134-402: Vestax Corporation was a Japanese musical instrument, turntable and audio equipment firm founded by Hidesato Shiino in 1977. The company started by designing and manufacturing electronic guitars . In the 1980s, Vestax produced multitrack recorders and later moved to making DJ mixers , professional turntables , CD players and signal processors . Debt troubles led to the company's bankruptcy at
268-493: A DJ to fade one source out while fading another source in at the same time. This is extremely useful when beatmatching two sources of audio (or more, where channels can be mapped to one of the two sides of the crossfader individually) such as phonograph records, compact discs or digital sources. The technique of crossfading is also used in audio engineering as a mixing technique, particularly with instrumental solos . A mix engineer will often record two or more takes of
402-479: A DJ mixer essentially functions like two faders connected side-by-side, but in opposite directions. A crossfader is typically mounted horizontally, so that the DJ can slide the fader from the extreme left (this provides 100% of sound source A) to the extreme right (this provides 100% of sound source B), move the fader to the middle (this is a 50/50 mix of sources A and B), or adjust the fader to any point in between. It allows
536-460: A MIDI transformation device and where more than one note can be assigned to a given pad (note) on the MIDI keyboard; velocity crossfading may be available. These types of crossfades (those that are based on note velocity) allow two (even more) samples to be assigned to one note or range of notes. This requires both a loud and soft sample; the reason for this is Timbre change. This type of crossfade
670-568: A digital signal processor (DSP). Analogue faders are found on mixing consoles. A fader can also be used as a control for a voltage controlled amplifier , which has the same effect on the sound as any other fader, but the audio signal does not pass through the fader itself. Digital faders are also referred to as virtual faders, since they can be viewed on the screen of a digital audio workstation . Modern high end digital mixers often feature "flying faders", faders with piezo-electric actuators attached; such faders can be multi-use and will jump to
804-466: A monaural signal. Many guitars with active electronics use a jack with an extra contact normally used for stereo . These guitars use the extra contact to break the ground connection to the on-board battery to preserve battery life when the guitar is unplugged. These guitars require a mono plug to close the internal switch and connect the battery to ground. Standard guitar cables use a high-impedance 1 ⁄ 4 inch (6.35 mm) mono plug. These have
938-400: A vibrato embellishment. A plastic pickguard on some guitars protects the body from scratches or covers the control cavity, which holds most of the wiring. The degree to which the choice of woods and other materials in the solid-guitar body (3) affects the sonic character of the amplified signal is disputed. Many believe it is highly significant, while others think the difference between woods
1072-525: A United States patent for an Electrical Stringed Musical Instrument and the patent was later issued in 1937. By the time it was patented, other manufacturers were already making their own electric guitar designs. Early electric guitar manufacturers include Rickenbacker in 1932; Dobro in 1933; National, AudioVox and Volu-tone in 1934; Vega , Epiphone (Electrophone and Electar), and Gibson in 1935 and many others by 1936. By early-mid 1935, Electro String Instrument Corporation had achieved success with
1206-590: A built-in system to electrically amplify their output without altering their tone as an alternative to using a separate microphone. The system may consist of piezoelectric pickups mounted under the bridge, or a low-mass microphone (usually a condenser mic) inside the body of the guitar that converts the vibrations in the body into electronic signals. Combinations of these types of pickups may be used, with an integral mixer/preamp/graphic equalizer. Such instruments are called electric acoustic guitars . They are regarded as acoustic guitars rather than electric guitars because
1340-404: A crossfade will result in a gradual reduction in the amount of the sample whose pitch is lower, and an increase will be found on the pitch that is higher. The longer a crossfade, the more likely a problem will occur. One also does not want the effect of the crossfade to be very prominent in the middle of the notes, since if different notes are between the edit point there will be a time when both of
1474-556: A crossfader that doubled as a L/R balance control or a crossfade between two inputs. When crossfading two signals that are being combined (mixed), the two fade curves can employ any of the shapes listed above (see #Shapes ), such as linear, exponential, S-curve, etc. When the goal is to have the perceived loudness of the combined mix signal stay fairly constant across the full range of the mix, special shapes must be used, called "equal power" (or "constant power") shapes. Equal power shapes are based on audio power principles, particularly
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#17328767916921608-403: A cumulative effect - when added together, this is what one wants. What is not desirable is when both sounds are moving in a different direction, since this can lead to cancelations. This leads to no sound on areas where the amplitudes cancel out one another; there will thus be silence in the middle of the crossfade. This occurrence is rare though since the parameters have to be the same. Commonly
1742-406: A fade-in can be used, but now it has to have a very short time of around 10ms. The fade time can always be adjusted by the engineer in order to locate the best time. It is important that the fade does not change the intelligibility or character of the sound too much. When the crossfade is longer than 10ms the standard linear fades are not always the best choice for music editing. A crossfader on
1876-412: A fade-out ending during performance. Holst stipulates that the women's choruses are "to be placed in an adjoining room, the door of which is to be left open until the last bar of the piece, when it is to be slowly and silently closed", and that the final bar (scored for choruses alone) is "to be repeated until the sound is lost in the distance". Although commonplace today, the effect bewitched audiences in
2010-576: A folding neck called the "Foldaxe" was designed and built for Chet Atkins by Roger C. Field . Steinberger guitars developed a line of exotic, carbon fiber instruments without headstocks, with tuning done on the bridge instead. Fingerboards vary as much as necks. The fingerboard surface usually has a cross-sectional radius that is optimized to accommodate finger movement for different playing techniques. Fingerboard radius typically ranges from nearly flat (a very large radius) to radically arched (a small radius). The vintage Fender Telecaster , for example, has
2144-428: A guitar amplifier and speaker. When an electric guitar is played, string movement produces a signal by generating (i.e., inducing ) a small electric current in the magnetic pickups, which are magnets wound with coils of very fine wire. The signal passes through the tone and volume circuits to the output jack, and through a cable to an amplifier . The current induced is proportional to such factors as string density and
2278-519: A hard, polymerized finish. Strings vibrating in the magnetic field of the pickups (3.1, 3.2) produce an electric current in the pickup winding that passes through the tone and volume controls (3.8) to the output jack. Some guitars have piezo pickups, in addition to or instead of magnetic pickups. Some guitars have a fixed bridge (3.4). Others have a spring-loaded hinged bridge called a vibrato bar , tremolo bar , or whammy bar , which lets players bend notes or chords up or down in pitch or perform
2412-535: A higher specification or lower cost, in sheer numbers sold they are still dwarfed by the various versions of the Technics SL-1200 & SL-1210 series. In 2006, Vestax moved into the burgeoning digital DJ market and released the VCI 100, an all-in-one DJ controller used to control digital DJ software. Its design of jog wheels and a mixer in a single compact frame sparked a revolution in digital DJ hardware, quickly becoming
2546-523: A junkyard in the Bronx. It was initially an on/off toggle switch from an old microphone that he transformed into a left/right switch which allowed him to switch from one turntable to another, thereby avoiding a break in the music. However the earliest commercial documented example was designed by Richard Wadman, one of the founders of the British company Citronic. It was called the model SMP101, made about 1977, and had
2680-417: A linear fade-in can be modeled as follows: where: Similarly, the level after applying a linear fade-out can be modeled as follows: Another type of curve is called the logarithmic ratio (also known as audio taper ), or an inverse-logarithmic ratio. This curve more closely matches human hearing, with finer control at lower levels, increasing dramatically past the 50% point. Since the perceived volume of
2814-434: A little over a month before "Eight Days a Week". More recently: "At the meta-song level, the prevalence of pre-taped sequences (for shops, pubs, parties, concert intervals, aircraft headsets) emphasizes the importance of flow . The effect on radio pop programme form [is] a stress on continuity achieved through the use of fades, voice-over links, twin-turntable mixing and connecting jingles." A fade can be constructed so that
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#17328767916922948-512: A narrated musical vignette with martial fife-and-drum that gets louder as it nears the listener, and quieter as it moves away . There are early examples that appear to bear no obvious relationship to movement. One is "Barkin' Dog" (1919) by the Ted Lewis Jazz Band. Another contender is "America" (1918), a patriotic piece by the chorus of evangelist Billy Sunday . By the early 1930s, longer songs were being put on both sides of records, with
3082-658: A neck-through design is difficult or even impossible to repair, depending on the damage. Historically, the bolt-on style has been more popular for ease of installation and adjustment. Since bolt-on necks can be easily removed, there is an after-market in replacement bolt-on necks from companies such as Warmoth and Mighty Mite. Some instruments—notably most Gibson models—continue to use set-in glued necks. Neck-through bodies are somewhat more common in bass guitars. Materials for necks are selected for dimensional stability and rigidity, and some allege that they influence tone. Hardwoods are preferred, with maple , mahogany , and ash topping
3216-449: A rapid fashion while simultaneously manipulating two or more record players (or other sound sources) to create scratching and develop beats. Club DJs in house music and techno use DJ mixers, two or more sound sources (two record players, two iPods, etc.) along with a skill called beatmatching (aligning the beats and tempos of two records) to make seamless dance mixes for dancers at raves , nightclubs and dance parties. Possibly
3350-455: A result the sum of the two fades will be below the maximum level of either. This is not applicable when the two sounds are on different levels and the crossfade time is long enough. In turn if the crossfade is short (for example on a single note) the dip of the volume in the middle of the crossfade can be quite noticeable. The level of the signal as a function of time, L ( t ) {\displaystyle L(t)} , after applying
3484-434: A rhythm guitarist and a lead guitarist. Many experiments with electrically amplifying the vibrations of a string instrument were made dating back to the early part of the 20th century. Patents from the 1910s show telephone transmitters were adapted and placed inside violins and banjos to amplify the sound. Hobbyists in the 1920s used carbon button microphones attached to the bridge ; however, these detected vibrations from
3618-416: A segue device does not seem obvious, though we certainly take it for granted today. It is possible that movies were an influence here. Fade-ins and fade-outs are often used as cinematic devices that begin and end scenes; film language that developed at the same time as these early recordings. The term fade-out itself is of cinematic origin, appearing in print around 1918. And jazz, a favorite of early records,
3752-423: A semi-acoustic tone (see below) or both. Semi-acoustic guitars have a hollow body similar to an acoustic guitar and electromagnetic pickups mounted directly into the body. They work in a similar way to solid-body electric guitars except that because the hollow body also vibrates, the pickups convert a combination of string and body vibration into an electrical signal. Many models, known as semi-hollow bodies, have
3886-418: A single block of wood, semi-acoustic guitar bodies are made from multiple pieces of wood in an archtop form, a method of construction different from the typical steel string acoustic guitar . The top is formed from a moderately thick piece of wood which is then carved into a thin outward-curving shape, whereas conventional acoustic guitars have a thin, flat top. Some steel-string acoustic guitars include
4020-570: A solid block running through the middle of the soundbox designed to reduce acoustic feedback. They do not provide enough acoustic volume for live performance, but they can be used unplugged for quiet practice. Semi-acoustic guitars are noted for being able to provide a sweet, plaintive, or funky tone. They are used in many genres, including jazz, blues, funk , sixties pop, and indie rock . They generally have cello-style F-shaped sound holes , which can be blocked off to further reduce feedback. Whereas chambered guitars are made, like solid-body guitars, from
4154-455: A sound has a logarithmic relationship with its level, the logarithmic fade sounds consistent and smooth over the whole duration of the fade. This makes this curve useful for fading standard pieces of music. It is best used on a long fade-out since the fade has a perceived linear nature. Also, a fade-out sounds very neutral when incorporated to parts of music with natural ambience. In crossfades, this type of curve sounds very natural. When this curve
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4288-465: A spoken or musical recording by fading out the sound goes back to the earliest days of recording. In the era of mechanical (pre-electrical) recording, this could only be achieved by either moving the sound source away from the recording horn, or by gradually reducing the volume at which the performer(s) were singing, playing or speaking. With the advent of electrical recording, smooth and controllable fadeout effects could be easily achieved by simply reducing
4422-419: A straight tone arm, which gave greater tracking force; useful for complex DJing maneuvers such as scratching or beat juggling. This has been adopted by virtually all other turntable manufacturers, with the exception of Technics. Some maintain however that the straight arm increases wear upon the record. This is based on the premise that the original 's' shaped tonearm is so designed as to naturally gravitate toward
4556-399: A tip and sleeve configuration referred to as a TS phone connector . The voltage is usually around 1 to 9 millivolts . A few guitars, such as Rickenbacker guitars equipped with Rick-O-Sound , feature stereo output. There are a variety of ways the "stereo" effect may be implemented. Commonly, but not exclusively, stereo guitars route the neck and bridge pickups to separate output buses on
4690-405: A top so heavily reinforced that it essentially functioned as a solid-body instrument. Unlike acoustic guitars, solid-body electric guitars have no vibrating soundboard to amplify string vibration. Instead, solid-body instruments depend on electric pickups, and an amplifier ("amp") and speaker . The solid body ensures that the amplified sound reproduces the string vibration alone, thus avoiding
4824-413: A track or slot. It is principally a variable resistance or potentiometer also called a ‘pot’. A contact can move from one end to another. As this movement takes place the resistance of the circuit can either increase or decrease. At one end the resistance of the scale is at 0 and at the other side it is infinite. A. Nisbett explains the fader law as follows in his book called The Sound studio:"The ‘law’ of
4958-667: A triple single-coil guitar. The history of electric guitars has been summarized by Guitar World magazine, and the earliest electric guitar on their top 10 list is the Ro-Pat-In Electro A-25 "Frying Pan" (1932) described as "The first-fully functioning solid-body electric guitar to be manufactured and sold". It was the first electric guitar used in a publicly promoted performance, performed by Gage Brewer in Wichita, Kansas in October 1932. The most recent electric guitar on this list
5092-590: A typical small radius of approximately 7.25 inches (18.4 cm). Some manufacturers have experimented with fret profile and material, fret layout, number of frets, and modifications of the fingerboard surface for various reasons. Some innovations were intended to improve playability by ergonomic means, such as Warmoth Guitars' compound radius fingerboard. Scalloped fingerboards added enhanced microtonality during fast legato runs. Fanned frets intend to provide each string with an optimal playing tension and enhanced musicality. Some guitars have no frets , while others, like
5226-448: A vocal or instrumental part and create a final version which is a composite of the best passages of these takes by crossfading between each track. In the perfect case, the crossfade would keep a constant output level, an important quality for a club DJ who is creating a seamless mix of dance tracks for dancers or a radio DJ seeking to avoid "dead air" (silence) between songs, an error that can cause listeners to change channels. However, there
5360-409: A way to reduce or counter the sound, as they are designed to "buck" (in the verb sense of oppose or resist ) the hum, hence their name. The high combined inductance of the two coils also leads to the richer, "fatter" tone associated with humbucking pickups. Electric guitar necks vary in composition and shape. The primary metric of guitar necks is the scale length , which is the vibrating length of
5494-409: A wood post with a neck attached and two hollow-body halves attached to the sides for appearance only — shares nothing in common for design or hardware with the solid-body Gibson Les Paul , designed by Ted McCarty and introduced in 1952. The feedback associated with amplified hollow-bodied electric guitars was understood long before Paul's "log" was created in 1940; Gage Brewer's Ro-Pat-In of 1932 had
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5628-410: Is a concern, then "equal gain" (or "constant gain") shapes should be used (which may be linear or curved) that are designed so the two curves always sum to 1. In the digital signal processing realm, the term "power curve" is often used to designate crossfade shapes, particularly for equal power shapes. A fader is any device used for fading, especially when it is a knob or button that slides along
5762-451: Is a very noticeable drop in volume. Also if the control can move from position 0 to 100, and the percentage of the signal that is allowed to pass equals the position of the control (i.e. 25% of the signal is allowed to pass when the control is 25% of the physical distance from the 0 point to the 100 point). At the midpoint of the fade the effect of a linear crossfade is that both the sounds are below half of their maximum perceived volume; and as
5896-421: Is also possible to apply different fade times to the out and in portions; which a standard crossfade would not allow you to apply. Appropriate fade-in time for a linear fade can be around 500ms; for the fade-out 500ms would also be affective. By having this longer fade it makes sure that everything is gentle as it gives the fade time to blend in and be less abrupt. To clear up plosive sounds created through vocals
6030-412: Is applied the perceived volume of the fade's midpoint is at about 50% of the maximum – when the two sections are summed the output volume is fairly constant. The exponential curve shape is in many ways the precise opposite of the logarithmic curves. The fade-in works as follows: it increases in volume slowly and then it shoots up very quickly at the end of the fade. The fade-out drops very quickly (from
6164-433: Is finished; one wants the overlapping parts to be as short as possible. If edit regions are not trimmed to a zero-crossing point one will get unwelcome pops in the middle. A sound at the lowest velocity can fade into a sound of a higher velocity, in the order of: first the first sound then the second. All possible without fading out the sounds that are already present. This in turn is a form of Layering that can be used in
6298-400: Is in progress, the stored representation of the previous scan will be compared to that of the fader's current position. If the fader's position has changed, the new position will be identified, thus resulting in a spurt of data. The console's computer will update the console's controls on playback. This will be done from memory at the same speed. The advantage of working with mix automation
6432-427: Is interesting since it has qualities that correlate with the previously mentioned curves. The level of the sound is 50% at the midpoint, but before and after the midpoint the shape is not linear. There are also two types of S-curves. Traditional S-curve fade-in has attributes of the exponential curve can be seen at the beginning; at the midpoint to the end it is more logarithmic in nature. A traditional S-curve fade-out:
6566-452: Is logarithmic from the beginning up to the midpoint, then its attributes are based on the exponential curve from the midpoint to the end. This is true for the situation in reverse as well (for both fade-in and fade-out). Crossfading S-curves works as follows; it diminishes the amount of time that both sounds are playing simultaneously. This ensures that the edits sound like a direct cut when the two edits meet - this adds an extra smoothness to
6700-545: Is made of solid wood, without functionally resonating air spaces. The first solid-body Spanish standard guitar was offered by Vivi-Tone no later than 1934. This model featured a guitar-shaped body of a single sheet of plywood affixed to a wood frame. Another early, substantially solid Spanish electric guitar, called the Electro Spanish, was marketed by the Rickenbacker guitar company in 1935 and made of Bakelite . By 1936,
6834-463: Is no standard on how this should be achieved. There are many software applications that feature virtual crossfades, for instance, burning -software for the recording of audio-CDs. Also many DAW's (Pro Tools, Logic exc.) have this function. Crossfade is normally found on samplers and usually based on velocity. The purpose of a cross-fade it to utilize a smooth changeover between two cut pieces of audio. Velocity crossfading can be incorporated through
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#17328767916926968-406: Is often used in two roles: as a rhythm guitar , which plays the chord sequences or progressions , and riffs , and sets the beat (as part of a rhythm section ); and as a lead guitar , which provides instrumental melody lines, melodic instrumental fill passages, and solos . In a small group, such as a power trio , one guitarist may switch between both roles; in larger groups there is often
7102-407: Is quite subtle depending on the proportion of the received note velocity value of the loud and soft sample. Crossfading usually involves the sounding of a combination of one or two sounds at the same time. Crossfades can either be applied to a piece of music in real time, or can be pre-calculated. While crossfading one does not want the second part of the fade to start playing before the first part
7236-644: Is send to the main output. When the mixer is equipped with VU meters , the PFL allows to visually monitor an audio source without hearing it and adjust its input gain. This pre-fade listen is valuable since it allows one to listen through headphones in order to hear what the pre-faded part sounds like, while the studio loudspeaker is being used to monitor the rest of the program. Pre-fade listen can also be used for talkback as well as to listen to channels before they have been faded. After-fade listen only gets its information later. The choice of listen or level will depend on
7370-418: Is subtle. In acoustic and archtop guitars, wood choices more clearly affect tone. Woods typically used in solid-body electric guitars include alder (brighter, but well rounded), swamp ash (similar to alder, but with more pronounced highs and lows), mahogany (dark, bassy, warm), poplar (similar to alder), and basswood (very neutral). Maple , a very bright tonewood , is also a popular body wood but
7504-405: Is that only one engineer can perform the job with minimal effort; it can be set up or recorded beforehand to make it even simpler. An example of this is when Ken Hamman installed linear faders that made it possible for him to alter several channels with one hand while mixing, thus he assumed an interactive role in the process of recording. This type of fader level adjustment is also called ‘riding’
7638-450: Is very heavy. For this reason, it is often placed as a "cap" on a guitar made primarily of another wood. Cheaper guitars are often made of cheaper woods, such as plywood , pine , or agathis —not true hardwoods—which can affect durability and tone. Though most guitars are made of wood, any material may be used. Materials such as plastic, metal, and even cardboard have been used in some instruments. The guitar output jack typically provides
7772-721: The Gibson SG used by Angus Young from the group AC/DC . Some otherwise solid-bodied guitars, such as the Gibson Les Paul Supreme, the PRS Singlecut, and the Fender Telecaster Thinline , are built with hollow chambers in the body. These chambers are designed to not interfere with the critical bridge and string anchor point on the solid body. In the case of Gibson and PRS, these are called chambered bodies . The motivation for this may be to reduce weight, to achieve
7906-526: The Gittler guitar , have no neck in the traditional sense. Crossfader In audio engineering , a fade is a gradual increase or decrease in the level of an audio signal . The term can also be used for film cinematography or theatre lighting in much the same way (see fade (filmmaking) and fade (lighting) ). In sound recording and reproduction a song may be gradually reduced to silence at its end ( fade-out ), or may gradually increase from silence at
8040-649: The Slingerland company introduced a wooden solid-body electric model, the Slingerland Songster 401 (and a lap steel counterpart, the Songster 400). Gibson's first production electric guitar, marketed in 1936, was the ES-150 model ("ES" for "Electric Spanish", and "150" reflecting the $ 150 price of the instrument, along with matching amplifier). The ES-150 guitar featured a single-coil, hexagonally shaped "bar" pickup, which
8174-420: The semi-acoustic and acoustic-electric guitars. Invented in 1932 by Johannes Isaac, the electric guitar was adopted by jazz guitar players, who wanted to play single-note guitar solos in large big band ensembles. Early proponents of the electric guitar on record include Les Paul , Eddie Durham , George Barnes , Lonnie Johnson , Sister Rosetta Tharpe , T-Bone Walker , and Charlie Christian . During
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#17328767916928308-409: The six-string guitar (the most common type), which is usually tuned E, A, D, G, B, E, from lowest to highest strings; the seven-string guitar , which typically adds a low B string below the low E; the eight-string guitar , which typically adds a low E or F# string below the low B; and the twelve-string guitar , which has six two-string courses similar to a mandolin . In rock, the electric guitar
8442-418: The wolf tones and unwanted feedback associated with amplified acoustic guitars. These guitars are generally made of hardwood covered with a hard polymer finish, often polyester or lacquer. In large production facilities, the wood is stored for three to six months in a wood-drying kiln before being cut to shape. Premium custom-built guitars are frequently made with much older , hand-selected wood. One of
8576-569: The "Frying Pan", and set out to capture a new audience through its release of the Electro-Spanish Model B and the Electro-Spanish Ken Roberts , which was the first full 25-inch scale electric guitar ever produced. The Electro-Spanish Ken Roberts was revolutionary for its time, providing players a full 25-inch scale, with easy access to 17 frets free of the body. Unlike other lap-steel electrified instruments produced during
8710-488: The 1950s and 1960s, the electric guitar became the most important instrument in popular music . It has evolved into an instrument that is capable of a multitude of sounds and styles in genres ranging from pop and rock to folk to country music , blues and jazz . It served as a major component in the development of electric blues , rock and roll , rock music , heavy metal music and many other genres of music. Electric guitar design and construction varies greatly in
8844-460: The 1993 NAMM Show , Vestax began talking to DJs (including DJ Shortkut , DJ Rhettmatic , and DJ Q-Bert ) about creating mixers which took some of the best features from previous models and catered to the emerging turntablism scene. The PMC-05 Pro was the first model which came out of these conversations. It was a major step forward for DJs competing in DJ battles. It had a smooth, quick cut crossfader which
8978-589: The Broadcaster. Another notable solid-body design is the Fender Stratocaster , which was introduced in 1954 and became extremely popular among musicians in the 1960s and 1970s for its wide tonal capabilities and more comfortable ergonomics than other models. Different styles of guitar have different pick-up styles, the main being 2 or 3 " single-coil " pick-ups or a double humbucker , with the Stratocaster being
9112-683: The PDX-2000mk2/2300mk2 for mainstream DJ use, and the PDX-2000mk2pro/PDX-2300pro with a new tonearm suspension system for increased skip resistance. In conjunction with DJ Qbert they have also released the QFO and QFO LE models. These turntables have built-in mixers, and a portable turntable/mixer In mid-October 2014, many websites reported a speculative piece investigating reports from the Japanese news source "Teikoku News Online", that Vestax
9246-474: The Vestax PMC-05FX and PMC-05 Trix mixers. These were simple mixers which were endorsed by famous DJs and had a stripped down layout. They had features (like a centered crossfader which was replaceable). They were also a small size which made juggling and other techniques easier. But they lacked some key features like a smooth crossfader, hamster switch, EQ controls, and an unobstructed crossfader area. During
9380-448: The amount of audio sent to the aux bus to remain unaffected by the individual track fader, thus not disturbing the stability of the feed that is being sent to the musicians. If a send mix is configured post -fader, then the level sent to the send mix follows changes to the main channel strip fader. This is useful for reverberation and other signal processor effects. An example of this is when an engineer would like to add some delay to
9514-449: The amount of movement over the pickups. Because of their natural qualities, magnetic pickups tend to pick up ambient, usually unwanted electromagnetic interference or EMI. This mains hum results in a tone of 50 or 60 cycles per second depending on the powerline frequency of the local alternating current supply. The resulting hum is particularly strong with single-coil pickups. Double-coil or " humbucker " pickups were invented as
9648-411: The audio. When applied it shortens the ambience. Also if the music requires an accelerating effect, this linear curve can also be applied. This type of fade is not very natural sounding. The principle of a linear crossfade is: at the beginning of the fade the perceived volume drops more quickly, one can see at the halfway point (in the middle of the crossfade) that the perceived volume drops below 50%. This
9782-616: The back of the guitar by metal ferrules . Many believe this design improves a guitar's sustain and timbre . A few examples of string-through body guitars are the Fender Telecaster Thinline , the Fender Telecaster Deluxe , the B.C. Rich IT Warlock and Mockingbird, and the Schecter Omen 6 and 7 series. Compared to an acoustic guitar, which has a hollow body, electric guitars make much less audible sound when their strings are plucked, so electric guitars are normally plugged into
9916-409: The beginning ( fade-in ). Fading-out can serve as a recording solution for pieces of music that contain no obvious ending. Quick fade-ins and -outs can also be used to change the characteristics of a sound, such as to soften the attack in vocal plosives and percussion sounds. Professional turntablists and DJs in hip hop music use faders on a DJ mixer , notably the horizontal crossfader , in
10050-576: The blueprint for most DJ controllers and helping to re-establish Vestax as a major player in the DJ market. The company has subsequently solidified this position by launching a highly respected range of DJ controllers from low-end consumer models to more highly specced pro versions such as the VCI-380 and VCI-400. In the 2010s Vestax focused on high-tech musical electronics, creating signal processors , DJ Mixers , professional turntables and CD players . The company also reduced its range of turntables, but kept
10184-418: The body at the base of the guitar. These appear on Rickenbackers , Gretsches , Epiphones , a wide variety of archtop guitars , particularly jazz guitars , and the 1952 Gibson Les Paul. Pictured is a tremolo arm or vibrato tailpiece - style bridge and tailpiece system, often called a whammy bar or trem . It uses a lever ("vibrato arm") attached to the bridge that can temporarily slacken or tighten
10318-430: The body. Set-in necks are glued to the body at the factory. This is the traditional type of joint. Leo Fender pioneered bolt-on necks on electric guitars to facilitate easy adjustment and replacement. Neck-through instruments extend the neck to the length of the instrument so that it forms the center of the body. While a set-in neck can be carefully unglued by a skilled luthier , and a bolt-on neck can simply be unscrewed,
10452-555: The bridge on top of the instrument, resulting in a weak signal. Electric guitars were originally designed by acoustic guitar makers and instrument manufacturers. The demand for amplified guitars began during the big band era; as orchestras increased in size, guitar players soon realized the necessity in guitar amplification and electrification. The first electric guitars used in jazz were hollow archtop acoustic guitar bodies with electromagnetic transducers . The first electrically amplified stringed instrument to be marketed commercially
10586-408: The center of the record. The straight arm will not do this, and so will theoretically drag more as the record rotates, wearing down the grooves. Vestax however have consistently denied this. For many years Vestax had been creating professional mobile DJ style mixers, but in the early 1990s they started creating mixers focusing on the developing Turntablism scene. Two of the first early attempts were
10720-546: The closer the fret spacing. Opinions vary regarding the effect of scale length on tone and feel. Popular opinion holds that longer scale length contributes to greater amplitude . Reports of playing feel are greatly complicated by the many factors involved in this perception. String gauge and design, neck construction and relief, guitar setup, playing style, and other factors contribute to the subjective impression of playability or feel. Necks are described as bolt-on , set-in , or neck-through , depending on how they attach to
10854-452: The correct position for a selected function or saved setting. Flying faders can be automated, so that when a timecode is presented to the equipment, the fader will move according to a previously performed path. Also called an automated fader, as it recalls the movement of the channel faders in time. A full-function automation system will continuously scan the console, many times per second, in order to incorporate new settings. While this scan
10988-399: The different parts of an electric guitar. The headstock (1) contains the metal machine heads (1.1), which use a worm gear for tuning. The nut (1.4)—a thin fret-like strip of metal, plastic, graphite, or bone—supports the strings at the headstock end of the instrument. The frets (2.3) are thin metal strips that stop the string at the correct pitch when the player pushes a string against
11122-461: The earliest example of a fade-out ending can be heard in Joseph Haydn 's Symphony No. 45 , nicknamed the "Farewell" Symphony on account of the fade-out ending. The symphony which was written in 1772 used this device as a way of courteously asking Haydn's patron Prince Nikolaus Esterházy , to whom the symphony was dedicated, to allow the musicians to return home after a longer than expected stay. This
11256-478: The edited regions. The second type of S-curve is more apt for longer crossfades, since they are smooth and have the ability to have both of the crossfades in the overall level; so that they are audible for as long as possible. There is a short period at the start of each of the crossfades where the outgoing sound drops toward 50% quickly (with the incoming sound rising just as fast to 50%). This acceleration of sound slows and both sounds will appear as if they are at
11390-538: The effects of different woods or materials on the electric guitar sound. Several neck shapes appear on guitars, including shapes known as C necks, U necks, and V necks. These refer to the cross-sectional shape of the neck (especially near the nut). Several sizes of fret wire are available, with traditional players often preferring thin frets, and metal shredders liking thick frets. Thin frets are considered better for playing chords, while thick frets allow lead guitarists to bend notes with less effort. An electric guitar with
11524-503: The end of 2014. The Vestax Corporation of Japan began in 1977 as a designer and manufacturer of electronic guitars . In the 1980s Vestax introduced a series of cassette -based multitracks , including the Vestax MR66 , to challenge established products from Fostex, Yamaha and Tascam 's portastudios. During the late 1990s Vestax launched a new flagship range of professional DJ turntables. The PDX models had higher specifications than
11658-430: The engineer requires one region to gradually fade into another on the same track, a crossfade would be more suitable. If however the two regions are on different tracks, fade-ins and fade-outs will be applied. A fade-out can be accomplished without letting the sound's distance increase, however this is also something it can do. The perceived distance increase can be attributed to a diminishing level of timbral detail, not
11792-400: The era before widespread recorded sound—after the initial 1918 run-through, Holst's daughter Imogen (in addition to watching the charwomen dancing in the aisles during "Jupiter") remarked that the ending was "unforgettable, with its hidden chorus of women's voices growing fainter and fainter ... until the imagination knew no difference between sound and silence". The technique of ending
11926-407: The exponential shape, will have a perceivable dip in the middle, which is very undesirable in music and vocals. This depends largely on the length of the crossfade, a long crossfade on ambient sounds can sound perfectly satisfactory (the dip can add a little breath to the music). Exponential crossfades (or a curve with a similar shape) have a smaller drop in the middle of the fade. The S-curve shape
12060-451: The fact that the power of an audio signal is proportional to the square of the amplitude. Many equal power shapes have the property that the midpoint of the mix provides an amplitude multiplier of 0.707 (square root of one half) for both signals. A variety of equal power shapes are available, and the optimal shape will generally depend on the amount of correlation between the two signals. An example pair of curves that keep power equal across
12194-421: The fade. A linear fade-in curve makes it sound as though the volume increases sharply at the beginning, and more gradually towards the end. The same principle applies on a fade-out where a gradual drop in volume can be perceived in the beginning, and the fade gets more abrupt towards the end. Because of the initial drop in perceived volume, the linear shape is ideal if there is a natural ambience or reverb present in
12328-432: The fader is near-logarithmic over much of its range, which means that a scale of decibels can be made linear (or close to it) over a working range of perhaps 60 dB. If the resistance were to increase according to the same law beyond this, it would be twice as long before reaching a point where the signal is negligible. But the range below -50 dB is of little practical use, so here the rate of fade increases rapidly to
12462-409: The fader. Many DJ equipment manufacturers offer different mixers for different purposes, with different fader styles, e.g., " scratching ", beatmixing, and cut mixing. High-priced mixers often have crossfade curve switches allowing the DJ to select the type of crossfade necessary. Experienced DJs are also able to crossfade between tracks using the channel faders. On a mixer with auxiliary send mixes,
12596-449: The final cut-off". A knob which rotates is usually not considered a fader, although it is electrically and functionally equivalent. Some small mixers use knobs rather than faders, as do a small number of DJ mixers designed for club DJs who are creating seamless mixes of songs. A fader can be either analogue , directly controlling the resistance or impedance to the source (e.g. a potentiometer ); or digital , numerically controlling
12730-420: The fingerboard. The truss rod (1.2) is a metal rod (usually adjustable) that counters the tension of the strings to keep the neck straight. Position markers (2.2) provide the player with a reference to the playing position on the fingerboard. The neck and fretboard (2.1) extend from the body. At the neck joint (2.4), the neck is either glued or bolted to the body. The body (3) is typically made of wood with
12864-432: The first improvements on the vibrato system in many years when, in the late 1970s, he experimented with "locking" nuts and bridges that prevent the guitar from losing tuning, even under heavy vibrato bar use. The fourth type of system employs string-through body anchoring. The strings pass over the bridge saddles, then through holes through the top of the guitar body to the back. The strings are typically anchored in place at
12998-432: The first solid-body guitars was invented by Les Paul . Gibson did not present their Gibson Les Paul guitar prototypes to the public, as they did not believe the solid-body style would catch on. Another early solid-body Spanish style guitar, resembling what would become Gibson's Les Paul guitar a decade later, was developed in 1941 by O.W. Appleton, of Nogales, Arizona. Appleton made contact with both Gibson and Fender but
13132-916: The guitar. A stereo cable then routes each pickup to its signal chain or amplifier. For these applications, the most popular connector is a high-impedance 1 ⁄ 4 inch (6.35 mm) plug with a tip, ring, and sleeve configuration, also known as a TRS phone connector . Some studio instruments, notably certain Gibson Les Paul models, incorporate a low- impedance three-pin XLR connector for balanced audio . Many exotic arrangements and connectors exist that support features such as midi and hexaphonic pickups. The bridge and tailpiece , while serving separate purposes, work closely together to affect playing style and tone. There are four basic types of bridge and tailpiece systems on electric guitars. Within these four types are many variants. A hard-tail guitar bridge anchors
13266-488: The input volume from the microphones using the fader on the mixing desk. The first experimental study on the effect of a fade-out showed that a version of a musical piece with fade-out in comparison to the same piece with a cold end prolonged the perceived duration by 2.4 seconds. This is called the "Pulse Continuity Phenomenon" and was measured by a tapping-along task to measure participants’ perception of pulsation. An 1894 78 rpm record called "The Spirit of '76" features
13400-649: The list. The neck and fingerboard can be made from different materials; for example, a guitar may have a maple neck with a rosewood or ebony fingerboard. Today there are expensive and budget guitars exploring other options for fretboard wood for instance Pau-Ferro , both for availability and cheap price while still maintaining quality. In the 1970s, designers began to use exotic human-made materials such as aircraft-grade aluminum , carbon fiber , and ebonol . Makers known for these unusual materials include John Veleno , Travis Bean , Geoff Gould , and Alembic . Aside from possible engineering advantages, some feel that with
13534-458: The maximum volume) and then declines slowly again over the duration of the fade. Simply stated a linear fade could thus be seen as an exaggerated version of an exponential fade in terms of the apparent volume. Thus the impression that would be gathered from an exponential curve's fade would sound as though the sound was rapidly accelerating towards the listener. Natural ambience can also be repressed by using an exponential fade-out. A crossfade, in
13668-419: The mix are m i x {\displaystyle {\sqrt {mix}}} and 1 − m i x {\displaystyle {\sqrt {1-mix}}} (where mix ranges from 0 to 1). Equal power shapes typically have the sum of their curves (in the middle of the mix range) exceeding the nominal maximum amplitude (1.0), which may produce clipping in some contexts. If that
13802-428: The mix. The same effect (as was created with velocity) can be applied to a controller. This allows continued monitored control; the crossfading function can also be controlled on some instruments by the keyboard position. These sounds on the MIDI keyboard can be programmed. A crossfade can either be used between two unrelated pieces of music or between two sounds that are similar; in both of these cases, one would like
13936-425: The motion of the control ( linear or rotary ) from its start to end points affects the level of the signal in a different manner at different points in its travel. If there are no overlapping regions on the same track, regular fade (pre-fade / post-fade) should be used. A smooth fade is one that changes according to the logarithmic scale, as faders are logarithmic over much of their working range of 30-40 dB. If
14070-423: The pickups do not produce a signal directly from the vibration of the strings, but rather from the vibration of the guitar top or body, and the amplification of the sound merely increases volume, not alters tone. Electric guitar design and construction vary greatly in the shape of the body and the configuration of the neck, bridge, and pickups. However, some features are present on most guitars. The photo below shows
14204-451: The piece fading out at the end of side one and fading back in at the beginning of side two. Records at the time held only about two to five minutes of music per side. The segue allowed for longer songs (such as Count Basie 's "Miss Thing"), symphonies and live concert recordings. However, shorter songs continued to use the fade-out for unclear reasons—for example, Fred Astaire 's movie theme "Flying Down to Rio" (1933). Even using fade-out as
14338-400: The rate at which the level change occurs over the length of the fade. Different types of preset fades shapes include linear, logarithmic, exponential and S-curve. The simplest of fade curves is the linear curve and it is normally the default fade. It takes a straight line and introduces a curve. This curve represents an equal degree by which the gain increases or decreases during the length of
14472-474: The result of a decreasing dynamic level. A listener's interest can be withdrawn from a sound that is faded at the lower end since the ear accepts a more prompt rounding off. The fade-in can be used as a device that separates the listener from the scene. An example of a mini fade out, of about a second or two, is a sustained bass note left to die down. The shape of a regular fade and a crossfade can be shaped by an audio engineer. Shape implies that you can change
14606-592: The rising cost of rare tonewoods , human-made materials may be economically preferable and more ecologically sensitive. However, wood remains popular in production instruments, though sometimes in conjunction with new materials. Vigier guitars , for example, use a wooden neck reinforced by embedding a light, carbon fiber rod in place of the usual heavier steel bar or adjustable steel truss rod. After-market necks made entirely from carbon fiber fit existing bolt-on instruments. Few, if any, extensive formal investigations have been widely published that confirm or refute claims over
14740-402: The same level for most of the crossfade (in the middle) before the changeover happens. DAW's gives one the ability to change the shape of logarithmic, exponential, and S-curve fades and crossfades. Changing the shape of a logarithmic fade will change how soon the sound will rise above 50%, and then how long it takes for the end of the fade-out to drop below 50% once again. With exponential fades
14874-454: The send mixes are configured pre -fader or post -fader. If a send mix is configured pre -fader, then changes to the main channel strip fader does not affect the send mix. In live sound reinforcement, this is useful for stage monitor mixes where changes in the Front of House channel levels would distract the musicians. In recording and post production, configuring a send to be pre -fader allows
15008-511: The shape change will affect the shape in reverse, to the shape of the logarithmic fade. In the S-curve's traditional form the shape determines how quickly the change can occur and in the type 2 curve the change can determine the time it takes for both the sounds to get to a nearly equal level. The level after applying an S-curve fade in can be modeled as follows: Similarly, the level after applying an S-curve fade out can be modeled as follows: It
15142-602: The shape of the body and the configuration of the neck, bridge, and pickups. Guitars may have a fixed bridge or a spring-loaded hinged bridge , which lets players "bend" the pitch of notes or chords up or down, or perform vibrato effects. The sound of an electric guitar can be modified by new playing techniques such as string bending , tapping , and hammering-on , using audio feedback , or slide guitar playing. There are several types of electric guitar. Early forms were hollow-body semi-acoustic guitars , while solid body guitars developed later. String configurations include
15276-552: The sound to be one continuous sound without any bumps. When applying a crossfade between two very different pieces of music (relating to both tone and pitch), one could simply use a crossfade between the two pieces, make a few minor adjustments. This is because the two sounds are different from one another. In the case of a crossfade between two sounds, that are similar, phase-cancellation can become an issue. The two sounds that are crossfaded should be brought into comparison with one another. If both sounds are moving upward they will have
15410-430: The sounds can be heard simultaneously. This overlapping is not expected from a normal singing voice, no reference to Overtone singing . While DJ pioneers such as Francis Grasso had used basic faders to transition between two records as far back as the late 1960s, they typically had separate faders for each channel. Grandmaster Flash is often credited with the invention of the first crossfader by sourcing parts from
15544-522: The strings at or directly behind the bridge and is fastened securely to the top of the instrument. These are common on carved-top guitars, such as the Gibson Les Paul and the Paul Reed Smith models , and on slab-body guitars, such as the Music Man Albert Lee and Fender guitars that are not equipped with a vibrato arm. A floating or trapeze tailpiece (similar to a violin 's) fastens to
15678-456: The strings from nut to bridge. A typical Fender guitar uses a 25.5-inch (65 cm) scale length, while Gibson uses a 24.75-inch (62.9 cm) scale length in their Les Paul . While the scale length of the Les Paul is often described as 24.75 inches, it has varied through the years by as much as a half inch. Frets are positioned proportionally to scale length—the shorter the scale length,
15812-658: The strings to alter the pitch . A player can use this to create a vibrato or a portamento effect. Early vibrato systems were often unreliable and made the guitar go out of tune easily. They also had a limited pitch range. Later Fender designs were better, but Fender held the patent on these, so other companies used older designs for many years. With the expiration of the Fender patent on the Stratocaster -style vibrato, various improvements on this type of internal, multi-spring vibrato system are now available. Floyd Rose introduced one of
15946-465: The technique. In 2003, on the (now-defunct) website Stupid Question , John Ruch listed the following recordings as possible contenders: Bill Haley 's cover version of " Rocket 88 " (1951) fades out to indicate the titular car driving away. There are claims that The Beatles ' " Eight Days a Week " (recorded 1964) was the first song to use the reverse effect—a fade-in. In fact, The Supremes had used this effect on their single " Come See About Me ", issued
16080-581: The time, the Electro-Spanish Ken Roberts was designed to play while standing upright with the guitar on a strap, as with acoustic guitars. The Electro-Spanish Ken Roberts was also the first instrument to feature a hand-operated vibrato as a standard arrangement, a device called the "Vibrola", invented by Doc Kauffman . It is estimated that fewer than 50 Electro-Spanish Ken Roberts were constructed between 1933 and 1937; fewer than 10 are known to survive today. The solid-body electric guitar
16214-597: The two market leading products from Technics and were priced in direct competition with the Technics SL1210/SL1200. However, the industry standard Technics SL1210/SL1200 models remained the favourite of DJs worldwide. At the time they were an established brand with a twenty-year head start . There have also been some build quality issues reported throughout 2008 and 2009. This pattern of events has been replicated by other DJ equipment manufacturers such as Numark , Gemini and Stanton . These turntables have either
16348-550: The user's interest: either with the quality and/or content of the signal or with the signal's level. PFL takes place just before the fader and has a joint channel and monitoring function. PFL sends the channel's signal path to the pre-fade bus. The bus is picked up in the monitor module and made accessible as a substitute signal that is sent to the mixer output. Automatic PFL has been made available, almost universally, and no longer needs to be selected beforehand. Pre-fade listen can also be incorporated in radio stations and serves as
16482-532: The various iterations of the PMC-05pro have become staples of the Hip Hop DJ community, and they also have manufactured signature models for DJ's such as Carl Cox and DJ Qbert. Electric guitar An electric guitar is a guitar that requires external electric sound amplification in order to be heard at typical performance volumes, unlike a standard acoustic guitar . It uses one or more pickups to convert
16616-570: The vibration of its strings into electrical signals , which ultimately are reproduced as sound by loudspeakers . The sound is sometimes shaped or electronically altered to achieve different timbres or tonal qualities via amplifier settings or knobs on the guitar. Often, this is done through the use of effects such as reverb , distortion and "overdrive" ; the latter is considered to be a key element of electric blues guitar music and jazz , rock and heavy metal guitar playing. Designs also exist combining attributes of electric and acoustic guitars:
16750-660: The vibrations of the guitar strings into electrical signals, which could then be amplified. Commercial production began in late summer of 1932 by the Ro-Pat-In Corporation (Elect ro - Pat ent- In strument Company), in Los Angeles, a partnership of Beauchamp, Adolph Rickenbacker (originally Rickenbacher), and Paul Barth. In 1934, the company was renamed the Rickenbacker Electro Stringed Instrument Company. In that year Beauchamp applied for
16884-405: The vocals – the fader can thus be used to adjust the amount of delay added. Pre-fader listen and After-fader listen are functions found on a primary monitor function. On an analogue mixing console, the PFL (pre-fader listen) switch routes the incoming signal of a channel to a PFL bus. This bus is sent to the monitor mix and/or the headphones mix, allowing to monitor an incoming signal before it
17018-489: Was a cast aluminium lap steel guitar nicknamed the "Frying Pan" designed in 1931 by George Beauchamp , the general manager of the National Stringed Instrument Corporation , with Paul Barth, who was vice president. George Beauchamp, along with Adolph Rickenbacker , invented the electromagnetic pickups. Coils that were wrapped around a magnet would create an electromagnetic field that converted
17152-1137: Was a popular subject of early movies too. The same could be said for radio productions. Within a single programme of a radio production, many different types of fade can be applied. When mixing from speech to music, there are a few ways that fade can be used. Here are three examples. Though relatively rare, songs can fade out then fade back in. Some examples of this are " Helter Skelter " and " Strawberry Fields Forever " by The Beatles , " Suspicious Minds " by Elvis Presley , " Shine On Brightly " by Procol Harum , " Sunday Bloody Sunday " by John Lennon and Yoko Ono , " That Joke Isn't Funny Anymore " by The Smiths , " Thank You " by Led Zeppelin , " In Every Dream Home A Heartache " by Roxy Music , " It's Only Money, Pt. 2 " by Argent , " The Great Annihilator " by Swans , " (Reprise) Sandblasted Skin " by Pantera , "Illumination Theory" and "At Wit's End" by Dream Theater , " Future " by Paramore , " Doomsday " by MF Doom , " Outro " by M83 , "Cold Desert" by Kings of Leon , and "The Edge Of The World" by DragonForce . No modern recording can be reliably identified as "the first" to use
17286-430: Was adjustable. The crossfader was also not surrounded by any screws or physical barriers, which made scratching and juggling easier. Other features included headphone cueing, 2 band EQs, and independent gains per channel. Vestax focused on the needs of nightclubs and Disc jockeys and their DJ mixers became favourites of international DJs such as Carl Cox , Jeff Mills , DJ QBert and Cut Chemist . Mixers such as
17420-476: Was ceasing operations. Retailers in the US closed shop, and there was a lack of representation or new products being revealed at trade shows. On 5 December Vestax started bankruptcy proceedings with a debt of 900 million yen (roughly $ 7.5 million USD). Vestax was the first manufacturer to release a vinyl cutting machine for home vinyl cutting of new mixes / dubplate , in 2001. Vestax innovated with their turntable using
17554-475: Was designed by Walt Fuller. It became known as the " Charlie Christian " pickup (named for the jazz guitarist who was among the first to perform with the ES-150 guitar). The ES-150 achieved some popularity but suffered from unequal loudness across the six strings. A functioning solid-body electric guitar was designed and built in 1940 by Les Paul from an Epiphone acoustic archtop as an experiment. His " log guitar " —
17688-428: Was expressed by the players extinguishing their stand candles and leaving the stage one by one during the final adagio movement of the symphony, leaving only two muted violins playing. Esterházy appears to have understood the message, allowing the musicians to leave. Gustav Holst 's "Neptune, the mystic", part of the orchestral suite The Planets written between 1914 and 1916, is another early example of music having
17822-737: Was the Ibanez Jem (1987) which featured "24 frets", an impossibly thin neck" and was "designed to be the ultimate shredder machine". Numerous other important electric guitars are on the list, including Gibson ES-150 (1936), Fender Telecaster (1951), Gibson Les Paul (1952), Gretsch 6128 Duo Jet (1953), Fender Stratocaster (1954), Rickenbacker 360/12 (1964), Van Halen Frankenstrat (1975), Paul Reed Smith Custom (1985) many of these guitars were "successors" to earlier designs. Electric guitar designs eventually became culturally important and visually iconic, with various model companies selling miniature model versions of particularly famous electric guitars, for example,
17956-545: Was unable to sell the idea behind his "App" guitar to either company. In 1946, Merle Travis commissioned steel guitar builder Paul Bigsby to build him a solid-body Spanish-style electric. Bigsby delivered the guitar in 1948. The first mass-produced solid-body guitar was Fender Esquire and Fender Broadcaster (later to become the Fender Telecaster ), first made in 1950, five years after Les Paul made his prototype . The Gibson Les Paul appeared soon after to compete with
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