A Brief History of Jackson Guitars

History OF Jackson Guitars

First years Grover Jackson obtained ownership of Charvel's Guitar Repair of Glendora, California in the 1970s with the promise of boosting Charvel's business. Wayne Charvel finally sold his interest to Grover Jackson on November 10, 1978, which gave Jackson control of the business and the name of Charvel. 

 Jackson Guitars originated in 1980 when guitarist Randy Rhoads approached the company with the idea of an individualized guitar. The collaborative design effort between Rhoads, Grover Jackson, Tim Wilson and Mike Shannon resulted in the creation of the Concorde, an innovative renovation of the traditional Flying V. 

 The designs of the Rhoads guitar model were an exception to the models based on Charvel's Stratocaster that Jackson chose to label them with his own name. Throughout the heyday of heavy metal in the 1980s, the Jackson brand was associated with high-quality custom instruments made in the United States, and was endorsed by many popular guitarists of the time. In addition to the original models of Randy Rhoads, the 1980s spawned Jackson's models with a distinctive design, such as the Soloist, King V, Kelly and the Dinky, all of which remain icons of the brand.

 The 1990s brought changes in musical trends. While they continued to produce high-end products manufactured in the United States, brands like Jackson began to produce cheap, Asian-made versions of their basic designs in an effort to make their products more accessible to low-income buyers. In the fall of 2002, Fender Musical Instruments Corporation purchased Jackson from IMC, the company that bought Jackson from Grover Jackson, and US operations. UU They moved to the Fender factory in Corona, California. Currently, Jackson and Charvel guitars from the Fender era are being produced in Corona's works. Fender still manufactures several low-end import lines. After several years of running a successful company that performs subcontracting work for many well-known guitar companies and extensive design consulting, Grover Jackson is now co-owner of a new guitar brand, GJ2 Guitars, in Orange County, California. His partner in this venture is former Fender vice president Jon Gold. Grover Jackson remains committed to guitars made in the USA. UU High quality.

Astonishing Fender Stratocaster facts you didn't know

1. Fender scoops on the Strat, including pickup and bridge configurations

. In addition to these design improvements, the new model had several new features that its predecessor, Telecaster, lacked. The Stratocaster came with three pickups (the Telecaster had two) and featured a bridge with a pitch change, a vibrato bar to bend strings, a key point in one of the first printed advertisements.

 2. When CBS bought Fender, the Strat changed, and not for the better, in the eyes of certain collectors.

 The sale of Fender to CBS in 1965 was followed by alterations in the guards of picking, contouring and finishing of the instruments, presumably to facilitate mass production. (There was also a redesign of the pegbox, which became larger to fit a larger Fender decal.) As a result, Strats before 1965 are generally more respected (and with higher prices) by collectors and enthusiasts than by fabricated ones. . during the CBS era, which lasted until 1985.

 3. Jimi Hendrix eclipsed everyone at the International Monterey Pop Music Festival of 1967 when his "Strat" set fire. 

 The Jimi Hendrix Experience was a relatively unknown act in the United States in mid-1967. But the band's profile was elevated after their performance on June 18, 1967, as part of the Monterey Pop Festival in California, full of stars. Towards the end of the group set, Hendrix threw light fluid into his Strat, lit a match and dropped it on the guitar, which he then hit on stage. Almost 45 years later, Jimi Hendrix's record company manager revealed that Hendrix had traded his Strat for a cheaper guitar, turning it on and uploading it to auction. Hendrix's intact Strat was sold at auction for £ 237,000. Fender's Hard Times From 1983 to 1985, Fender had to reduce the production costs of their guitars. They succeeded by removing a tone knob from the standard Stratocaster distribution and replacing it with a jack input. It worked and the mudguard still exists.

 4.Useless parts

 The first Strats had a chrome cover over the tremolo unit, similar to an ashtray Telecaster cover. The only purpose I can see for this is that it would prevent players from scratching their hands on string saddles. Unlike the Telecaster cover, which was intended to increase the magnetic field of the pickup, the Strat tremolo cover did not pass through any pickup and, therefore, could not increase its magnetic field.

 5. Influences of the country

 The Fender Stratocaster was originally made for country music. His unique coil pickups provided a "twangy" sound that was softer than a Telecaster, but not as fat and dark as a humbucker. In addition, Bill Carson, a well-known country guitarist, was crucial in the design of the Stratocaster. (The image on the right is Bill Carson's Stratocaster)

 6. The Stratocaster used by Eric Clapton to record "Layla" was a second-hand purchase.

 Eric Clapton found the Stratocaster finished in sunburst nicknamed "Brownie" in a London store in May 1967. Three years later, Clapton used this 1956 instrument to record the classic "Layla". The guitar is shown on the back cover of the song's album, Layla and other love songs of Derek and the Dominos. 

 

7. Fender Stratocaster was included in the theme of "American Icons" in May 2003 by Rolling Stone.

 The Strat, wrote senior editor David Fricke, is the "ultimate guitar" of rock 'n' roll ... a definitive package of sex and futurism in music itself. "Jeff Beck, Joe Perry of Aerosmith and Robbie Robertson of The Band were all praised by instrument.

 

 8. The small springs for stabilizing the tremolo

With many Strats you can find a small spring in the socket for the tremolo lever. The so-called tremolo springs are placed in the socket in front of the lever and serve to stabilize the tremolo arm. This is why the socket for new guitars is also sealed with a round sticker. Many guitarists overlook this small but useful accessory.

Origin Of Guitar

The word modern guitar, and its antecedents, has been applied to a wide variety of accordions since classical times and, as such, causes confusion. The English guitar, the German guitar and the French guitar were all adopted from the Spanish guitar, which comes from the Andalusian Arabic قيثارة (qitara) and the Latin cithara, which in turn comes from the ancient Greek κιθάρα (kithara)) . Many influences are cited as background of the modern guitar. Although the development of the first "guitars" is lost in the history of medieval Spain, two instruments are commonly cited as their most influential predecessors, the European lute and its cousin, the oud of four strings; the latter was taken to Iberia by the Moors in the eighth century. At least two instruments called "guitars" were in use in Spain in 1200: the Latin guitar and the so-called Moorish guitar. The Moorish guitar had a rounded back, a wide fretboard and several sound holes. The Latin guitar had a single sound hole and a narrower neck. In the fourteenth century, the qualifiers "moresca" or "morisca" and "latina" had been eliminated, and these two cordophones were simply called guitars. The Spanish vihuela, called in Italian the "viola da mano", an instrument similar to the guitar of the XV and XVI centuries, is widely considered as the most important influence on the development of the Baroque guitar. He had six courses (usually), lute tuning in quarters and a body similar to the guitar, although the first performances reveal an instrument with a sharply cut waist. It was also bigger than contemporary four-stroke guitars. In the sixteenth century, the construction of the vihuela had more in common with the modern guitar, with its curved ribs in one piece, than with the violins, and more like a larger version of contemporary four-stroke guitars. The vihuela enjoyed a relatively short period of popularity in Spain and Italy during a time dominated elsewhere in Europe by the lute; the last surviving music for the instrument appeared in 1576. Meanwhile, the five-stage baroque guitar, documented in Spain since the mid-sixteenth century, enjoyed popularity, especially in Spain, Italy and France from the late sixteenth century to the mid-eighteenth century. In Portugal, the word viola referred to the guitar, since the guitar meant the "Portuguese guitar", a variety of cittern. Guitars can be divided into two broad categories, acoustic and electric guitars. Within each of these categories, there are also other subcategories. For example, an electric guitar can be purchased in a six-string model (the most common model) or in seven-string or 12-string models.

Birth of the Gibson Les Paul Guitar

Origin of the Les Paul Guitar

 















In 1950, the ancestors of Fender Telecaster (Fender Esquire and Fender Broadcaster) were introduced to the music market and solid-body electric guitars became a public madness. In response to market demand, Gibson Guitar president Ted McCarty brought guitarist Les Paul to the company as an advisor. Les Paul was a respected innovator who had been experimenting with guitar design for years. He built by hand a solid body prototype called "The Log", often suggested as the first solid-body Spanish guitar ever built. "The Log" received its name from the block of pines that crosses the middle of the guitar, whose width and depth are a little more than the width of the fretboard; Conventional hollow guitar sides or "wings" were added to shape it. Although many other prototypes and solid body models of limited production from other manufacturers have emerged since then, it is known that in 1945-1946, Les Paul approached Gibson with the prototype "The Log", but his solid body design was rejected. In 1951, Paul, McCarty and his Gibson Guitar Corporation team began working on what would eventually become the Les Paul Model. The first prototypes are very similar to the final version. The new Les Paul guitar was going to be an expensive and well-made instrument according to Gibson's reputation at that time. Although the memories differ with respect to who contributed what design of Les Paul, it was far from being a replica of the Fender models of the rival guitar maker. In addition, Gibson president Ted McCarty stated that Gibson Guitar Corporation approached Les Paul for the right to print the musician's name on the pegbox with the intention of increasing sales; In 1951, Gibson presented Paul with an almost finished instrument for approval. Subsequently, McCarty claimed that the design discussions with Les Paul were limited to the tailpiece and the adjustment of a maple top over the mahogany body for greater density and sustain, which Les Paul had requested to reverse. However, this investment would have caused the guitar to become too heavy, and Paul's request was rejected. Paul states that the original Customs should have had the maple top and that the Goldtop should be all mahogany. Customs did not appear in the market for another two years after the introduction of Goldtop; it is possible that Gibson has planned a complete range of guitars (with a deployment over the course of several years) at the time the initial specifications were established. Les Paul's contributions to the guitar line that bears his name were more than cosmetic, but they certainly included them. For example, Paul specified that the guitar would be offered in a golden finish, not only for ostentation, but to emphasize the high quality of the Gibson Les Paul instrument. [Les Paul's later models included flamed maple (tiger stripes) and "quilted" maple tops, once again in contrast to the rival range of custom colors of the Fender line. The 1952 Les Pauls featured two P-90 single-coil pickups and a one-piece trapeze bridge / tailpiece with ropes installed below (instead of above) a steel stop bar. The guitar made its public debut when Paul used it on stage in June 1952, at the Paramount Theater in New York. On July 24, 1952, at a special music clinic at the Waldorf-Astoria Hotel, she was spotted by prominent guitarists such as Tiger Haynes, George Barnes, Mundell Lowe, Tony Mottola and Billy Mure. The clinic preceded the annual NAMM Show that was held at the New Yorker Hotel from July 27, where the guitar was first received by the general public at Gibson's exhibition in rooms 611 through 615. Mid 1950s (1953-1957)

Invention Of Electric Guitar

With the advance of technology, more sophisticated musical instruments were made, and during the twentieth century, reaching its peak in the 60s and 70s, the electric guitar became an institution for musicians and a battlefield among the great guitarists of the time. Les Paul, Duane Eddy, Keith Richards, Eric Clapton, Slash, Van Halen and Yngwie Malmsteen attracted legions of worshiping followers. The endless debate of electric guitar ("Who is the best?") Is part of pop culture, and the two main contenders, Jimi Hendrix and Jimmy Page, are legendary figures in the world of rock n 'roll. We will begin by answering these questions by discrediting a common mistake. Many people think that Les Paul was the inventor of the electric guitar, but it was not. The credit for this is owed to George Beauchamp, musician, and Adolph Rickenbacker, an electrical engineer, who are legitimately considered the people who created the first commercially viable modern amplifiable electric guitar. Others had tried this before, such as using carbon button microphones (as in old phones) connected to the bridge of the guitar, but Beauchamp and Rickenbacker were the first to actually achieve the electrically amplified guitar with sound quality good enough to use it. in a professional music environment. But let's take a closer look at its history. The need for an electric guitar arose because the classical guitar was too quiet to contribute to the music produced by a band in many environments. This problem particularly began to be evident in the music of the concert hall of the 1880s. Later, the Big Bands of the 1920s got their power and swing from drums and brass, so the acoustic guitar it became a second-level instrument, producing melodies that not even the musicians of the band could hear in many cases. The need for an innovation for the guitar was obvious. George Beauchamp, who designed the first raw electric guitar at home, played the Hawaiian guitar and, according to guitar historian Richard Smith, Hawaiian music as a genre was a key factor in the invention of the electric guitar. "You had the Hawaiian musicians," Smith said, "where ... the guitar was the instrument of the melody, so the real impulse to make the electric guitar come from the Hawaiian musicians." As mentioned, before this, jazz musicians and others tried to unite various things to hollow body wood guitars to amplify the sound with not so good results; then, the Hawaiian style lap guitar was electrified. Originally converted into high-stringed guitars ("steel") of hollow Spanish-style wooden guitars, these Hawaiian steel guitars (so called because they are played with a steel bar), are placed on the knees and are played horizontally, giving place to the term "lap guitars" or "lap steel guitars". Eventually, some were forged from brass, and were much louder than wood varieties. At the same time in the history that lap steel guitars began to be made of metal, electric amplification was becoming a reality. Beauchamp met Rickenbacker at Dopyera Brothers, a guitar maker in Los Angeles, and they agreed to work together on an electric guitar project. Adolph Rickenbacker was a pioneer in his field, a man who loved to experiment and dare with new things, such as founding The Rickenbacker International Corporation, a company whose sole purpose was to create and manufacture electric musical instruments. Beauchamp and Rickenbacker, after a lot of experiments, finally invented an electromagnetic device that picked up the vibrations of the strings of the guitar with great clarity. In short, the electromagnets convert these vibrations into an electrical signal, which is then amplified and reproduced through loudspeakers. In 1931, they installed these pads in a new model designed by Harry Watson, the aluminum steel guitar called "Frying Pan" because of its size and shape. The first commercial prototype was finally a reality. Manufacturing began in the summer of 1932 by the Ro-Pat-In Corporation, later renamed the Rickenbacker Electroscopic Instrument Company, with the "Frying Pan" the first commercially feasible electric guitar. From there, the earliest known public mention of an electrically enhanced guitar appeared in Wichita, Kansas in October 1932, in an article printed in the local newspaper, the Wichita Beacon. The musician Gage Brewer demonstrated to the press two of his recent purchases, a Hawaiian electric A-25 and a Spanish standard electric, two of the first electric guitars manufactured by Beauchamp. In the same month, the guitars played in a series of Halloween concerts. A humble beginning for an instrument that would quickly dominate the world of popular music.

What Is Guitar Tapping?

Tapping

 

 

 

 

 

 

 

 

 

 

 

 

Tapping is an extended technique, performed with any hand to 'play' the strings against the fretboard, thus producing legato notes. Tapping usually incorporates pull-offs or hammers. For example, a right-handed guitar player can press abruptly ("hammer") on twelve frets with the index finger of the right hand and, in the movement of removing that finger, pluck ("pull") the same string already pretended in the eighth fret with the little finger of his left hand. This finger will be removed in the same way, pulling the fifth fret. Therefore, the three notes (E, C and A) are reproduced in rapid succession with relative ease for the player. While tapping is most often observed on the electric guitar, it can be applied to almost any stringed instrument, and several instruments have been created specifically to use the method. The Bunker Touch-Guitar (developed by Dave Bunker in 1958) is designed for the technique, but with an elbow to hold the right arm in the conventional guitar position. The Chapman Stick (developed in the early 1970s by Emmett Chapman) is an instrument primarily designed for tapping, and is based on the method of two-handed tapping Free Hands invented by Chapman in 1969, where each hand approaches the fingerboard with fingers aligned parallel to the frets The Hamatar, Mobius Megatar, Box Guitar and Solene instruments were designed for the same method. The NS / Stick and Warr guitars are also designed to play, but not exclusively. The harpejji is a tapping instrument that is played on a stand, like a keyboard, with fingers typically parallel to the strings instead of perpendicular. All these instruments use string tensions less than a standard guitar, and little action to increase the sensitivity of the strings to a lighter tapping. Some guitarists may choose to play using the sharp edge of their beak instead of the fingers to produce a faster and more rigid burst of notes closer to that of the trill, with a technique known as tapping. Guitarist John "5" Lowery is known for using it, and has dubbed it "Spider-Tap". Techniques Hit with both hands Erik Mongrain, Canadian guitarist in 2007 using the use of two hands Emmett Chapman, the inventor of the Chapman Stick guitar using the Free Hands tapping method, 1969 Tapping can be used to play polyphonic and counterpoint music on a guitar, making eight (and even nine) fingers available as stops. For example, the right hand can alter the treble melody while the left hand plays an accompaniment. Therefore, it is possible to produce music written for a keyboard instrument, such as J.S. Inventions of two parts of Bach. The main disadvantage of the blows is a reduced range of timbre, and in fact it is common to use a compressor effect to make notes more similar in volume. As tapping produces a "clean tone" effect, and since the first note usually sounds louder (unwanted in music such as jazz), dynamics are a primary concern with this technique, although Stanley Jordan and many Sticks succeed in this genre. Depending on the orientation of the player's right hand, this method can produce varying degrees of success in the dynamics of form creation. The first experimenters with this idea, like Harry DeArmond, his pupil Jimmie Webster and Dave Bunker, held their right hand in a conventional orientation, with fingers parallel to the strings. This limits the type of musical lines that the right hand can touch. The Chapman method puts the fingers parallel to the frets. Hit with one hand The one-hand tapping, performed in conjunction with normal fingering by the contact hand, facilitates the construction of note intervals that would otherwise be impossible using only one hand. It is often used as a special effect during a single crushing. With the electric guitar, in this situation the output tone itself is usually saturated, although it is possible to play acoustically, and the disc serves as a boost to further amplify legato notes not picked up (and therefore, naturally weaker) ). The overall goal is to maintain fluency and synchronization between all the notes, especially when playing at speed, which may require a great practice to master. Threaded harmonics Tapped harmonics are produced by keeping a note with the left hand of a player and pressing twelve frets from that note with the player's right hand. Instead of hitting and removing with the right hand, the harmonics are produced by hitting the fret with a finger. This tapping method can be heard in the Van Halen songs "Women In Love" and "Dance the Night Away".

What is a metronome?

What is a metronome?

 
















Metronomes have been used by musicians for centuries, and it is known that numerous composers used metronomes, including Beethoven. Basically, a metronome is a device that maintains regular rhythms (or tics) to help the musician keep the rhythm or tempo of a song. Metronomes can be adjusted according to tempo, and they come in a variety of forms. Metronomes can be mechanical and manually adjusted, but there are also electronic metronomes and software programs that can turn your computer or MP3 player into a metronome. You can even download metronome apps on your phone or tablet. Whether a musician chooses an old metronome that can sit on a piano or a compact metronome to carry, the function of the device is always the same The use of a metronome presents numerous advantages. Metronomes measure beats per minute and can help musicians as a tool of practice, to learn beats and rhythms, and to develop a sense of rhythm. In addition, metronomes help to prevent music students from practicing incorrectly. Many musicians, especially beginner musicians, tend to concentrate on the notes and play them correctly. Many times, the rhythm or tempo is left behind or is less priority. Metronomes help students correctly practice a piece of music, so that they learn correctly from the beginning and avoid repeating or "learning" mistakes. In addition, metronomes can minimize frustration when a student reduces the speed of a beat to a practical rhythm, and then reboots the metronome once the piece is mastered. By setting a tempo for the musician, a metronome can also help the student through difficult passages, preventing the student from slowing down and losing the pace, or speed up to overcome a difficult patch. Metronomes can also help when several musicians collaborate on a piece, act as an orchestra conductor and keep the musicians together, playing consistently. Educators and parents also use metronomes to help children with learning differences, such as ADD or ADHD or to help older people to help them develop a sense of rhythm and time, or improve brain function and concentration . Finally, a metronome is useful to keep students focused and on the project at hand. It takes a lot of concentration to keep up with tics, or metronome rhythms, and that's one of the reasons why music teachers are likely to introduce their devices to their students. Many teachers believe that metronomes can help a student's musical development and improve concentration while improving the musical experience.