross-sectional radius that is optimized to accommodate finger gestures for different playing techniques. Fingerboard fingers usually range from almost flat (very large radius) to curved radicals (small radius). The Vintage Fender Telecaster, for example, has a typical small finger about 7.25 inches (18.4 cm). Some manufacturers have experimented with fret and material profiles, fret layouts, fret counts, and surface fingerboard modifications for various reasons. Some innovations are intended to improve playback by ergonomic means, such as fingerboard radius compound combined Warmoth Guitars. Scalloped fingerboards add an increase in microtonality during a legato fast run. The foiled frets are meant to provide each string with optimal play tension and enhance musicality. Some guitars are not restless - and others, like Gittler's guitars, have no neck in the traditional sense.
Sound and effects
While the sound of an acoustic guitar relies heavily on the vibrations of the guitar body and the air inside it, the sound of an electric guitar is highly dependent on the signal from the pickup. The signal can be "shaped" in its path to the amplifier through various effects devices or circuits that change the tone and signal characteristics. Amplifiers and speakers also add color to the final sound.
The built-in voice is
Modern electric guitars generally have two or three magnetic pickups. The identical pickup produces a different tone depending on the location between the neck and the bridge. Pickup bridge produces a bright timbre or trebly, and the neck pickup is warmer or more bassy. The pickup type also affects the tone. Dual-coil pickup sounds warm, thick, maybe even muddy ; single-coil pickup sounds clear, bright, maybe even bite .
The guitar does not require any kind of uniform pickup: the general mix is ​​the Strat Strat arrangement of a dual-coil on the bridge and single-coil position in the middle and neck position, known as HSS (humbucker/single/single).
Some guitars have piezoelectric pickups in addition to electromagnetic pickups. Piezo pickups produce more acoustic sound. Piezo runs through an integrated equalizer (EQ) to increase the resemblance and control tone. A combination button controls the mixture between electromagnetic and piezoelectric sounds.
Where there is more than one pickup, the switch chooses between individual pickup outputs or multiple combinations; two pickup guitars have a three-way switch, and a three-pickup guitar has a five-way switch. Further circuits sometimes combine pickups in different ways. For example, a phase switch takes one pickup out of phase with another (s), leading to a "honky", "nasal", or "funky" sound . Each pickup can also change their timbre by switches, usually a coil coil switch that effectively shortens multiple rolls of a dual-coil hook to produce a tone similar to a single spindle pickup (usually done with push-pull volume knobs).
The final stage of the on-board sound-forming circuit is volume control (potentiometer) and tone control (low-pass filter that "scrolls" treble frequency). Where there are individual volume controls for different pickups, and where pickup signals can be combined, they will affect the final sound timbre by adjusting the balance between pickups from 50:50 straight.
Strings mounted on the guitar also have an effect on the tone. Rock musicians often prefer the lightest gauge of roundwound strings, which are easier to bend, while jazz musicians go for heavier strings, flatwound, which has rich and dark sound. Steel, nickel, and cobalt are common string materials, and each gives a slightly different tone color.
Guitar amplifier
The solid-body electric guitar does not produce enough sound for the audience to hear it in performance settings unless electronically amplified - plugged into an amplifier, mixing console, or PA.
The guitar amplifier design uses a different approach than amplifying amplifier power amplifier systems and home "hi-fi" stereo systems. Audio amplifiers are generally intended to accurately reproduce the source signal without adding unwanted tone (ie, they have a flat frequency response) or unwanted distortion. In contrast, most of the guitar amplifiers provide tonal color and overdrive or distortion of various types. The tonal color commonly sought by the guitarist is scrolling some high frequency.
Guitarists in several musical genres (eg, blues, rock) deliberately choose amplifiers or distorting effects units instead convert sounds to a certain level. This is actually not a new development in musical instruments or supporting devices, but a shift of aesthetics, such a sound is not considered before.
Guitar amplifiers generally incorporate at least some effects, the most basic of which is tone control for bass and treble. There may be some form of "overdrive" control, in which the preamplifier output is increased to the point where amplitude overloads the input of the power amplifier stage, causing clipping. In the 1970s, when the effect of the pedals mushroomed, their sounds were combined with amperage amp distortion at lower and controlled volumes by using power boosters, such as Tom Sool Power Scholz, as well as reinforced dummy loads, such as the use of Eddie Van Halen power resistors dummy-load, post-power-tube effects, and a final solid-state amplifier that drives the guitar speakers.
Among the first actual on-board effects are the tremolo system (sometimes labeled incorrectly and marketed as vibrato), or mechanical reverb spring units. In 2010, guitar amps often contain several effects, such as distortion, chorus, flanger, phaser, or octave shift.
The latest amplifiers may include digital technology similar to effect pedals, to the ability to model or mimic a variety of classic amplifiers. Some modeling systems also mimic the tonal characteristics of various speaker configurations, cabinets, and microphones. Almost all cabinet modeling and amps are done digitally, using computer techniques (eg, Digital Signal Processing or DSP circuits and software).
Effects unit
In 1960, the tone palette of the electric guitar was further modified by introducing an effect unit on the signal path, before the guitar amp, which was one of the earliest units of the fuzz pedal. Unit effects come in several formats, the most common is the "pedal" stompbox and rackmount units. The stomp box (or pedal) is a small metal or plastic box containing the circuit, which is placed on the floor in front of the musician and connected according to the patch cord that is connected to the instrument. This box is usually controlled by one or more on-off pedal switches and usually contains only one or two effects. Pedals are smaller than rackmount effects and are usually cheaper. "Guitar pedalboards" are used by musicians who use many stomp-boxes; this may be a DIY project made with plywood or commercial stock or a custom-made pedalboard.
The rackmount effects unit may contain electronic circuits that are almost identical to stompbox-based effects, but are mounted on a standard 19 "standard equipment rack, which is usually installed in road cases designed to protect equipment during transport.Recently, due to continuous signal processing technology, the rack mounted effects units often contain several types of effects, usually controlled by buttons or switches on the front panel, and often by the MIDI digital control interface.
Typical effects include:
- Effects such as stereo choruses, phasers and flangers, which shift the pitch of signals with small and varied numbers, create a spinning, shimmering and whizzing sound
- Effects such as octavers, which replace the pitch with the right music interval
- Distortion, like a transistor-style fuzz, combines effects, mimics hollow tube distortion or overdrive
- Filter, like wah-wah
- Forming envelopes, such as compression/hold or volume/swell
- Time-shift effects, such as delay and reverb
Digital-based effects and software
A multi-effect device (also called a "multi-FX" device) is a single electronic instrument pedal or a rack-mounted device that contains many electronic effects. In the late 1990s and throughout the 2000s, multi-FX manufacturers such as Zoom and Korg produced more feature-loaded devices. Multi-FX devices combine several effects together, and most devices allow users to use a combination of predefined effects, including distortion, chorus, reverb, compression, and so on. This allows musicians to have quick access on stage to various combinations of effects. Some multi-FX pedals contain a version of the famous pedal or amplifier model.
Multi-effect devices have collected most of the securities market, as they offer users a wide range of effects in a single package. A low-priced multi-effect pedal can provide 20 or more effects for the price of a single regular pedal effect. More expensive multi-effect pedals may include 40 or more effects, amplifier modeling, and the ability to combine effects or sound amps that are modeled in different combinations, as if the user were using multiple guitar amps. More expensive multi-effects pedals can also include more input and output jacks (eg additional input or "dry" output), MIDI input and output, and expression pedals, which can control the volume or modify the effect parameters (eg, rotary is simulated).
In the 1980s and 1990s, software effects became able to replicate the analog effects used in the past. This new digital effect tries to model the sounds produced by analog effects and tube amps, with varying degrees of quality. There are many free guitar effects guitar programs that can be downloaded from the Internet. Now, computers with sound cards can be used as digital guitar effect processors. Although digital effects and software offer many advantages, many guitarists still use analog effects.
Synthesizer and digital guitar
Playing techniques
The sound of the guitar not only can be adapted by electronic sound effects but also greatly influenced by various new techniques developed or become possible in combination with electrical amplification. This is called additional technique.
The extended techniques include:
- Bundle the rope. It's not unique to electrical instruments, but is greatly facilitated by the string of light that is usually used on solid-body guitars.
- The curvature of the neck, holding the upper arm on the body of the guitar and bending the neck forward or pulling it back. This is used instead of the tremolo bar, though ineffective, and the use of too much force can break the neck of the guitar.
- The use of a vibrato bar (whammy bar or tremolo arm), including the extreme techniques of diving bombing. The tremolo arm varies the string voltage to raise or lower the tone. Instead of bending the individual notes, it lets players bend all the tones at once to sound lower or higher.
- Knock, where both hands are applied to the fretboard. Tapping can be done with one hand or two hands. This is an extended technique, run with one hand to press the strings against the fingerboard, resulting in a legato note. Tapping usually incorporates pull-offs or hammer-ons as well, where the fingers of the left hand play the sequence of notes in sync with the knocking hand.
- Hammering on the rope with restless hands.
- Pinch harmonics or artificial harmonics, sometimes called "squealies". This technique involves the addition of the edge of the thumb or the tip of the index finger on the hand picking into the usual shooting action, resulting in a high pitched sound.
- The volume swells, where the volume button is played repeatedly to create a sound like a violin. The same results can also be achieved through the use of external swell pedals, although knob techniques can improve showmanship and easily eliminate the need for other pedals.
- Use audio feedback to improve sustainability and change timbre. Feedback has become a striking characteristic of rock music, such as electric guitar players like Jeff Beck, Pete Townshend and Jimi Hendrix deliberately inducing feedback by holding their guitars close to the amplifiers. Lou Reed made his 1975 album Metal Machine Music entirely from a feedback loop that played at various speeds. Examples of good feedback can be heard in Jimi Hendrix's appearance "Can You See Me?" at the Monterey Pop Festival. All guitar solos are created using amplifier feedback.
- Another device change for the plectum, such as the cello bow (as the famous one used by Jimmy Page) and the e-bow, a device that uses electromagnetic feedback to vibrate strings without direct contact. Like feedback, this technique improves sustainability, brings harmonics, and alters acoustic envelopes.
- Sustainers are built into the guitar itself.
- Use of slides or bottlenecks. The term slide refers to the slide motion of the string, while the bottleneck refers to the material originally used for such slides: glass bottle neck. Instead of changing the pitch strings in the usual way (by pressing the strings against the fret), the slides are placed on a string to vary the length of the vibrating and thus the pitch. Slide can be moved along the string without lifting, creating a continuous transition in pitch.
- Sometimes the guitar is even adapted with additional modifications to change the sound, such as a prepared guitar and a 3rd bridge.
Other techniques, such as axial finger vibrato, pull-off, hammer-ons, palm muting, harmonics and tuning changes, are also used on classical and acoustic guitars. The damaged guitar is a genre involving a number of additional techniques.
Type
Solid-body
Unlike an acoustic guitar, a solid-body electric guitar does not have a vibrating soundboard to amplify the vibration of a string. In contrast, solid-body instruments rely on electric pickups and amplifiers (or amps) and speakers. The solid body ensures that the reinforced sound reproduces the vibration of the string itself, thereby avoiding the wolf tone and unwanted feedback associated with a reinforced acoustic guitar. These guitars are generally made of hardwood coated with hard polymers, often polyester or lacquers. In large production facilities, wood is stored for three to six months in a wood drying furnace before it is cut to form. Custom-built premium guitars are often made with older wood and hand-picked.
One of the first solid-body guitars was created by Les Paul. Gibson did not present the prototype of their Gibson Les Paul guitar to the public, as they did not believe the solid-body style would follow. Another early Spanish style guitar, resembling the Gibson Les Paul guitar a decade later, was developed in 1941 by O.W. Appleton, from Nogales, Arizona. Appleton made contact with Gibson and Fender but was unable to sell the idea behind his "App" guitar to one of the companies. In 1946, Merle Travis commissioned steel guitar maker Paul Bigsby to build it in Spanish-style electricity. Bigsby sent the guitar in 1948. The first mass-produced solid-body guitar was Fender Esquire and Fender Broadcaster (later Fender Telecaster), first made in 1948, five years after Les Paul made a prototype. Gibson Les Paul appeared shortly after competing with Broadcaster. Another famous solid-body design is the Fender Stratocaster, which was introduced in 1954 and became very popular among musicians in the 1960s and 1970s because of its broad tonal and ergonomics capabilities that are more comfortable than other models.
The history of Electric Guitars is summarized by Guitar World magazine, and the earliest electric guitars on their top 10 list are Ro-Pat-In Electro A-25 "Frying Pan" (1932) described as' the first fully functional Solider - the body's electric guitar will be produced and sold '. The latest electric guitars on this list are Ibanez Jem (1987) featuring '24 frets', 'very thin necks' and' designed to be the primary crusher '. Many 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 Frankenstein (1975), Paul Reed Smith Custom (1985) many of these guitars are 'successors' to earlier designs. The Electric Guitar design has finally become culturally and visually iconic, with various models selling the miniature version of a very popular electric guitar miniature model, for example Gibson SG used by Angus Young from the AC/DC group.
Chambered-body
Some strong guitars, such as Gibson Les Paul Supreme, PRS Singlecut, and Fender Telecaster Thinline, among others, are built with holes in the body. These hollows are specially designed to not interfere with critical bridges and string string points on solid bodies. In the case of Gibson and PRS, this is called the cubicle body. The motivation for this might be to lose weight, to achieve a semi-acoustic tone (see below) or both.
Semi-acoustic
The semi-acoustic guitar has a hollow body (similar to a solid-body guitar) and an electronic pickup mounted on the body. They work in a similar way to a solid-body electric guitar except that, because the hollow body also vibrates, the pickup changes the combination of the string and vibration of the body into electrical signals. While the guitar booths are made, such as a solid-body guitar, from a single wooden beam, a semi-acoustic guitar and a full-hollowbody made of thin sheet wood. They do not provide sufficient acoustic volume for live performances, but they can be used unplugged for quiet exercises. Semi-acoustics are noted for being able to give sweet, sad, or funky tones. They are used in many genres, including blues, funk, pop sixties, and indie rock. They generally have a cello-style earpiece. This can be blocked to prevent feedback, as in the famous B. B. Lucille King. Feedback can also be reduced by making it with a solid block in the middle of the voice box.
Full hollow body
Full hollow guitars have large, deep bodies made of glued together sheets, or "plates," of wood. They can often be played on the same volume as the acoustic guitar and therefore can be used unplugged on intimate performances. They qualify as electric guitars because they have been equipped with pickups. Historically, archtop guitar with retrofit pickup was one of the earliest electric guitars. This instrument originated during the Jazz Age, in the 1920s and 1930s, and is still considered the classic jazz guitar (dubbed "jazzbox"). Like a semi-acoustic guitar, they often have a f-shaped earpiece.
Having a humbucker pickup (sometimes just a neck pickup) and usually strung with weight, jazzboxes are noted for their rich warm tones. Variations with single-coil pickups, and sometimes with the Bigsby tremolo, have long been popular in the country and rockabilly; It has a clear tone more twisting, biting than classic jazz. The term archtop refers to construction methods that are subtly different from acoustic (or "folk" or "western" or "steel-string") guitars: the upper part is formed of medium thickness (1 inch (2.5 cm)) piece of wood, which is then carved into a thin dome shape (0.1 inches (0.25 cm)), while the conventional acoustic guitar has a thin, flat top.
Electric acoustics
Some steel string acoustic guitars are equipped with pure pickup as an alternative to using a separate microphone. They may also be equipped with piezoelectric pickups under the bridge, attached to bridge mounting plates, or with low-mass microphones (usually condenser microphones) inside the body of the guitar that convert the vibrations in the body into electronic signals. The combination of this type of pickup can be used, with integral mixer/preamp/graphic equalizer. The instrument is called an electric acoustic guitar. They are regarded as acoustic guitars rather than electric guitars, because pickups do not generate signals directly from the vibration of the strings, but rather from the vibrations of the top of the guitar or body.
The electric acoustic guitar should not be equated with a semi-acoustic guitar, which has pickups of a kind found on solid-body electric guitars, or solid-body hybrid guitars with piezoelectric pickups.
Strings, bridges, and neck variants
One-string
One string guitar is also known as Unitar. Though rare, one-string guitar is sometimes heard, especially in Delta blues, where popular folk improvised instruments in the 1930s and 1940s. Eddie "One String" Jones has some regional success. Mississippi blues musician, Lonnie Pitchford plays a similar homemade instrument. In a more contemporary style, Little Willie Joe, the inventor of Unitar, has an instrumental rhythm and rhythm in the 1950s with "Twitchy", recorded with the Rene Hall Orchestra.
Four-string
The four-string guitar is better known as the tenor guitar. One of the most famous players is Tiny Grimes, who plays on 52nd Street with the beboppers and plays a leading role in Prestige Blues Swingers. Multi-instrumentalist Warren Ellis (musician) from Dirty Three and Nick Cave and the Bad Seeds are contemporary players who include tenor guitars in their repertoire.
The four-string guitar is usually set CGDA, but some players, such as Tiny Grimes, listen to DGBE to preserve the familiar 6-string chord guitar string. Tenor guitars can also be tuned like a soprano, concert, or tenure ukulele, using a GCEA tuning version.
Seven-string
Most seven string guitars add a low B string below the low E. Both electric and classical guitars have been designed for this tuning. A String high above E height and not a low B string is sometimes used. The other less common arrangement of seven arrangements is the second G string located next to the standard G string and set one octave higher, in the same way as the twelve-stringed guitar (see below). The jazz guitarist uses seven strings including George Van Eps, Lenny Breau, Bucky Pizzarelli and his son John Pizzarelli.
The seven-string electric guitar was popularized among rock players in the 1980s by Steve Vai. Together with Japanese guitar company Ibanez, Vai created the seven-series guitar of the universe in the 1980s, with a double locking tremolo system for seven-string guitar. These models are based on Vai's six-string signature series, Ibanez Jem. The Seven-string guitar experienced a revival of popularity in the 2000s, fought by Deftones, Limp Bizkit, Slayer, KoRn, Fear Factory, Young Lad Strapping, Nevermore, Muse and other hard rock and metal bands. Metal musicians often prefer the seven string guitar because of its lower reach. The seven-string guitar also plays an important role in progressive metal rock and is commonly used in bands like Dream Theater and Pain of Salvation and by experimental guitarists such as Ben Levin.
Eight and nine-string
The eight-stringed electric guitar is rare but not used. One played by Charlie Hunter, produced by Novax Guitars. The largest producer of eight to 14-string instruments is Warr Guitars. Their model is used by Trey Gunn (former King Crimson), which has its own signature line from the company. Similarly, MÃÆ'  ¥ rten HagstrÃÆ'¶m and Fredrik Thordendal of Meshuggah used an 8-string guitar made by Nevborn Guitars and now a guitar by Ibanez. Munky from NU metal band KoRn is also known to use seven string Ibanez guitars, and is rumored that he plans to release an eight-string K8 guitar similar to his seven-string K7 guitar. Another Ibanez player is Tosin Abasi, lead guitarist of progressive metal band Animals as Leaders, who uses Ibanez RG2228 to mix bright chords with very heavy heavy riffs on the seventh and eighth strings. Stephen Carpenter of Deftones also switched from seven strings to eight strings in 2008 and released his signature STEF B-8 with ESP Guitars. In 2008, Ibanez released Ibanez RG2228-GK, which is the first mass-produced eight-string guitar. Jethro Tull's first album uses a nine-string guitar. Bill Kelliher, guitarist for the heavy metal group Mastodon, worked with the First Act on a mass-produced nine-string guitar.
Ten-string
B.C. Rich produces six-six-six-string electric guitars, Bich, whose radical form positioned the engine head for four secondary strings to the body, avoiding the weight of many twelve-stringed electric guitar heads. However, many players buy it for body or electric shape and simply take off extra strings. The company recognizes this and released the Bich six-string model, the form now generally incorporated into their standard Warlock.
Twelve-string
Twelve-string electric guitars have six pairs of strings, usually with each pair tuned to the same tone. The extra E, A, D, and G strings add an octave note above, and extra B and E strings synchronously. The pair of strings are played together as one, so the technique and tuning are the same as the conventional guitar, but they create a fuller tone, with additional strings adding a natural chorus effect. They are used almost solely to play a part of harmony and rhythm, not for guitar solos. They are relatively common in folk rock music. Lead Belly is the best known folk artist with twelve-stringed guitar, usually acoustic with pickups.
George Harrison of The Beatles and Roger McGuinn of Byrds brought twelve electric strings to notability in rock and roll. During the first trip of The Beatles to the United States, in February 1964, Harrison received a new 360/12 guitar model from the company Rickenbacker, a twelve-string electric guitar that was made to look on stage like a sixth string. He started using 360 in the studio at Lennon "You Can not Do That" and other songs. McGuinn started using twelve-stringed electric guitars to create jangly sounds, the rings of Byrds. Both Jimmy Page, guitarists with Led Zeppelin, and Leo Kottke, a solo artist, are known as twelve-stringed guitar players.
Third bridge
The third bridge guitar is an electric guitar prepared with an additional, third bridge. This can be an ordinary guitar with, for example, a screwdriver placed under a string, or it could be a specially made instrument. Lee Ranaldo of Sonic Youth played with a third bridge.
Double-neck
The double-neck guitar (or, more rarely, "twin-neck") allows guitarists to play guitar and bass guitar, or more commonly, both string six and twelve strings. In the mid-1960s, one of the first players to use this type of guitar was Paul Revere & amp; guitarist Raiders, Drake Levin. Another early user is John McLaughlin. The double-neck guitar was popularized by Jimmy Page, who used custom made Gibson EDS-1275 to perform "Stairway to Heaven", "The Song Remains the same" and "The Rain Song", though for "Stairway to Heaven" he used Fender Telecaster and Fender XII electric twelve strings. Mike Rutherford of Genesis and Mike the Mechanics are also notable for using a double-neck guitar during live performances. Don Felder of the Eagles used the Gibson EDS-1275 during a tour of Hotel California. Muse guitarist and vocalist Matthew Bellamy used Manson's double-neck silver in his Resistance Tour band. Rush guitarist Alex Lifeson is also known to use double-neck guitar in live performances of several songs. In the "Xanadu" song performance during the R40's 2014 anniversary tour, Lifeson plays the Gibson EDS-1275 double-neck white guitar with a six-string and du-string neck, while bassist Geddy Lee performs with a double-string Rickenbacker guitar with four-string bass and guitar neck twelve strings.
Usage
Popular music
Popular music typically uses electric guitars in two roles: as a rhythm guitar to provide basic chord progressions and rhythms, and lead guitar that plays melodic lines, melodic instrumental filling sections, and solos. In some bands with two guitarists, both can play together, and exchange rhythms and lead roles. In a band with a single guitarist, the guitarist can switch between these roles, playing chords to accompany the lyrics of the singer, and the solo.
In the most commercially available and commercially available pop and rock genre, electric guitars tend to dominate their acoustic cousins ​​in recording studios and live venues, especially in "harder" genres such as heavy metal and hard rock. However acoustic guitars remain a popular choice in the country, western and especially bluegrass music, and it's widely used in folk music. Even metal guitarists and hard rocks play acoustic guitars for several ballads and MTV unplugged acoustic performances.
Jazz and other more complicated styles
The style of jazz guitar playing includes a guitar rhythm-style "comping" with jazz chord voicings (and in some cases, walking basslines) and "blowing" (improvising solo) over jazz chord progression with jazz-style phrases and ornaments. The accompanying style for electric guitars in most jazz styles is different from the way chordal instruments accompany in many popular music styles. In rock and pop, rhythm guitarists usually perform chords in solid and regular mode to determine the rhythm of a song. The simpler music tends to use chord voicings focused on the first, third, and fifth notes of the chord. Conversely, more complex pop music styles may blend periodic chords and subtle sounds into pauses in melody or solo. The sound of complex guitar chords often have no roots, especially in chords that have more than six tones. Such chords usually emphasize the third and seventh tones of the chord. This chord also often includes notes 9, 11 and 13 of chords, called extensions , or color notes .
When guitarists who play jazz and other more elaborate styles improvise, they use the scale, mode, and arpeggio associated with chord progressions. Must learn how to use scale (overall tone scale, chromatic scale, etc.) For solos through chord progressions. Solois tries to inspire the melodic phrase with a natural respiratory sense and legato phrase used by players from other instruments. Jazz guitarists are influenced by trumpets, saxophone, and other horn players. The Celtic fingerstyle player is influenced by pipes and violins.
Jazz guitarists usually play hollow-body instruments, but also use solid-body guitars. The Hollow-body instrument was the first guitar used in jazz in the 1930s and 1940s. During the era of jazz fusion of the 1970s, many jazz guitarists switched to a solid body guitar that dominated the rock world, using powerful guitar amps for volume.
Contemporary classical music
Until the 1950s, nylon carved classical guitars, acoustics are the only type of guitar favored by classical or artistic composers. In 1950 some contemporary classical composers began to use electric guitars in their compositions. Examples of such works include Luciano Berio's Nones (1954) Karlheinz Stockhausen Gruppen (1955-57); Donald Erb String Trio (1966), Morton Feldman Possibility of New Works for Electric Guitar (1966); George Crumb's Songs, Drones, and Refrains of Death (1968); Hans Werner Henze's Versuch ÃÆ'¼ber Schweine (1968); Francis Thorne Sonar Plexus (1968) and Liebesrock (1968-69), Michael Tippett's
In the 1970s, 1980s and 1990s, more and more composers (many of whom composers who grew up playing musical instruments in rock bands) began writing contemporary classical music for electric guitars. These include Frank Zappa, Shawn Lane, Steven Mackey, Nick Didkovsky, Scott Johnson, Lois V Vierk, Tim Brady, Tristan Murail, Brian May and Randall Woolf.
Yngwie Malmsteen released the Concerto Suite for Electric Guitar and Orchestra in 1998, and Steve Vai released a double-live CD titled Sound Theories, from his work with the Dutch Metropole Orchestra in June 2007. The American composer Rhys Chatham and Glenn Branca have written "symphonic" works for large electric guitar ensembles, in some cases totaling up to 100 players, and these instruments are core members of Bang at Can All-Stars (played by Mark Stewart). However, like many electric and electronic instruments, electric guitars remain mainly associated with rock and jazz, rather than with classical compositions and performances. R. Prasanna plays Indian classical music style (Carnatic music) on electric guitar.
In the 21st century, European avant-garde composers such as Richard Barrett, Fausto Romitelli, Peter Ablinger, Bernhard Lang, Claude Ledoux, and Karlheinz Essl have used electric guitars (along with expanded playing techniques) in solo works or ensemble works. Perhaps the most ambitious and perhaps significant work to date is Ingwe (2003-2009) by Georges Lentz (written for Australian guitarist Zane Banks), a 60-minute work for solo electric guitar, exploring the composer's existential fighting and taking instruments into a previously unknown realm in music concert settings.
Vietnamese traditional music
In Vietnam, electric guitars are often used as instruments in music c il il (traditional southern Vietnamese folk opera), sometimes as a substitute for certain traditional stringed instruments such as? ÃÆ' n nguy? T (harp two strings) when they are not available. Electric guitar used in c? I l ?? ng is played on a vibrato finger (flexible strap), without amplifier or sound effect.
See also
- List of electric guitar brands
- Bass guitar
- Bahian Guitar
- Distortion (guitar)
- Pedal effect
- Plumbing
- Electromagnetic induction
- Electronic setter
- Harmonic guitars
- Guitar synthesizer
- Guitar amplifier
- Keytar
- List of guitars
- Take
- Sitarla
- Their Stars and Guitars: The History of the Electric Guitar (documentary)
- Antique guitar
- Guitar portal
References
Source
- Broadbent, Peter (1997). Charlie Christian: Solo Flight - Seminal Electric Guitarist . Ashley Mark Publishing Company. ISBN: 1-872639-56-9.
External links
- ACTIVE! Early Generation of Electrical Sound - an exhibition at the Museum of Making Music, National Association of Music Merchants, Carlsbad, CA - some of the earliest electric guitars and their history, from the Lynn Wheelwright collection and others
- King of Kays Vintage guitars from America, Japan, and Italy. Pictures, history, and forums.
- The invention of the Electric Guitar - The online exhibition at the Smithsonian Museum of American History National Museum
Source of the article : Wikipedia
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