April 2025 – An A‑Z of Vintage Guitar Gear: in 150 Snippets

Prelude

ALL PRESENT AND CORRECT, SIR, YES SIR! Here we are once again dear friends, acquaintances and anyone else who wishes to explore the Any‑Zany world of vintage gear. Spring is here folks and time to enjoy the freshness of rejuvenated nature accompanied by a suitable musical backdrop. It is a wonderful time of the year, in the northern hemisphere at least. I’ll get my monthly plea for a civilised society in our far too uncivilised world out of the way now. Even the notion of armed (or economic or social) conflict of any kind is futile and archaic in the 21st Century. Harmony, not discord, is the key to a flourishing future and it is achievable should we care enough and value it enough. What’s wrong with a bit of peace & love? Goodness knows we need it.

After the last three articles referencing Far Eastern influences, you may be relieved to know that that is not the focus of this month’s masterpiece (Ed: conceited or what?). I started out on this article thinking that it would be fairly straightforward. By the end, I was in the ‘what on Earth was I thinking?’ frame of mind. If I want to make space and time for writing ‘The Distortion Diaries’, this really is NOT the way to go about it. When will I learn? Well, it’s done now and time to move onto the next ‘big’ thang.


A CRAVE Guitars A‑Z of Vintage Guitar Gear

Looking back over the 90‑odd monthly articles so far, I was quite surprised I haven’t tried this particular exercise or something like it before now. This month is definitely one for the list‑o‑philes out there. For all you list‑o‑phobes, you might want to sit this one out.

The following narrative is an A‑Z that covers guitar gear including guitars, basses, amps, effects, accessories, etc. In order to give enough credence to many notable names, the A‑Z comprises subjects now associated with the vintage market and the main focus is on names with a clear historical component. There could have been many more but a line had to be drawn somewhere and it ended up a conveniently rounded 150.

For the author’s fragile sanity, the exercise is specifically about guitar‑related stuff. If I had gone for a looser definition or a wider scope for musical industry, instruments, equipment and accessories, it would have proved to be unmanageably massive.

Some of these names will be familiar household names while others are going to be somewhat esoteric. Some are companies, while others are products – it’s a bit mix and match but the rationale will hopefully become clear. It is not intended to be exhaustively comprehensive and I will undoubtedly have missed some important names that readers will pick up on and no doubt berate me for not including them. However, it is MY list and I’m sticking to it, although I apologise to anyone I may have omitted or misrepresented (easy to do with such a large number of précis).

There are plenty of notable industry names not included below, such as Ashdown, Blackstar, Eastman, Eastwood, Faith, Fractal, Kemper, Line 6, Luna, Manson Guitarworks, Matamp and Suhr among many, many, many more. The focus here is primarily on producers and products. Distributors and retailers are generally not listed, including names like Chandler Music, Gruhn Guitars, Macari, Rose Morris, Sam Ash, Guitar Center, PMT, Sweetwater, Thomann, Gear4Music, etc. Some key people are included as contributors to guitar gear, rather than in their own right, such as Robert Moog and Larry Fishman. Also pro studio gear tends not make the cut here. Not everything can make the list!

The volume of available information means that the descriptions here have to be very (and sometimes overly) brief, resulting in a lot of detail being left out skewing balance. However, the A‑Z may provide an interesting launching pad for further exploration and/or investigation should you so desire. Hey, I’m not going to do everything for you!

One thing I discovered (or rather became increasingly aware of, having understood it intuitively beforehand) during the research for this article is that the global music industry has been markedly incestuous and inbred over the last 150 years or so. The industry’s relationship status could probably best be described as, ‘it’s complicated’. There has been a great deal of to‑ing and fro‑ing, buyouts, mergers, sell‑offs, liquidations, shake outs, bankruptcies, relaunches, revivals and complex interdependencies between the various players. Trying to make sense of the numerous combinations and permutations in a consistent and coherent way made my head hurt. A lot.

Due to the nature of the subject matter and the work involved, there aren’t any words‑of‑wisdom quotes/idioms or many illustrative images this month. Horses for courses and all that. I apologise that this isn’t a very ‘pretty’ blog article.

Wherever possible, I have relied on my own resources built up over many years. While I have not plagiarised content from online sources, I have relied on generalised sources such as Wikipedia, specific sources such as company/brand web sites, as well as details from various books and other publications to inform the A‑Z. I would not have been able to achieve the significant amount of information herein without seeking corroborative cross‑references as part of the research. My thanks go out to those sources, which have been of significant assistance. It probably goes without saying that there is no end of ‘information’ on all of this should you wish to delve into the endless rabbit warren that is the hinternet thingummyjig.

There was, however, a great deal of unreliable, conflicting and/or inaccurate information making collation challenging. There is, therefore, despite best endeavours, a risk that the lack of definitive facts, especially relating to dates and individuals, may have made its way into the narrative. If that is the case, I apologise pre‑emptively. For that reason alone, I do not recommend using this as a source of irrefutable factual information. It is, as always, only for entertainment and broad information. The following is pretty heavy going and may stray into nerdy nirvana. Are you sitting comfortably?

Without further ado, it’s time to get analytically and amazingly alphabetic. Following convention, we start with…


A – A Stands for…

AER

AER (Audio Electric Research) was founded in 1992 by Udo Rösner, Michael Eisenmann and Susanne Janz in the the Ruhr area of Germany. As a relative newcomer, AER has specialised in developing and manufacturing amplifiers for acoustic instruments, an under‑represented field at the time. Their slogan is, ‘the acoustic people’.

Airline

Airline Guitars was a brand used by American mail order company Montgomery Ward on a range of electric and acoustic guitars between 1958 and 1968. Like their competitor, Sears, Montgomery Ward sourced instruments from the likes of Valco, Kay and Harmony. The Airline name was also used on a range of amplifiers manufactured by Valco and Danelectro during the same period. Eastwood Guitars purchased rights to the Airline brand in the early 2000s and is still used for retro designed guitars as of 2025.

Akai

Akai Electric Company Ltd. was founded by Masukichi and Saburo Akai in Tokyo in 1946. Akai was a Japanese electronics manufacturer for many years. In the 1980s, Akai Professional focused on studio production and recording equipment and stage audio gear. The original Akai business ceased production in 2000, although Akai Professional continued manufacturing a wide range of equipment, including synthesisers.

Alembic

Alembic was founded in 1969 by Owsley Stanley (1935‑2011) in Novato, California. Alembic was, and still is, an American manufacturer of high‑end basses and guitars, Alembic was an innovator in premium bass instruments including 5‑string and graphite necks. Alembic basses have been favoured by artists such as Jack Casady, Stanley Clarke and Mark King.

Alvarez

The American Alvarez guitar brand was created in 1965 by retailer Gene Kornblum and luthier Kazuo Yairi, based in St. Louis, Missouri. The firm focused on steel‑string acoustic guitars manufactured in Japan and imported into the US. Alvarez is a private company under the ownership of St. Louis Music as of 2025.

Ampeg

The American company that became Ampeg was founded in 1946 by Everett Hull and Stanley Michaels in Linden, New Jersey. Ampeg is an abbreviation of ‘AMlified PEG’, a transducer pickup for upright acoustic basses. Ampeg’s main focus over decades has been to specialise in bass amplifiers, although it has diversified into guitar amps as well. Like many other American manufacturers, it was sold in the mid‑1960s in order to survive. Ampeg is now a brand owned by Japanese giant, Yamaha.

Aria

Aria Guitars Co. was founded in 1956 by Shiro Arai (1930‑2019) in Nagoya, Japan. Initially, Aria was a musical instrument retailer. In 1964, Aria started manufacturing acoustic guitars and, from 1966, electric guitars and basses. Aria made its name during the 1970s and changed its name to Aria Pro II in 1975. Aria currently also owns Pignose amps (see below).

Audiovox

The original Audiovox Manufacturing Co. was founded by musician and inventor, Paul Tutmarc (1896‑1972). Tutmarc was famous for the introduction of the Audiovox Model 736 Bass Fiddle – the precursor to the fretted bass guitar – in 1936. Not to be confused with another consumer electronics company bearing the same name, founded in 1960, based in Orlando, Florida.


 B – B Stands for…

B.C. Rich

B.C. Rich was founded by Bernardo Chavez Rico (1941‑1999) in 1974 in LA, California. The American company is famous for manufacturing acoustic and electric guitars, and basses. B.C. Rich guitars became known for radical guitar designs that became popular with heavy metal bands, particularly during the 1980s. Budget B.C. Rich guitars are made in Asia, while high‑end boutique instruments are made in small numbers in the US. After the founder’s death in 1999, the brand changed ownership several times before returning to private ownership in 2019.

Bigsby

Bigsby was the brainchild of innovator Paul Bigsby (1899‑1968) who started building bespoke guitars for professional artists like Merle Travis and Chet Atkins in Scottsdale, Arizona from 1946. Bigsby is best known for its worldwide industry standard vibrato tailpieces used by many other brands often under licensing agreements. Bigsby sold the company to Gibson president, Ted McCarty in 1966 and it was sold again to Fender in 2019.

Binson

The Binson Amplifier HiFi Company was founded by engineer, Bonfiglio Bini in Milan in the mid‑1940s. The company is best known for its legendary portable echo and reverberation effect, the Binson Echorec introduced in 1953/1954. Uniquely, the Echorec used a magnetic disc, rather than tape loop, to record and replay the original signal. The company ceased production in 1986. The Binson Echorec name has since been revived by guitar effect company T‑Rex.

Bogner

Bogner Amplification was founded in 1989 by Reinhold Bogner in LA, California. Bogner is an American manufacturer of guitar amps, speaker cabinets and effect pedals. The company started out making boutique amps based on modified Fender and Marshall amps before moving into mainstream production with three discrete amp lines.

BOSS

BOSS is a division of the Roland Corporation that was formed in 1972 in Osaka, Japan. BOSS focuses mainly on the manufacture of compact guitar and bass effect pedals, as well as modern multi‑effect units and amplifiers. The company started making its familiar compact BOSS effect pedals in 1977, first in Japan until c.1990 and then in Taiwan and latterly Malaysia. BOSS has become one of the biggest names in guitar and bass effects.

Burns

Burns Guitars London is a manufacturer of electric guitars and basses, founded in 1959 by Alice Farrell and Jim Burns (1925‑1998) in London, England. After a period of success during the 1960s, the Baldwin Piano Company acquired the business and the original Burns guitar line ceased production in 1970, although Jim Burns continued to make guitars independently. A range of Burns‑branded guitars re‑appeared in 1992 with guitars made in the Far East.

Buzz Feiten

Howard ‘Buzz’ Feiten II (1948‑) is a musician and luthier notable for patenting a unique tuning system for guitars in 1992. The Buzz Feiten Tuning System (BFTS) for fretted instruments is intended to correct inherent intonation issues by replacing a guitar’s standard fingerboard nut with a specialised compensated version. In 2012, Buzz Feiten Guitars was formed, renamed Buzz Feiten Guitar Research in 2018.


C – C Stands for…

Carlsboro

Carlsbro is a guitar amplifier company, founded in 1959 by Stuart and Sheila Mercer in Nottingham, England. It is one of the oldest British guitar amp makers. In 2002, production was shifted overseas and in 2010 the company was acquired by the Chinese Soundking Group.

Carvin (Kiesel)

The American Carvin Corporation was founded in 1946 by Lowell Kiesel (1915‑2009) based in San Diego, California. Carvin guitars and basses were popular with rock and metal guitarists during the 1970s and 1980s. After Kiesel’s death, the company was split into Kiesel Guitars and Carvin Corporation, the latter mainly covering audio equipment.

Charvel

Charvel is an American guitar company founded in 1974 by Wayne Charvel in Azusa, California. Charvel sold the company to Grover Jackson (of Jackson Guitars) in 1978. Charvel guitars were popular with rock and metal guitarists during the 1980s. After several changes, both Charvel and Jackson brands were acquired by Fender in 2002.

Collings

The American Collings Guitars company was founded in 1973 by Bill Collings (1948‑2017) in Austin, Texas. Collings manufacture a wide range of high quality acoustic, arch top and electric guitars, as well as other fretted instruments including production of quality mandolins and ukuleles.

Colorsound

Guitar effect brand Colorsound was formed in 1967 by brothers Larry and Joe Macari in London, England. Colorsound pedals were manufactured by another Macari‑owned company, Sola Sound. Colorsound is probably best known for the iconic Tone Bender fuzz pedal, made famous by rock guitarists in the 1960s and 1970s.

Columbus

Columbus was a brand name used by the American importer Elger Guitars on entry level copies of Gibson, Fender and Rickenbacker guitars. The flagrant copies were made in the Far East by the Japanese manufacturer, Hoshino Gakki Gen. Elger used the Ibanez name in the US and Columbus in the UK.

Coral

In 1967, the giant MCA company acquired guitar manufacturer Danelectro (see below) and introduced the short‑lived Coral brand with instruments produced in Danelectro’s Neptune City, New Jersey facility between 1967 and 1969. The brand is best remembered for its distinctive instruments like the Coral Bellzouki and the Coral Sitar.

CSL

The CSL brand name was used by Charles Summerfield Limited, based in Gateshead, England. During the 1970s, CSL distributed guitars in the UK that were manufactured by FujiGen Gakki in Matsumoto, Japan. At the time, FujiGen was known for supplying guitars for other brands including Ibanez, Fender, Yamaha and Greco. CSL guitars were mainly blatant ‘lawsuit era’ copies of Fender, Gibson and Rickenbacker models. CSL ceased trading in 1993.


D – D Stands for…

D’Angelico

D’Angelico was founded by master luthier John D’Angelico (1905‑1964) in 1932, in Manhattan, New York. D’Angelico built a strong reputation for hand built archtop guitars created in small numbers during the 1930s. Original instruments are now highly sought after. After D’Angelico’s death, the business (but not the name) was bought by former apprentice Jimmy D’Aquisto (see below). The D’Angelico brand was re‑launched in 1999 and continues as of 2025 with a range of American and Far Eastern models.

D’Aquisto

James L. D’Aquisto (1935‑1995) was an American luthier who served as an apprentice to John D’Angelico from 1952 until the latter’s death in 1964. D’Aquisto concentrated on building and repairing archtop guitars under his own name. As he predicted, he died at the same age as his mentor (59). Fender currently manufactures a range of guitars using the D’Aquisto name.

Dallas Arbiter

John E. Dallas & Sons was formed in 1875 in London, England making and selling musical instruments. Dallas imported musical instruments from Europe and the USA, including brands such as Kay, Harmony and Vega. Separately, Sound City was formed in London by Ivor Arbiter, another industry bigwig, which specialised in guitars and amplifiers. Around 1965, Dallas Music acquired the Arbiter‑Western company thereby creating Dallas Arbiter, which produced drums, guitars and basses under the Hayman brand. Dallas Arbiter is, though, best known for the iconic Fuzz Face effect pedal, manufactured from c.1966 to 1975 (and which has been reissued many times since). Dallas Arbiter went out of business in 1975.

Dan Armstrong

Dan Kent Armstrong (1934‑2004) was an American guitarist and luthier born in Pittsburgh, Pennsylvania. After opening his own business in 1965, Armstrong designed an innovative range of guitars for Ampeg in 1968 using bodies made from clear Plexiglas (a.k.a. Lucite), a synthetic polymer. The instruments also used interchangeable pickups designed by colleague Bill Lawrence. In the 1970s, Armstrong moved to England and designed a new range of traditional guitars, basses, effects and amps. In 1998, a Plexiglas Dan Armstrong guitar was reissued, made in Japan.

Danelectro

American company Danelectro was founded in 1947 by Nathan Daniel (1912‑1994) in Neptune City, New Jersey. ‘Dano’ made distinctive semi‑hollow guitar and bass bodies made from poplar or plywood frames faced with Masonite front and back and with vinyl tape binding. The instruments also used characteristic ‘lipstick’ single coil pickups and ‘coke bottle’ headstocks. MCA bought Danelectro in 1966 and ceased guitar production in 1969. The brand was revived in the 1990s focusing intermittently on guitars/basses, effect pedals and amps. Danelectro is currently owned by Evets Corporation.

DeArmond

Harold DeArmond (1906‑1999) was an American electrical designer who founded DeArmond Research in Toledo, Ohio to develop a magnetic guitar pickup in 1935, working with Bud Rowe, owner of Fox Electrical and Manufacturing. The first acoustic guitar pickups were manufactured in 1939. In 1940, production was consolidated as Rowe Industries. Although best known for guitar pickups, Rowe introduced a tremolo effect pedal in 1941, the first of its kind. By the time Harry DeArmond retired in 1976, his company had made over 170 different types of pickup, as well as many amplifiers and effect pedals. In c.1998, Fender acquired the rights to use the DeArmond name.

Dean

Dean Guitars was founded in 1976 by Dean Zelinsky in Chicago, Illinois. Dean originally made a variety of guitars for many famous artists. Zelinsky sold Dean in 1986, which continued in business but with little connection to the original company. Professional musician Elliott Rubinson of Armadillo Enterprises bought the business in 1997 and successfully rejuvenated the Dean Guitars brand with a range of products from Far Eastern budget models to US‑built custom shop instruments. The late guitarist Dimebag Darrell was a key endorsee.

DiMarzio

Larry DiMarzio started making guitar pickups in Staten Island, New York in the 1960s. DiMarzio became famous for manufacturing after‑market guitar pickups and stock pickups for a number of brands. DiMarzio also produces a range of accessories and merchandise. DiMarzio Inc. continues to make a wide range of products including around 200 types of guitar and bass pickups.

Dobro

Dobro Manufacturing Company was originally founded in 1928 by four Dopyera Brothers (Dobro is a conflation of DOpyera and BROthers). Dobro produced single cone acoustic resonator guitars to compete with National’s tricone resonator guitars. In 1932 Dobro merged with National to form the National‑Dobro Company. In the 1940s the business was sold to Valco (see below). In 1964, the Dopyera Brothers re‑introduced the Dobro name, which was eventually acquired by Gibson 1993 with guitars manufactured by Gibson subsidiary, Epiphone from 2012.

DOD (DigiTech)

DOD Electronics, deriving from the initials of founder David Oreste DiFrancesco, was formed in Salt Lake City, Utah in 1973. DOD, and its brand DigiTech, manufactures a wide range of popular guitar effect pedals. DOD/DigiTech was sold to Harman International around 1991 and then sold again to South Korean giant Cortek (owner of Cort Guitars) in 2018.

Dumble

Dumble Amplifiers was a one‑man‑band enterprise founded by reclusive Alexander Dumble (1944‑2022) to build no‑compromise hand‑made guitar amplifiers in very small numbers, often for wealthy celebrity artists. Dumble amplifiers have acquired legendary status amongst guitarists, particularly for his Dumble Overdrive Special. Commercially, the brand died along with its founder in 2022.

Dunlop

Dunlop Manufacturing was founded in 1965 by Scottish immigrant to the USA, entrepreneur Jim Dunlop (1936‑2019) in Benicia, California. Dunlop built the business from a humble start in his living room and garage to become one of the largest manufacturers of musical accessories and guitar effect pedals. Dunlop remains a private company as of 2025.


E – E Stands for…

EBow

The EBow is an innovative guitar accessory manufactured by Heet Sound Products in LA, California. The battery‑powered EBow (short for ‘electronic bow’) uses battery‑powered electromagnetism to vibrate a guitar string producing a sustained sound like a bowed violin or cello string. The sound contrasts with the rapid attack and decay of a plucked guitar string. Greg Heet invented the EBow in 1969, launched it commercially in 1976 and patented it in 1978. The EBow remains in production as of 2025.

Echoplex

Engineer Mike Battle designed the Echoplex tape delay effect unit in 1959, based on an earlier design by Ray Butts from the 1950s. The Echoplex was sold through Chicago Musical Instruments (CMI) and then Maestro, a distributor owned by Norlin (which also owned Gibson). The effect rapidly became an industry standard. In 1970, a solid‑state Echoplex superseded the valve‑driven unit, developed by Maestro. The Echoplex brand was purchased by Gibson in the 1990s and the Echoplex name was used on a line of digital looping delays. In 2019, Echoplex became a trademark of Dunlop Manufacturing.

EKO

EKO Guitars was founded in 1959 by Oliviero Pigini in Recanati, Italy. EKO manufactures classical guitars, 12‑string guitars, archtop guitars, electric guitars and acoustic bass guitars. During the 1960s, EKO became the largest guitar exporter in Europe and made guitars and effect pedals for other brands such as VOX. EKO remains a private company that continues to manufacture guitars as of 2025.

Electro-Harmonix

Electro-Harmonix (a.k.a. EHX) was founded in 1968 by musician Mike Matthews in New York City. EHX makes effect pedals and sells rebranded amplifier valves. During the 1970s, EHX manufactured a wide range of innovative affordable state-of-the art guitar effect pedals for guitarists and bass players. In the 1980s EHX stopped making effect pedals and focused on valves in the 1990s. At that time, EHX started producing a few effect pedals in Russia before returning to its roots from 2002 and continues to excel in the manufacture of guitar effect pedals.

Epiphone

What would become Epiphone in 1928 was founded by the family of Greek/Turkish immigrant luthier Anastasios Stathopoulo (1863‑1915) in 1873 in the Ottoman Empire. Initially a fiddle and lute maker, Epiphone became a major competitor to Gibson during the 1930s, especially in the manufacture of high quality archtop guitars. A struggling Epiphone was finally acquired by Gibson in 1957. Epiphone is best known for the Casino hollow body electric guitar because of an association with The Beatles. From the 1970s, Epiphone became a low cost offshore manufacturer of Epiphone‑branded copies of Gibson models.

Ernie Ball

Ernie Ball Inc. was founded in 1962 by American musician and entrepreneur Roland Sherwood Ball (1930‑2004) in San Luis Obispo, California. Ernie Ball is an instrument and accessory company, particularly known for its guitar strings. In 1972, Ernie Ball also started producing guitars. Guitars and basses are also manufactured by Music Man, which Ernie Ball bought in 1984 and now called Ernie Ball Music Man (EBMM). Ernie Ball’s son, Sterling Ball (1955‑) is the current CEO of the company, keeping it a private family business.

ESP/LTD

ESP Company Ltd was founded in 1975 by Hisatake Shibuya (1937‑2024) in Tokyo, Japan. ESP’s main business is manufacturing electric guitars and basses, as well as an OEM supplier of parts for other companies. ESP is also parent to subsidiary brand LTD amongst others. ESP and LTD guitars have been favoured by heavy metal guitarists in particular. ESP also has had an American headquarters based in LA, California since 1993. ESP’s primary competitor is rival Japanese brand, Ibanez.

Eventide

The American Eventide Inc. was founded in 1971 by recording engineer Stephen Katz, inventor Richard Factor, and businessman Orville Greene in New York City. Eventide is best known for its extensive range of premium quality studio and guitar effect pedals using digital effect processors and Digital Signal Processor (DSP) software. Eventide is now based in Little Ferry, New Jersey.


F – F Stands for…

Fender

Fender, one of the world’s most famous and important names in guitars, basses and amplifiers was founded in 1946 by Clarence Leonidas ‘Leo’ Fender (1909­‑1991) in Fullerton, California. Leo Fender sold his business to CBS in 1965. Following a management buyout in 1985, Fender Musical Instrument Company (FMIC) once again became a private company. Fender is home to iconic instruments like the Telecaster, Stratocaster, Precision, Jazz Bass, Jaguar, Jazzmaster and amplifiers like the Twin, Deluxe, Bassman and Princeton. Fender also produces accessories and merchandise.

Fernandes

Fernandes Guitars was formed in 1972 from its predecessor, Saito Musical Instruments, founded in 1969 in Niizo, Japan. Fernandes is a Japanese company that produces electric and bass guitars, amplifiers and accessories. Fernandes has become one of the biggest guitar producers in Japan. Fernandes, though, is possibly best known for its Sustainer pickups that use electromagnetism to vibrate the guitar’s strings in a similar way to the eBow (see above). Fernandes also owns the Burny brand, known for making copies of Gibson guitars.

Floyd Rose

The Floyd Rose locking vibrato system (erroneously called a tremolo) was designed by Floyd D. Rose in 1976 and patented in 1979. The vibrato was intended to return the strings to accurate tuning despite extreme ‘dive bombing’ of a guitar bridge to change the pitch of strings. The system relies on firmly clamping the strings at both the nut and bridge. Floyd Rose vibratos became phenomenally popular, particularly with rock and heavy metal guitarists and the approach has been widely imitated and officially licensed.

Framus

Framus was founded in 1946 by Fred Wilfer in Luby, Czechoslovakia to make stringed instruments and to resettle German Bohemians expelled from Bohemia after WWII. Framus is a conflation of FRAnconian MUSical instruments. Framus became the largest guitar producer in Europe during the 1950s. Despite success, Framus went bankrupt in 1975. The brand was re‑introduced in 1995 by founder Fred Wilfer’s son as part of the German bass guitar manufacturer Warwick (see below).


G – G Stands for…

G&L

G&L Musical Instruments was founded in 1980 by George Fullerton (1923‑2009)(G), Leo Fender (L) and Dale Hyatt in Fullerton, California. G&L was the venture Leo Fender pursued after he left Music Man in 1979 and before Music Man was sold to Ernie Ball in 1984. G&L focused on continuing to innovate and evolve Leo Fender’s guitar and bass designs in a way that Fender (the company) couldn’t. After Leo Fender died in 1991, BBE Sound, Inc. took over the business.

Gibson

Gibson, one of the oldest, most famous and most important names in guitars was founded in 1894 by Orville Gibson (1856‑1918), in Kalamazoo, Michigan. Orville started off making labour‑intensive carved top guitars and mandolins. Lloyd Loar (1886‑1943) designed key jazz archtops like the L5 for Gibson in the 1920s. The ES‑150 was the first production ‘electric’ guitar in 1936. Collaborating with professional musician Les Paul (1915‑2009), Gibson introduced the Les Paul Model guitar in 1952. Company president Ted McCarty (1909‑2001), followed the Les Paul with the Explorer, Flying V, ES‑335, SG and many others. Gibson was sold by parent company CMI to Norlin in 1974 and was subsequently subject to a management buy‑out in 1986. Despite financial difficulties, Gibson remains a private company as of 2025.

Godin

Godin Guitars was founded by Robert Godin in Montreal, Quebec, Canada in 1972. Godin currently manufactures electric and acoustic guitars and basses under its own name, built in Canada, as well as other subsidiary brands like Seagull. Godin is Canada’s largest guitar business.

Gordon Smith

Gordon Smith Guitars was founded in 1974, named after its founders, Gordon Whitham and John Smith in Greater Manchester, England. Gordon Smith is a manufacturer of hand‑crafted electric guitars. The company is also Britain’s longest‑running electric guitar manufacturer. In April 2015 Gordon Smith Guitars was acquired by British firm, Auden Guitars, based in Northamptonshire, England.

Goya

Goya guitars (named after the Spanish artist) were manufactured by Levin, a company founded in 1900 by Herman Carlson Levin in Gothenburg, Sweden. In 1952, Goya introduced nylon‑strung acoustic guitars followed by steel‑string acoustic guitars in the 1960s. In 1976, the Goya brand was sold to CF Martin (see below). Production of Goya guitars suffered and Martin stopped selling Goya‑branded guitars during the 1990s.

Greco

Greco is a brand name used by the wholesaler Kanda Shokai Corporation, formed in 1948 in Japan. The company started selling Greco guitars in the mid‑1960s. In the 1970s, although not specifically targeted by Gibson, Greco became embroiled in the ‘lawsuit-era’ copy scandal. In 1982, Kanda Shokai was part of a joint venture with Fender Japan, making acoustic and electric guitars for the Japanese market. Various guitar models have used the Greco name on and off since the 1990s.

Gretsch

Gretsch was originally founded by German immigrant Friedrich Gretsch (c.1856‑1895) in 1883, located in Brooklyn, New York, USA. Gretsch focused primarily on guitars as a core business in the 1930s and the company hit their peak era from the mid‑1950s to mid‑1960s during the rock & roll boom. Gretsch was sold to Baldwin Pianos in 1967 and the family business has worked in partnership with Fender since 2002. Gretsch is probably best known for the iconic 6120 Chet Atkins hollow body guitar.

Guild

The Guild Guitar Company was founded in 1952 by professional guitarist and music retailer Avram ‘Al’ Dronge (1911‑1972) in Manhattan, New York. Guild intended to compete primarily with rivals Epiphone and Gretsch. Following expansion, Guild was sold to the Avnet Corporation in 1966, which moved production to Westerly, Rhode Island. Guild was sold again to Fender Musical Instrument Corporation (FMIC) in 1995. In 2014, Guild was acquired by Cordoba Music Group and moved yet again to Oxnard, California.

Guyatone

Guyatone was founded in 1933 by Mitsuo Matsuki in Yamanashi, Japan. Matsuki Manufacturing produced guitars under the Guya brand until 1940. In 1951 the Guyatone name was established for electric guitars and, in 1955, the first Guyatone solid-body electric guitar was introduced. In Japan, Guyatone guitars were sold using the Ibanez name. In the UK, Matsuki used the Antoria name and in the US, they used the Kent name. The Guyatone name is now owned by DeMont Guitars LLC.


H – H Stands for…

Hagström

Hagström was founded in 1925 by Albin Hagström in Älvdalen, Dalecarlia, Sweden. Hagström’s main business was accordions before they started making electric guitars in 1958 and subsequently amps. Hagström pioneered with the innovative H8 8‑string bass and also began to experiment with guitar synths. Hagström ceased production in 1983 in the face of stiff competition. The brand was revived in 2004 and now produces guitars in both Europe and the Far East.

Hamer

Hamer Guitars was founded in 1973 by Paul Hamer and Jol Dantzig in Wilmette, Illinois. Hamer became well‑known for building guitars and basses based on Gibson’s designs. In 1988, Hamer was acquired by Kaman Music Corporation (KMC), which owned Ovation guitars. In 2008, Fender bought KMC including the Ovation and Hamer brands. Fender closed down Hamer production in 2012. In 2015, Fender sold KMC again. In 2017, KMC revived the Hamer name with products imported into the US.

Harmony

The Harmony Company was founded in 1892 by Wilhelm Schultz. Sears, Roebuck & Co. purchased Harmony in 1916 for the latter’s ukulele business. By the 1950s, Harmony produced a wide range of instruments, peaking in the mid‑1960s. In 1975, the production of Harmony guitars ceased and the brand name was sold. In 2018, BandLab Technologies of Singapore revived the Harmony brand, producing guitars and amps made by Heritage (see below).

Heritage

Heritage Guitar Inc. was founded in 1985 by three former Gibson employees in Kalamazoo, Michigan. Heritage set up business in the old Gibson factory after Gibson had moved to Nashville, Tennessee in 1974. As of 2025, Heritage is a small‑scale manufacturer of guitars heavily based on Gibson’s traditional designs.

HH Electronics

HH Electronics was founded in 1968 by Mike Harrison, Malcolm Green and Graham Lowes in Harston near Cambridge, England. It was a manufacturer of distinctive solid state guitar, bass and PA amps, as well as speaker cabinets. In the 1990s, HH was acquired by Laney Amplification (see below).

Hiwatt

Hylight Electronics, better known as Hiwatt, was founded in 1966 by Dave Reeves in Surrey, England. Hiwatt are best known for their guitar and bass amps. As part of the 1960s and 1970s boom in high powered amps, Hiwatt (including Sound City, see below) along with its main competitors Marshall, Orange and VOX helped to cement the ‘British sound’ of rock music, contrasting with the ‘American sound’ of Fender (and its derivatives) amps.

Höfner

Karl Höfner GmbH & Co. KG was founded in 1887 by German luthier Karl Höfner (1864‑1955) in Schönbach, Austria-Hungary (now Luby in the Czech Republic). One part of the company manufactured classical string instruments while another produced guitars and basses. After WWII, Höfner moved to West Germany, where the company thrived. Höfner became closely associated with The Beatles who were seen to use Höfner guitars and basses. In 1994, Höfner was sold to British music publisher, Boosey & Hawkes. After financial difficulties, the Höfner brand was sold to a former Höfner employee in 2004.

Hohner

Hohner Musikinstrumente GmbH & Co. KG was founded in 1857 by clock maker Matthias Hohner (1833‑1902) in Trossingen, Baden‑Württemberg, Germany. While Hohner is best known for its harmonicas, the company manufactured a wide range of musical instruments, including guitars from the 1950s until c.2015. Hohner has since returned to its roots and currently produces harmonicas, melodicas, accordions and recorder flutes.

Hondo

The Hondo guitar company was founded in 1969 by Jerry Freed and Tommy Moore. Hondo was a joint venture with the Samick Company of South Korea to manufacture entry‑level acoustic and electric guitars and basses, importing them into the USA using the Hondo name. Many of Hondo’s guitars were based on, or copies of, classic American guitar designs. The Hondo name had largely disappeared by 1989 but was revived by what is now Musicorp in 1995.

Hughes & Kettner

Hughes & Kettner was founded in 1984 by brothers Hans and Lothar Stamer in in Neunkirchen, Saarland, Germany. The company focuses on manufacturing premium level amps and innovative effect pedals. H&K as built a strong reputation with a particular focus on high‑gain amplifier technology for heavy metal and hard rock.


I – I Stands for…

Ibanez

Ibanez is a guitar brand created in 1957 in Nagoya, Aichi, Japan. Ibanez is owned by Hoshino Gakki a musical instrument manufacturer founded in 1908. Ibanez began production of guitars in 1957 and were known for copies of American guitars during the 1960s. Ibanez in particular was the target for litigation by Gibson because of trademark infringements during the 1970s. Ibanez (and other) brand guitars of the period became known as ‘lawsuit‑era’ instruments. Also in the 1970s, Hoshino Gakki licensed Maxon effect pedals for sale under the Ibanez brand.


J – J Stands for…

Jackson

Jackson Guitars was founded in 1980 by American luthier Grover Jackson in Glendora, California to manufacture electric guitars and basses. Grover Jackson had worked closely with Wayne Charvel until the latter sold the Charvel name to Jackson in 1978. During the 1980s, Jackson manufactured high-quality, US‑made, custom instruments, primarily for heavy metal guitarists including Randy Rhoads. Fender acquired both Jackson Guitars and Charvel in 2002. Low budget Jackson guitars are manufactured in the Far East. Grover Jackson is now co‑owner of independent GJ2 Guitars, based in Orange County, California.

Jen

JEN Elettronica was founded in c.1969 in Pescara, Italy. Jen’s focus was to become Europe’s biggest music OEM manufacturer including guitar effect pedals. Jen was notable for manufacturing products for VOX and Gretsch among others, as well as a line of guitar effect pedals under the JEN name. Jen is best known for making the iconic wah‑wah pedal, the ‘Cry Baby’ in the 1960s. Jen failed to trademark the Cry Baby name, so any manufacturer could use it at the time.

John Hornby Skewes (JHS)

John Hornby Skewes (JHS for short) was founded in 1965 by John & Madge Hornby Skewes in Garforth near Leeds, England. Over the years, JHS has become an international company offering thousands of products including a number of JHS proprietary brands including Fret‑King, Vintage, Encore and JHS‑branded guitar effect pedals.


K – K Stands for…

Kahler

Kahler Systems International was formed in the late 1970s by Gary Kahler. The company started out making parts for other companies such as Fender and DiMarzio. The cam‑operated Kahler vibrato (not tremolo!) was introduced in 1981, just in time for the rock and metal boom of the 1980s with its associated ‘shredding’ and ‘dive‑bombing’ guitar playing styles. Kahler’s main competitor was Floyd Rose (see above). Like Floyd Rose, the focus was on maintaining tuning stability. Unusually, Kahler also produces a bass vibrato version. When demand for vibrato systems declined in the 1990s, Kahler switched to making golf clubs but returned to manufacturing guitar hardware including the classic Kahler vibrato in 2005.

Kalamazoo

Gibson was based in Kalamazoo, Michigan until 1974. Kalamazoo was also a brand name used by Gibson for archtop and flattop acoustic guitars, lap steels, banjos, and mandolins. Kalamazoo was a low cost option that many musicians needed during the Great Depression (1929‑1939). The original short‑lived Kalamazoo brand was used between 1933 and 1942. During the 1960s, Gibson temporarily resurrected the Kalamazoo name for low-cost, beginner guitars until Gibson positioned Epiphone into that market to compete with Far Eastern competition.

Kawai

Kawai Musical Instruments Manufacturing Co Ltd was founded in 1927 by Koichi Kawai (1886‑1955) in Hamamatsu, Shizuoka, Japan. The company is best known for its pianos, electronic keyboards and synthesisers. Kawai worked for Nippon Gakki (Yamaha) before setting up his own business. Koichi’s son, Shigeru took over control of Kawai until his death in 2006. Shigeru’s son, Hirotaka Kawai now runs the family business. Kawaii also bought the Teisco brand, which manufactured a range of distinctive guitars and basses.

Kay

Kay Musical Instrument Company was founded in 1931 by Henry ‘Kay’ Kuhrmeyer in Chicago, Illinois, although previous incarnations date back to 1890. Kay produced budget and pro‑level guitars, mandolins, banjos and ukuleles from 1936. Kay migrated to electric guitars and basses from c.1955. Kay was sold in 1965 and again in 1967, this time to Valco (see below) who went bust in 1968, and then sold again in 1969. The Kay name has been used intermittently over the years, often attached to instruments imported from China.

Korg

Korg Inc. (previously Keio Electronic Laboratories) was founded in 1962 by Tsutomu Kato (1926‑2011) and Tadashi Osanai in Tokyo, Japan. Korg was and is best known for their keyboards and synthesisers from the late 1960s to the 1980s. In 1987, Yamaha took temporary control of Korg until 1992. In 1992, Korg acquired British amp maker VOX (see below).

Kramer

Kramer Guitars was founded in 1976 by Gary Kramer in Neptune, New Jersey. Gary Kramer and Travis Bean had formed the Travis Bean guitar company in 1974 shortly before Kramer formed his own company. Initially, Kramer continued to use aluminium necks on guitars and basses, improving on Travis Bean’s designs. Kramer reverted to traditional wood necks from 1981. Kramer guitars and basses became associated with the rock and metal boom of the 1980s. Kramer filed for bankruptcy in 1989. Eventually, Gibson acquired the rights to Kramer in 1997 and guitars are now manufactured by Epiphone using the Kramer name. In 2005, Gary Kramer founded the independent Gary Kramer Guitars (GKG).

Kustom

Kustom Amplification was founded in 1964 by Charles ‘Bud’ Ross in Chanute, Kansas. Kustom is a manufacturer of guitar and bass amplifiers, PA systems and accessories. Uniquely, speaker cabinets were wrapped in a sparkling car upholstery material called Naugahyde, giving them a particularly standout image. Baldwin Pianos bought Kustom in 1972 and is now owned by Hanser Music Group who keep the style and spirit of the original Kustom designs going. Founder Charles Ross went on to form effect pedal company Ross Musical (see below) in c.1972.


L – L Stands for…

Laney

Laney Amplification was founded in 1967 by musician Lyndon Laney in Birmingham, England. The British Laney brand manufactured guitar and bass amplifiers, speaker cabinets and PA systems. Laney developed from its humble beginnings in Laney’s father’s garage into a major player in the global amp market. Laney remains in business as a private company, as of 2025.

Larrivée

Jean Larrivée Guitars Inc. was founded in 1967 by Jean Larrivée in Toronto, Canada. The company moved to Vancouver in 1982 then to California in 2001. Since 1977, Larrivée has manufactured a range of premium acoustic guitars, often featuring ornate inlays. Larrivée Guitars is still in production as a family business as of 2025.

Leslie

The Leslie speaker was the invention of electronic engineer Donald Leslie. Development began in the 1930s as a means for a Hammond organ to emulate the sound of a pipe organ. Production began in 1941. The speaker comprises a variable speed rotating baffle in front of the loudspeaker(s) which modulates the sound exploiting the Doppler Effect. Leslie speakers have been used by guitarists keen to obtain the signature Leslie sound. In contemporary times, many attempts have been made to imitate the sound effect, first through analogue circuits and then by Digital Signal Processing (DSP). In 1965, Leslie sold his business to CBS who, in turn sold it to Hammond in 1980. In 1992, the Japanese Suzuki Musical Instrument Corporation bought both the Hammond and Leslie brands.

Lowden

George Lowden (1952‑) is an Irish luthier based in Bangor, County Down. He founded the eponymous company, George Lowden Guitars in 1974. Lowden’s main output comprises premium nylon and steel‑string acoustic guitars although he has also dabbled in making electric solid body guitars. In an unusual move, Lowden licenses other luthiers to build guitars using the Lowden name, especially in Japan. In 2002, Lowden introduced a more affordable range of guitars, called Avalon.


M – M Stands for…

Maccaferri

Henri Selmer Paris was a company founded in 1885 in Mantes‑la‑Ville near Paris. In 1932, Selmer worked with Italian luthier Mario Maccaferri (1900‑1995) to design what are known as ‘gypsy jazz’ acoustic guitars, famously used by virtuoso Belgian/French jazz guitarist Django Reinhardt. Maccaferri guitars have a large body with thin ladder‑braced top and squared off bouts. Early sound holes were D‑shaped while later ones were oval, with a rounded cutaway on the upper treble bout. Selmer made less than 1,000 of these guitars until production ceased in 1952.

Maestro

Gibson’s parent company, Chicago Musical Exchange (CMI) had used the Maestro name on products like the legendary Echoplex tape loop echo effect (see above). From 1962, CMI was one of the first companies to move into effect pedals using the Maestro name. They launched a number of effect pedals starting with the FZ‑1 Fuzz Tone. In 1974, Norlin acquired Gibson from CMI and the company put synthesiser pioneer, Robert Moog in charge of Maestro effects. By 1979, Norlin was struggling and ceased production of all Maestro products. In 2022, Gibson revived the Maestro name and re‑launched a new range of effect pedals.

Magnatone

The origins of Magnatone date back to the late 1930s and a company called Dickerson Musical Instrument Company in California. The business was bought by Art Duhamell in c.1946, when the name was changed to Magna Electronics Company, using the brand name Magnatone. Magna manufactured a range of electric guitars and vibrato (actually tremolo!) amplifiers produced between 1937 and the mid‑1970s. In 2013, Ted Kornblum reintroduced the Magnatone brand on a range of reissued amps.

Marshall

Marshall Amplification was founded in 1962 by drummer and retailer Jim Marshall (1923‑2012) in London, England. The British company built its formidable reputation manufacturing Marshall guitar and bass amps, and speaker cabinets, starting with the classic JTM45 amp head in 1963. The Marhsall ‘stack’ became a familiar icon of rock music from the 1970s onward. Other guitarists preferred combo amps like the Bluesbreaker. In 1965, Marshall launched a sister brand, Park which made amps until 1982. Facing stiff competition from American companies like Mesa and Soldano, Marshall explored the use of solid state, rather than valve‑based amp circuits, including hybrid versions. In 2007, some former employees of Marshall left and founded Blackstar Amplification. In 2023, Marshall was sold to Swedish company Zound Industries, majority owned by the Chinese HongShan Capital Group. Marshall was nicknamed, ‘The Father of Loud’.

Martin

C.F. Martin & Company was founded in 1833 by German immigrant Christian Frederick Martin in New York City before relocating to Nazareth, Pennsylvania in 1838. C.F. Martin was an apprentice for Johann Georg Stauffer, a famous luthier from Vienna, Austria. Following consumer demand, Martin refocused its manufacturing toward steel‑strung acoustic guitars around 1921 using many key innovations to improve the company’s already strong reputation. In 1931, Martin launched its dreadnought acoustic guitar with X‑bracing, which became a best seller and industry standard, particularly the D‑18 and D‑28 models. Pre‑WWII Martin guitars are highly sought after today. Martin has also dipped its toes into solid body electric guitars and basses, as well as strings. Martin continued to innovate including the use of composite materials from the 1990s onward. The company has been family‑owned and run throughout its entire history with the great‑great‑great‑grandson of the founder, C.F. ‘Chris’ Martin IV as current president as of 2025.

Maxon

The Japanese company, Nisshin Onpa was formed in 1965 in Tokyo Japan. Maxon was a brand name used by the company for its range of guitar effect pedals from 1969. Maxon became an OEM provider for Ibanez, producing stomp boxes using the Ibanez name, including the iconic TS‑808 Tube Screamer Pro. Nisshin Onpa also marketed pedals under its own Maxon name. Maxon stopped working with Ibanez in 2002 and Maxon continues to manufacture and market its own effect pedals.

Mesa/Boogie

Mesa Engineering was founded in 1969 by Randall Smith (1946‑) in Petaluma, California. Randall started out by hot‑rodding Fender amps in his home workshop. The Mesa/Boogie nickname derived from a comment made by Carlos Santana when demoing a Mesa‑modified Fender Princeton. The Boogie amps went through a number of generations (Marks) and in the 1990s the Boogie was supplemented by high‑gain Rectifier models. Gibson acquired Mesa Engineering from Smith in 2021.

Morley

Morley Pedals was founded in 1969 by American brothers Raymond and Marvin Lubow in LA, California superseding their previous enterprise, Tel‑Ray Electronics. The distinctively rugged Morley guitar effect pedals, particularly their wah‑wah and volume pedals using electro-optical circuitry, grew in popularity during the 1970s. Chicago‑based firm, Sound Enhancements, Inc. acquired Morley in 1989.

Mosrite

Mosrite guitars was founded in 1956 as Mosrite of California by Semie and Andy Moseley in LA, California. Semie Moseley (1935‑1992) had been an apprentice at Rickenbacker and Bigsby where he learnt his craft. Mosrite guitars were known for their radical designs and innovative features, as well as the brand’s association with surf pop/rock band The Ventures. The original Mosrite company went bankrupt in 1968. Several attempts were made to resurrect the brand over intervening decades, although without much success. Semie’s daughter, Dana Moseley is keeping the name alive.

Mu‑Tron

Musitronics Corporation (a.k.a. Mu‑Tron) was founded in 1972 by former Guild employees, Mike Beigel and Aaron Newman in Rosemont, New Jersey. Musitronics was known for manufacturing a number of high-quality guitar effect pedals including their most famous effect unit, the Mu‑Tron III envelope filter in 1972, which produced an electronic wah‑wah type sound beloved by funk guitarists. Musitronics ran into financial trouble in the late 1970s and production wasn’t resumed until 2014 when Mike Beigel founded Mu‑FX.

MXR

MXR Innovations was founded in 1972 by Keith Barr and Terry Sherwood in Rochester, New York. MXR is famous for its range of guitar effect pedals, starting with the iconic Phase 90, followed by the Distortion +, Dyna Comp and Blue Box. MXR was acquired by Dunlop Manufacturing in 1987 and continues to manufacture effect pedals using the MXR name as of 2025.

Music Man

Music Man (a.k.a. MM) was the company formed in 1974 by Leo Fender and partners 10 years after Leo sold the firm that bore his name to CBS in 1965. MM made its name with the Stingray Bass introduced in 1976. Leo Fender left Music Man in 1979 and went on to found G&L in 1980 (see above). Music Man was sold to Ernie Ball Inc. in 1984.


N – N Stands for…

National

The National String Instrument Corporation was an American guitar company founded in 1927 by entertainer George Beauchamp and luthier John Dopyera in LA, California. The company started by manufacturing banjos and then acoustic resonator guitars, an innovative instrument intended to be loud enough to be heard in a big band environment. In 1932, National merged with Dobro (see above) to form the National Dobro Company. It later came under the control of Valco (see below) until the latter went bankrupt in 1968. The spirit of National resonator guitars was rejuvenated by independent company, National Reso‑Phonic Guitars founded in 1989 in San Luis Obispo, California.


O – O Stands for…

Orange

Orange Amps was founded in 1968 by musician, electronics designer and retailer Clifford Cooper in London, England. The bright orange covering on their amp heads and speaker cabinets was a distinctive aesthetic, making them instantly recognisable. It helped that the sounds were also what many guitarists and bass players were listening out for at the time. Orange partnered with Radiocraft owned by Mat Mathias, which led to the Orange Matamp amps. After a 4‑year period in which Gibson reissued amps using the Orange name, Cooper regained the brand in 1997 and production was resumed in 1998. Orange is still flourishing as of 2025.

Orville

Orville by Gibson guitars and basses were part of the Gibson Guitar Corporation, destined for the Japanese market from 1988. Japanese distributor Yamano Gakki and Gibson decided not to use the Epiphone brand name and chose Orville – after Gibson founder Orville Gibson – despite the fact that Gibson was selling both Gibson and Epiphone in Japan. Production of Orville by Gibson guitars ceased in 1998 with Gibson’s focus on promoting Epiphone Japan models.

Ovation

Ovation was founded in 1965 by aeronautical engineer Charles Kaman (1919‑2011), in Hartford, Connecticut, USA. Kaman Music Corporation (KMC) used the founder’s technical background to manufacture guitars employing composite materials, predominantly bowl‑back acoustic guitars using a synthetic material called Lyracord. Fender briefly owned Ovation from 2008 to 2014 and the business is now owned by German company GEWA Music as of 2025.


P – P Stands for…

Parker

Parker Guitars was founded in 1993 by American luthier Ken Parker with input from pickup pioneer Larry Fishman in Chicago, Illinois. Parker guitars, particularly the Fly model, used innovative composite construction including a wood core covered with a carbon fibre/resin exoskeleton to reduce weight and increase rigidity. Pickups were traditional magnetic coil split humbuckers supplemented by piezo pickups to provide acoustic‑like tones. Fingerboards comprised composite materials with stainless steel frets. The US Music Corporation acquired Parker in 2003, moving production overseas before selling the brand again to Jam Industries. Parker Guitars has been defunct since 2016, despite several efforts to revive the brand.

Patrick James Eggle

Patrick Eggle Guitars was founded in the 1990s by British luthier Patrick James Eggle in Coventry, England. He left his own company in 1994 and, after several side projects in the US and UK, he formed Patrick James Eggle Guitars producing high‑end acoustic guitars. Eggle also helped to design Faith Guitars. In 2016, Eggle switched production from acoustic to electric guitars and in 2017. Eggle has also designed guitars for the revived Shergold Guitars brand (see below).

Paul Reed Smith (PRS)

PRS, a relatively new kid on the block, was founded in 1985 by American luthier Paul Reed Smith (1956‑) in Annapolis, Maryland. PRS guitars were cleverly positioned strategically between Fender and Gibson often using flamboyant designs and highly figured tone woods, often selling for premium prices. In 2003, PRS created the highly successful SE (Student Edition) range manufactured in the Far East. PRS remains a private company as of 2025.

Peavey

American innovator, Hartley Peavey (1941‑) founded Peavey Electronics in 1965, based in Meridian, Mississippi. Peavey has grown to become one of the largest music audio equipment manufacturers in the world. Peavey is mainly known for its amps and speaker cabinets, Peavey has also manufactured acoustic and electric guitars as well as basses. As of 2025, Peavey remains a privately owned company.

Pignose

Pignose was founded in 1969 by Richard Edlund and Wayne Kimbell in Chicago, Illinois. The company focuses on the manufacture of battery‑powered guitar amps, mains‑powered practice amps and innovative travel guitars incorporating an integrated amp and speaker. The iconic Pignose 7‑100 was considered to be the first portable electric guitar amp. Since 2023, Pignose has been under the ownership of Japanese company Aria (see above).

Pro Co

Pro Co Sound is based in Kalamazoo, Michigan and is best known for a single product, the Pro Co Rat distortion effect pedal (and multiple variations thereof). The Rat – allegedly named after the rodent‑infested basement in which the pedal was designed – was the brainchild of Pro Co engineer Scott Burnham in 1974, entering full production in 1979. The Rat has become one of best‑selling distortion stomp boxes of all time.


Q – Q Stands for…

I got nothin’


R – R Stands for…

Ramírez

Ramírez Guitars was founded in 1882 by José Ramírez in Madrid, Spain. The company has been manufacturing hand‑built professional, concert‑grade classical and flamenco acoustic guitars. Ramírez has been in business for over 140 years and has remained a private family business for five generations (to‑date).

Randall

Randall Amplifier Company was founded in 1970 by Don Randall in Irvine, California. Before setting up his own business focusing on guitar amps, Randall was vice president and general manager of Fender and then the Fender Sales divisions of CBS. After Randall sold his business in 1987, it was acquired by US Music Corporation, a subsidiary of Canadian corporate group Exertis.

Regal

What would become the Regal Musical Instrument Manufacturing Company from 1901 was founded in 1896 by Emil Wulschner in Indianapolis, Indiana. Regal started out making ukuleles and tenor guitars. Regal later made resonator guitar components for National and Dobro as well as making instruments under their own brand. Regal ceased production of guitars in 1941 and closed business in 1954, Fender owned the brand for a while before it was sold again to Saga Musical Instruments in 1987, who reintroduced a range of resonator instruments using the Regal name.

Rickenbacker

Swiss immigrant Adolph Rickenbacher (1886‑1976) founded Rickenbacker Manufacturing Company in 1925 to make metal bodies for National Guitars before setting up the Ro‑Pat‑In Corporation in 1931 along with performer and inventor George Beauchamp in LA, California. In 1932, Rickenbacker became the first company to make a production solid bodied electric guitar and by 1934, the company was using the Rickenbacker name. Rickenbacker really hit its stride in the 1950s after Rickenbacker sold his company to businessman F.C. Hall. Rickenbacker International Corporation (RIC) is famous for its 300 series guitars and 4000 series basses. Rickenbacker remains a private company, with its headquarters in Santa Ana, California.

Roger Mayer

Electrical engineer Roger Mayer is a name closely associated with Jimi Hendrix among others in the 1960s. In particular, Mayer’s fame resulted from the Octavia guitar effect pedal that integrated an octave (up) generator with a fuzz distortion effect. The classic Octavia remains in production still using the Mayer name. Mayer was also involved with modifying Maestro Fuzz Tone pedals and influencing the Sola Sound/Coloursound Tone Bender fuzz pedals.

Roland

The Roland Corporation was founded in 1972 by Ikutaro Kakehashi (1930‑2017) in Osaka, Japan. Roland is a multinational company manufacturing electronic organs, synthesisers, drum machines, amps and effect pedals with many iconic models, too many to mention here. Roland was also a key player in the development, introduction and promotion of the MIDI communication protocol for electronic music equipment. Roland also owns famous subsidiaries, including BOSS, Drum Workshop, Edirol and Rhodes.

Ross

Kustom Amps was founded in 1964 by Charles ‘Bud’ Ross in Chanute Kansas. After Kustom achieved considerable success, Ross sold his company to Baldwin Pianos in 1972. At that point, Ross launched Ross Musical and released the first Ross guitar effect pedals in c.1974. While Ross manufactured a wide range of effects, three Ross pedals are noteworthy, the tan‑hued Distortion, the orange Phaser and the now legendary grey Compressor. Ross pedals were revived in c.2020 by JHS Pedals (see above under John Hornby Skewes) with reissues of the classic Ross stomp boxes from the 1970s.


S – S Stands for…

Sadowsky

Sadowsky Guitars Limited was founded in 1979 by American luthier Roger Sadowsky in Long Island, New York. Roger Sadowsky has a strong reputation for building high‑end boutique guitars and basses. From 2019, Sadowsky has remained a private company while instruments are produced by German bass manufacturer Warwick (see below).

Santa Cruz

The Santa Cruz Guitar Company was founded in 1976 by American luthier Richard Hoover in Santa Cruz, California. Santa Cruz manufactures a limited number of high‑end steel‑string acoustic and acoustic bass guitars along with baritone guitars and ukuleles. Santa Cruz remains a private company as of 2025.

Schaller

Schaller GmBH was founded in in 1945 by Helmut Schaller (1923‑1999) near Nuremberg, Bavaria, Germany. Schaller manufactures a wide range of guitar parts and accessories. Initially, Schaller focused on the development of amps and speakers before moving into manufacturing metal guitar aftermarket and OEM components used by a wide variety of companies. Schaller tuners and bridges have achieved recognition for build quality. After the deaths of founding family members by 2006, Schaller was restructured as a limited liability company (GmbH).

Schecter

Schecter Guitar Research was founded in 1976 by David Schecter in Van Nuys, California. Initially, Schecter manufactured a wide range of replacement guitar parts and accessories. In 1979, Schecter started producing its own custom made guitars based on Fender designs. By 1983, Schecter was bought out by investors and, after legal action from Fender, the company was bought again by Japanese businessman Shibuya Hisatake, owner of ESP Guitars (see above), to make high‑end custom guitars. In addition to American manufacturing, Schecter imported South Korean‑built guitars from the late 1990s. In 2012, Schecter resumed American custom shop production.

Selmer

Henri Selmer Paris was founded in 1885 by Henri Selmer in Mantes la Ville near Paris, France. Selmer started off by manufacturing professional woodwind and brass instruments. In 1928, a UK branch of Selmer was formed under the leadership of brothers, Ben and Lew Davis. In the 1930s, Selmer partnered with luthier Mario Maccaferri to produce gypsy jazz guitars (see above). They also moved into PA systems during the 1930s. In the 1950s, Selmer also went into manufacturing organs as well as importing guitars from Europe. Selmer began producing a range of guitar and bass amps prompted by the rise of rock & roll. In the 1970s, Gibson owner CMI acquired Selmer UK. From 1976, CMI’s successor Norlin started running down Selmer UK until it was shut down in the early 1980s. In 2018, the family‑owned Henri Selmer Paris was sold to European equity group, Argos Wityu.

Seymour Duncan

Seymour Duncan was founded in 1976 by Seymour Duncan (1951‑) and his wife Cathy Carter in Santa Barbara, California. Seymour Duncan is best known for manufacturing a wide range of aftermarket guitar and bass pickups, as well as effect pedals. Most pickups are American‑made although the low‑cost OEM ‘Duncan‑designed’ pickups are manufactured in South Korea. Seymour Duncan’s main competitor is DiMarzio (see above).

Shergold

Shergold Guitars was founded in 1967 by former Burns London employees Jack Golder and Norman Houlder in London, England. After producing products for other companies, Shergold started making and selling guitars under the Shergold name in 1975. Shergold ceased manufacturing guitars in 1982 and there were several subsequent failed attempts to revive the brand. Barnes & Mullins acquired Shergold in 2015 and, in 2016, British luthier Patrick James Eggle (see above) became a shareholder and helped to design a range of new Shergold models.

Shin-ei

Little known outside of Japan, Shin‑ei was a major manufacturer of guitar effect pedals from the late 1960s and throughout the 1970s. In 1968, Shin‑ei created the legendary Uni‑Vibe modulation effect made famous by Jimi Hendrix. The Uni‑Vibe’s unique tones have been much imitated since. Shin‑ei manufactured products for different companies as well as under its own name. The rejuvenated company is Honey Shin-ei LLC, based in Austin, Texas.

Silvertone

Silvertone was a brand name used by the American Sears, Roebuck & Company mail order and department store for its line of consumer electronics and musical instruments from 1916. Silvertone instruments and amplifiers were manufactured by a wide variety of companies including Danelectro, Harmony, Kay, National, Supro, Teisco and Valco. Sears stopped using the Silvertone brand in 1972. In 2001, South Korean company, Samick Music acquired the rights to Silvertone and reissued a number of instruments under the revived Silvertone brand. Samick sold Silvertone to current owners, RBI Music in 2021.

Sola Sound

Sola Sound was a British guitar effect pedal brand best known for making the iconic Tone Bender fuzz pedals. The Tone Bender first appeared in 1965, designed and built in London by electronic technician Gary Hurst. The Tone Bender derived from Maestro’s Fuzz Tone and inspired Dallas Arbiter’s Fuzz face. From 1970, Sola Sound produced Colorsound‑branded pedals. Sola Sound also made pedals for other companies, such as VOX, Marshall, Carlsboro, Rotosound, CSL and many others. Both Sola Sound and Colorsound were owned by brothers Larry and Joe Macari of London, England, known for their eponymous London retail store.

Soldano

Soldano Custom Amplification was founded in 1986 by American Michael Soldano in LA, Calirfornia. Soldano designed and manufactured high‑gain guitar amps after modifying Fender and Mesa/Boogie amps. Michael Soldano, latterly based in Seattle, Washington, sold his company to Boutique Amps Distribution in 2019.

Sound City

British amp manufacturer Hiwatt (see above) was formed in 1966. Hiwatt’s founder Dave Reeves contacted Ivor Arbiter to produce guitar amplifiers re‑badged using Arbiter’s Sound City music store name. Sound City amps became associated particularly with The Who and Jimi Hendrix.

Steinberger

Steinberger was founded in 1979 by Ned Steinberger (1948‑) in Brooklyn, New York. The company manufactured a range of electric guitars and basses designed by the founder. Steinberger was eventually sold to Gibson in 1987, which stopped selling Steinberger guitars in the mid‑1990s. The most distinctive Steinberger instruments have downsized synthetic construction bodies and necks devoid of a traditional headstock, giving the instruments a minimalistic look. Steinberger (under Gibson) licensed the design to other companies including Hohner and Cort, accounting for new models.

Stick

Stick Enterprises is the company behind the innovative Chapman Stick, an unorthodox electric musical instrument devised by jazz musician Emmett Chapman (1936‑2021), which started production in 1974. The Chapman Stick commonly comprises 8, 10 or 12 strings on an enlarged fretboard and is usually played by a ‘two handed tapping’ technique, rather than by plucking the strings. While based on a guitar, it is classified as a composite chordophone.

Stromberg

Stromberg Guitars was founded in 1906 by Swedish immigrant Charles Stromberg in Boston, Massachusetts. Stromberg started out by making banjos and mandolins until 1927 when they produced their first archtop jazz guitar. Stromberg only made around 640 guitars during the big band era, during which their guitars’ large size gave them sufficient volume to compete with loud horn sections. Production stopped in in 1955 with the death of the founder.

Supro

Supro guitars date back to 1935, made as a low‑cost brand by the National Dobro Corporation (see above). From the 1950s, Supro produced electric guitars, basses, amps and effects. National Dobro was acquired by Valco, which went out of business in 1968, at which time the Supro name was discontinued. The Supro name was revived in 2013 making guitars, amps and effects. In 2020, Supro was bought by Bond Audio.


T – T Stands for…

Takamine

Takamine Musical Instruments Manufacturing Co., Ltd. was founded in 1959 by Ozhone in Sakashita, Gifu, Japan. In 1962, the company was named after Mount Takamine in Japan. Takamine focuses on manufacturing steel‑string acoustic guitars and it has become one of the leading companies of its kind. In 1978, Takamine was one of the first firms to make acoustic/electric guitars using innovative transducers, particularly suited to live performance, as they reduced feedback. For a short period, Takamine also produced solid body electric guitars and basses. Takamine remains a private company as of 2025.

Taylor

Taylor Guitars was founded in 1974 by Bob Taylor and Kurt Listug in El Cajon, California. Taylor manufactures premium acoustic, classical and semi‑hollow electric guitars in the USA and Mexico. Taylor has become famous for its innovative manufacturing technologies, use of exotic tone woods and sustainable production processes. In 2021, Taylor Guitars became owned by its employees and in 2022, Luthier and guitarist Andy Powers became Taylor’s Chief Executive, President, and Chief Guitar Designer.

TC Electronic

TC Electronic was founded in 1976 by brothers Kim and John Rishøj in Denmark. The company specialises in a wide range of innovative music audio products and is most famous for its guitar effect products. TC Electronic is only one of several companies under the ownership of TC Group holding company. In 2015, TC Electronic was purchased by Music Group (now Music Tribe).

Teisco

Teisco was founded in 1946 by guitarist Atswo Kaneko and electrical engineer Doryo Matsuda in Tokyo, Japan. The company produced a range of esoterically designed guitars, basses and baritone guitars as well as other musical equipment including amps, synthesisers and drums. In the US, guitars were re‑badged Teisco Del Rey. In 1967, the Teisco name was acquired by Japanese company Kawai Gakki Seisakusho which ceased using the Teisco name outside Japan in 1969. In 2018, the Teisco name, along with Harmony Guitars (see above), was relaunched by BandLab Technologies of Singapore.

Thomas Organ

The Thomas Organ Company was founded in 1875 by Edward Thomas in Woodstock, Ontario, Canada. The company’s early focus was on pipe and pump organs. In the 1950s, the company invented the Thomas electronic organ. Thomas became US importer of VOX products, exemplified by the Thomas Organ Cry Baby (the Cry Baby name wasn’t trademarked). Thomas also acquired rights to make Moog synthesisers. In 1979, Thomas Organ ceased business, although the name was revived 1996 to manufacture electronic organs once again.

Tobias

Tobias Bass Guitars was founded in 1977 by Michael Tobias in Orlando, Florida. The majority of Tobias basses were cost‑effective neck‑through models. Tobias was acquired by Gibson in 1990 and production was moved to Nashville, Tennessee. In 1992, Michael Tobias left Gibson to found Michael Tobias Design making boutique bass guitars. Tobias bass guitars are manufactured by Gibson’s Epiphone division and the brand has been rejuvenated in 2025.

Tokai

Tōkai Gakki was founded in 1947 by Tadayouki Adachi in Hamamatsu, Shizuoka, Japan. Initially, Tokai focused on harmonicas and pianos as well as other instruments. In 1968, Tokai started manufacturing electric guitars alongside acoustics and, later, basses and amps. In 1972, Tokai worked with C.F. Martin to build Martin’s Sigma electric guitars. In the early 1980s, Tokai got caught up in the ‘lawsuit era’, a period during which American brands threatened Japanese businesses over design copyright infringements. Tokai was a family business until it was sold in 2021 to Grace Company Ltd.

Tom Anderson

Tom Anderson Guitarworks was founded in 1984 by American luthier Tom Anderson in Newbury Park, California. Anderson started out working for Schecter before branching out on his own making limited numbers of highly‑regarded premium boutique and custom guitars. By 1990, Anderson moved from manufacturing parts to building whole guitars. Tom Anderson remains in business as of 2025.

Trace Elliot

Trace Elliot was founded in 1979 by retailer Fred Friedlein in Romford, Essex, England. The company specialised in bass amps and speaker cabinets, and from 1989, acoustic guitar amps. In 1992, KMC (who owned Ovation) acquired Trace Elliott to focus on the US market. In 1998, the company was sold again to Gibson. Then, in 2005, Peavey acquired Trace Elliott.

Travis Bean

Travis Bean Guitars was founded in 1974 by American luthier Travis Bean (1947‑2011) and business partner Gary Kramer in California to manufacture high‑end guitars using necks made from machined aluminium. Kramer left the company in 1975 to found Kramer Guitars (see above). Bean once again toyed with guitar manufacture in the late 1990s but the potential from his innovative construction techniques was largely unrealised.

Traynor

Traynor Amplifiers was a brand founded in 1963 by electronics designer Peter Traynor in Toronto, Canada under parent company Yorkville Sound. Traynor focused on manufacturing bass and guitar amps. In 1976, Peter Traynor left due to poor health and the brand diminished over a period of years until it was revived by Yorkville in 2000, still manufacturing bass, guitar, acoustic and keyboard amps.


U – U Stands for…

Univox

Univox was a musical instrument brand founded in 1960 by Thomas Walter Jennings in Westbury New York. The company marketed Univox guitar amplifiers, guitars, keyboards and drum machines. Univox’s main claims to fame were the legendary Uni‑Vibe and Uni‑Fuzz pedals. They also distributed Matsumoku guitars, Shin‑Ei effect pedals and Korg synthesisers. In 1985, the parent company Unicord was sold to Japanese company Korg, after which the Univox brand was phased out.


V – V Stands for…

Valco

Valco was formed in 1940 by a stakeholder restructuring of the National Dobro Company. Valco manufactured a range of guitars, basses and amplifiers using a variety of brand names including National, Airline and Supro, as well as making guitars for other companies such as Sears and Montgomery Ward. However, they didn’t retail any products using the Valco name. Valco merged with Kay in 1967 before going bankrupt in 1968.

Vega

The American Vega Company was formed in 1881 by Julius and Carl Nelson in Boston, Massachusetts. At the start of the 20th Century, the firm concentrated on banjos, mandolins and brass instruments. Vega started building guitars in the 1930s and was later acquired by C.F. Martin in 1970, primarily for its banjo expertise. In 1989 the Vega name was sold to the Deering Banjo Company who continue to make banjos using the Vega brand.

Vigier

Vigier Guitars was founded in 1980 by luthier Patrice Vigier in Grigny, Essonne, France. Vigier manufactures premium grade electric guitars, basses and strings. Vigier guitars has introduced many innovations and became particularly noteworthy for its Surfreter fretless variation on the Excalibur 6‑string guitar model.

VOX

VOX was founded in 1957 by Thomas Walter Jennings in Dartford, Kent, England. The company is mostly associated with guitar amplifiers such as the iconic AC30. From 1962, VOX also manufactured a range of electric guitars and effect pedals, often using Italian production facilities. VOX was sold to Rose Morris in 1978 and then again to the giant Japanese corporation Korg in 1992. Korg still own the VOX name as of 2025.


W – W Stands for…

Wal

Wal is a British brand of bass guitars founded in 1974 by electronic innovator Ian Waller and luthier Pete Stevens in London, England. Starting out making custom‑made bass guitars for professional players, the first production Pro Series basses started appearing in 1978 and the Custom Series in 1983. After Ian Waller died in 1988, Pete Stevens kept the business going at a low level. The company was revived under the leadership of luthier and former Wal employee Paul Herman in 2008.

Wandre

Wandre Guitars was founded in c.1957 by Antonio Vandrè Pioli in in Cavriago, Italy. Wandre manufactured a very small number of electric guitars and basses using some esoteric radical design elements until production ceased in 1968. To‑date, the Wandre brand has not been revived. Examples of Wandre instruments are highly sought after on the vintage guitar market.

Warwick

Warwick was founded in 1982 by Hans‑Peter Wilfer in Erlangen, Bavaria, Germany. Hans‑Peter was the son of Fred Wilfer, who had founded Framus (see above) back in 1946. Warwick is famous for manufacturing premium bass guitars, as well as more affordable bass models, amps and bass strings.

Washburn

Washburn Guitars was originally founded in 1883 by American businessman George W. Lyon and Patrick J. Healy in Chicago, Illinois. Washburn initially focused on guitars, mandolins, banjos, ukuleles and zithers. Washburn’s early years were particularly volatile and hard to document accurately. After bankruptcy, Regal (see above) tried to rejuvenate the brand without success. After many further changes, Washburn International was formed in 1987. Washburn bought the US Music Corporation in 2002 and was then sold on to Jam Industries in 2009. Washburn‑branded instruments are currently sourced from Indonesia and China.

Watkins (WEM)

Watkins Electric Music (WEM) was founded in 1949 by Charlie and Reg Watkins in London, England. WEM was one of the first British makers of guitar and PA amplifiers from 1954. In 1958, WEM introduced one of the first portable tape loop echo effects, the iconic Copicat. WEM amps and speaker cabinets were adopted by a wide range of British rock bands in the 1960s and early 1970s. Watkins sill manufactures small numbers of Copicat tape echo units.

Westone

The official Westone brand was formed in 1975 when Japanese company Matsumoku purchased the rights to the Westone name. Westone began by producing affordable acoustic and electric guitars, and basses. St. Louis Music registered the Westone brand in the US to import Japanese Westone guitars. The Westone name was superseded by Alvarez (see above) in 1991. Since then, a number of firms have used (or tried to use) the Westone name.


X

I got nothin’


Y – Y Stands for…

Yamaha

The massive Japanese Yamaha Corporation is the world’s largest manufacturer of music and audio equipment. Yamaha was founded as the Nippon Gakki Co. in 1887 by Torakusu Yamaha (1851‑1916) in Hamamatsu, Shizuoka, Japan. The company began as a reed organ manufacturer. In 1987, Nippon Gakki was renamed Yamaha Corporation in honour of its founder, still based in Hamamatsu. Yamaha also owns some other famous brands such as Ampeg and Line 6.


Z – Z Stands for…

Zemaitis

Zemaitis was founded in 1955 by luthier Tony Zemaitis (1935‑2002) in London, England. He hand built guitars, renowned for their engraved metal tops (created by Danny O’Brien) and later pearl inlaid tops. Zemaitis gained an enviable reputation among many famous artists. After his death, the tradition was continued by Zemaitis Guitars of Tokyo, Japan, led by the founder’s son, Tony Zemaitis Jr. and still using the metal engraving skills of O’Brien. Original Zemaitis guitars are now highly sought after.


Links to CRAVE Guitars’ Brand Features

The CRAVE Guitars’ web site currently has feature pages on 14 guitar brands. These provide a bit more detail than the above, should you wish to explore further (each link opens in a new browser tab):

Danelectro
Epiphone
Fender
Gibson
Gretsch
Guild
Kramer
Music Man
National (Dobro/Valco)
Ovation
Paul Reed Smith (PRS)
Peavey
Rickenbacker
Silvertone


Final Thoughts on ‘An Alternative A‑Z of Vintage Guitar Gear’

Well, that was a bit of a slog (at least for me). For once, there is not a great deal to add, so this will be very brief. That’s it. There you go. No point in wasting words on waffle. So, let’s move on with aplomb.


CRAVE Guitars’ ‘Album(s) of the Month’

It seems appropriate this month to applaud the accomplishments of not one but two bands and their classic studio albums, both with an alphabetic emphasis from A(BC) to Z(Z Top). See what I did there? These two albums should prove beyond doubt that there was some great music – and MTV‑friendly pop music videos to boot – to be had in the 1980s. Without further ado, let’s dig in for some upbeat joyful musical exuberance…

ABC – The Lexicon of Love (1982): ‘The Lexicon of Love’ was the chart‑topping debut studio album by English new wave/new romantic/pop band ABC. It was released in June 1982 on Neutron Records. The astounding popularity and commercial success of the album led it to be ranked as ‘one of the greatest albums of the 1980s’. It sounds both of its time and also timeless, if you get my drift. ABC were not able to capitalise on their success and the slick 10 tracks (38 minutes) of ‘The Lexicon of Love’ remains the pinnacle of their career (to‑date).

ZZ Top – Eliminator (1983): ‘Eliminator’ was the 8th studio album by American blues/rock band ZZ Top. It was released in March 1983 on Warner Brothers Records. Despite only reaching #3 in the UK album chart and #9 in the US Billboard 200, it proved phenomenally popular and commercially successful. Whether you remember the iconic pop music videos, the customised 1933 Ford Coupe hot rod or the spinning sheepskin‑covered guitars, the striking images and fresh sounds of the 11 tracks (45 mins) on ‘Eliminator’ couldn’t be ignored. It may not be their best but it is certainly their biggest. There is no doubt that ‘Eliminator’ launched the power trio into superstardom.

There you have it – from ABC-ZZ Top. Love or loathe these albums epitomising the excesses of the 1980s, they have both become landmarks in music history and represent the cultural zeitgeist at the time. Perhaps it is now time for a re‑appraisal of their merit within the broader historical context. Are they ‘essential listening’? I think so but, when it comes down to it, it’s up to everyone to make up their own minds. All I can do is put it out there for consideration.

BELIEVE IN MUSIC!


Tailpiece

Well, that was a lot, and I mean A LOT, of work and, for what I ask? Was it worth it? Well, for the author’s own sanity and personal development, yes. For everyone out there, that’s for you to judge. I hope it has been both informative and entertaining. Given the huge amount of work involved in compiling this A‑Z article, I intend to use a lot of it in modified form as a permanent part of the ‘Resources’ section of the CRAVE Guitars web site.

Next month, the author will face a conundrum, a dilemma, a challenge, a quandary, a predicament, a pickle and, most of all, an enigma, a paradox and a bit of a mystery (at least for now). Typically trailing trendy tantalising tantra. Intrigued? Be sure to check in, same time, same place, next month. Bye for now, y’all.

Truth, peace, love, and guitar music be with you always. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “A picture can tell a thousand lies”

© 2025 CRAVE Guitars – Love Vintage Guitars.


 

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April 2019 – The Story of Modern Music in 1,500+ Facts – Part II

Introduction

Hello and welcome back to the second part of what is turning out to be CRAVE Guitars’ magnum opus for this year. You can revisit Part I by clicking on the link below (it will open in new browser tab):

After posting Part I in March 2019, I realised that the intended approach wasn’t going to work as I’d originally intended, especially as the series would progress. The idea for this year was to present each section in two parts, i) a short narrative setting the general historical context through global political, technological and economic events of the time, and ii) the list of music facts covering the same period. That worked well enough for the first article, which briefly covered 250 years (1650 to 1900) as a precursor to ‘modern’ musical times (from 1900 onwards).

Now… after a bit of reflection, this posed a few problems once we get into the 20th and 21st Centuries, as the number of facts and the historical context expanded in quantity and complexity. Not only this, there was a noticeable disconnect between the context and the musical facts that seemed to leave a hole in the story. While not a huge problem, I wasn’t happy with the result. The course of events needed something additional not only to make the story more coherent but also to become more interesting.

So, as it’s ‘early doors’ in the project, I decided to revisit the deferred piece of research that I was going to publish this year. This brainwave enabled me to adapt that other idea and to combine it with the historical context and musical facts. It isn’t quite what I was thinking of but I reckon it will work quite well. This extensive new piece of work involved documenting the development of relevant musical genres that took place over the same time period as the rest. This move, however, will negate the original idea I had for 2019. Oh well, never mind.

Unfortunately for me, this presented another issue which was to undertake the background work needed for it to make sense and this was on top of the other elements I was already working on. If that was the end of the story, that would be enough. However, it also meant that the length of each section would then not only become too long but also too ‘chunky’. The answer to that is to split the sections into decades, each comprising three parts – historical context, musical genre developments and music facts. That’s where we are this month.

As music is an art not a science, the approach is, to some extent, necessarily arbitrary. In an attempt to avoid repetition, each genre is only covered in the first period when it became popular. As you might expect, history, genres, artists and time periods are not always neatly organised, so there is often overlap and a degree of ‘fuzziness’ around the edges. I hope, however, that the structure is relatively easy to follow and makes some kind of sense.

As previously mentioned, this is not a detailed, comprehensive academic exercise. It is purely for entertainment and each snippet of information barely scratches the tip of the proverbial iceberg. If you want to know more, I’m afraid you’ll have to go and explore where it takes you for yourself.

Finally, before we get started with this month’s part of musical history, I also have to say that the starting point of the series is from the perspective of the guitar and guitar music. If you are reading this, then you probably already appreciate that anyway, however, it does need to be said. This means that, while other aspects of music are covered, it will have a definite and obvious guitar bias. As the author, that’s my prerogative and I’m not apologising for that. Anyway, I hope you enjoy this part of the story because this is where things begin to get enthralling.

The Story of Modern Music Part II  – 1900-1919

Musical Context

This is the new bit of the story added to cement the whole together, so a quick recap is needed.

Popular music of the early 1900s was very different from the predominantly highly structured classical music genres that preceded it. Starting around 1870, the catalyst for the emergent modern styles led to a seemingly miraculous eruption of musical innovation, creativity and experimentation during the 20th Century that was unlike anything that preceded it and probably unlike anything we will see again, at least in our lifetimes. Blues, jazz, gospel and folk were becoming particularly prominent and relevant in the western world.

In order to appreciate where modern music of the 20th Century began, we need to take a brief look at the origins that began to appear in the late 19th Century, even though they were still not necessarily prominent at the turn of the millennium. In these sections it is important to recognise that musical genres did not appear from nothing and neither did they disappear overnight. In addition, many musical genres endured and morphed over decades and many have seen periodical revivals. The categorisation of music into decades for the sake of this article is simply a convenient device to provide a frame of reference within which the ‘facts’ can be readily accommodated. Similarly, genre boundaries and musical styles emanating from particular geographical territories should be seen as fluid and constantly cross‑pollinating, and should not, therefore, be taken as definitive. Where appropriate, relevant notes will be included. Nothing in music, it seems, is simple or straightforward.

1870s

The Blues, or ‘the devil’s music’ is a major musical genre that originated in the Deep South of the United States such as Mississippi, Louisiana and southern Texas from around the 1870s and spread widely across the country changing its style as its popularity increased. Blues really came to prominence at the beginning of the 20th Century. The basis of the blues came predominantly from African American music and traditional African music, as well as European traditional folk music. The genre can be recognised often by repeating chord progressions and commonly a 12‑bar structure. The word ‘blues’ is largely attributed to melancholy, sad or depressed mental states and is often associated with trials and tribulations of post‑slavery black oppression. The development of the blues included work songs, spiritual songs, chants, and ballads. Around 1902, African American musician WC Handy, often called ‘the father of the blues’, heard blues music being played at a railway station and set about promoting the genre through early recordings. Some of the early practitioners of blues include Charlie Patton, Blind Blake, Blind Lemon Jefferson, Mississippi John Hurt, Son House, Robert Johnson, Big Bill Broonzy and Lead Belly, along with many others. Blues music has been highly influential over the last 150 years and its lasting effects can be found widely in jazz as well as later musical genres such as rhythm & blues, rock ‘n’ roll and rock music. Blues has also spawned many sub‑genres including Delta blues, country blues, Piedmont blues, hill country blues, West Coast blues, electric Chicago blues, Texas blues and blues rock.

1890s

While orchestral music remained popular up to the end of the 19th Century, a new breed of music was attracting listeners’ attention. Ragtime emanated from the African American communities of urban cities including St. Louis in Missouri around 1895-1897. Ragtime takes the traditional march musical style that had been made popular by John Philip Sousa and was often played by African American bands. Ragtime incorporated ‘ragged’ syncopated rhythms often reminiscent of polyrhythmic African music. Ragtime became a massively popular form of dance music up to around 1919. Ragtime, along with blues music largely influenced and evolved into Jazz from about 1917. Dance crazes inspired by ragtime became popular with contemporary audiences of the time including the shimmy, the turkey trot, the buzzard lope, the chicken scratch, the monkey glide, and the bunny hug. Predominantly white audiences first encountered the new craze at popular vaudeville shows, with artists soon migrating to the music clubs. Scott Joplin, Joseph Lamb and James Scott are known as the ‘big three’ ragtime composers of their time.

Right, now things are back on track, let’s get going with the early part of the 20th Century.

The 1900s

The 1900s was a decade that heralded not only intense hope for a new millennium but also further leaps of scientific and technological progress.

 Historical Context 1900-1909

1900

Work on the famous New York subway from City Hall to the Bronx began.

1901

The first Nobel Prizes are awarded in Stockholm, Sweden in the fields of physics, chemistry, medicine, literature, and peace.

The Commonwealth of Australia was created.

Hubert Cecil Booth made the world’s first commercial vacuum cleaner.

King Gillette and William Nickerson founded the American Safety Razor Company.

After 63 years on the throne, British monarch Queen Victoria died and was succeeded by King Edward VII.

The first 2000‑mile transatlantic radio message from England to Newfoundland was sent by Italian electrical engineer Guglielmo Marconi.

1902

The Flatiron Building in Manhattan, New York became the world’s tallest at 20 stories and 205 feet tall.

1903

The first powered flight was made by brothers Orville and Wilbur Wright using the first heavier than air powered airplane, the Wright Flyer.

American industrialist and founder of the Ford Motor Company, Henry Ford started mass production of motor cars in America.

The first baseball World Series was held.

1905

Albert Einstein published his ‘Special Theory of Relativity’ proposing the relationship between space and time.

1906

A massive 7.9 (estimated) magnitude earthquake struck California, killing 3,000 people and destroying 80% of San Francisco. The Britain suffragette movement began, aiming to give women the vote.

The first Grand Prix motor race took place at Le Mans in France.

1908

Lord Baden‑Powell founded the Boy Scouts and Girl Guides movement.

The headquarters of the Singer Manufacturing Company in Manhattan reached 47 stories and 612 feet tall.

The American agency, the FBI (Federal Bureau of Investigation) was formed.

Ford introduced the massively popular Model T motor car, which sold for $850.

1909

Explorers Robert Peary and Matthew Henson claim to be the first people to reach the North Pole.

Musical Genre Development 1900-1909

Blues music was beginning to spread from the rural areas of the American Deep South and varieties such as hill blues and country blues reflected the social culture of their regional origins. Church music was also prominent in the American Bible belt, as was Anglo‑American folk music with immigrants influencing home grown styles.

Although classical music began to be overtaken rapidly by more modern forms, opera became particularly popular in the early 20th Century and sustained interest until about 1960.

Jazz music, often termed ‘America’s classical music’, is another major musical genre starting from around 1900. Early forms of jazz musical expression emerged mainly from the American south and particularly around the city of New Orleans in Louisiana, often referred to as Dixieland. Jazz stemmed from existing blues, ragtime and European military band music, all of which were popular in the late 19th Century. Musician Buddy Bolden is widely recognised for fusing blues and ragtime to form the basis of jazz. Partly because of these origins, early jazz music was principally performed by African American musicians. Jazz is characterized by ‘swing’ and ‘blue’ notes, call and response patterns, polyrhythmic arrangements and extensive improvisation. Jazz rapidly diversified with forms such as ‘honky‑tonk’, ‘boogie woogie’ and simple jug band music. The main surge in the popularity of jazz music occurred after WWI and particularly from 1920 onwards, known widely as ‘the Jazz Age’. The growth of the jazz craze soon spread to dance halls and speakeasies as well as ubiquitous marching bands. Music and dancing became a significant part of popular jazz culture, including the cakewalk, the black bottom, the Charleston, the lindy hop and the jitterbug. The introduction of recording technology and wireless radio also gave much broader exposure to the exciting new musical genre. Popular jazz artists included Jelly Roll Morton, Louis Armstrong, Bessie Smith and Fats Waller, as well as big band orchestras led by the likes of Duke Ellington, and Count Basie. Jazz rapidly diversified including forms such as Kansas City jazz, gypsy jazz, bebop, cool jazz, free jazz and fusion. Jazz and its many different styles remained hugely popular up to the 1940s and its legacy heavily influenced the proliferation of other musical genres from the early 1950s.

Musical Facts 1901-1909

DayMonthYearMusic Fact
4August1901Legendary American jazz trumpet player, singer and composer, Louis ‘Satchmo’ Armstrong was born in New Orleans, Louisiana.
21March1902Legendary and influential blues guitarist, singer and songwriter, Son House (1902-1988, 86) was born in Lyon, Mississippi.
9June1902Influential delta blues guitarist and singer Skip James (1902-1969, 67) was born in Bentonia, Mississippi.
10October1902American luthier Orville Gibson founded The Gibson Mandolin-Guitar Manufacturing Co. Ltd in Kalamazoo, Michigan, now better known as manufacturer of Gibson guitars.
26June1903American blues singer, songwriter and guitarist, Big Bill Broonzy (1903-1958, 65) was born in Jefferson County, Arkansas.
1March1904American big-band trombone player, arranger, composer, and bandleader Glenn Miller was born in Clarinda, Iowa.
21August1904American jazz pianist, organist, bandleader, and composer Count Basie was born in Red Bank, New Jersey.
19November1905American jazz trombone player, composer, conductor and bandleader, the ‘Sentimental Gentleman of Swing’ Tommy Dorsey was born in Shenandoah, Pennsylvania.
12January1906American country blues singer and guitarist Mississippi Fred McDowell (1906-1972, 66) was born in Rossville, Tennessee.
12November1906American delta blues guitarist and singer Booker T. Washington ‘Bukka’ White (1906 or 1909-1977, 67 or 70) was born between Aberdeen and Houston, Mississippi.
2December1906The inventor of the long playing microgroove record (a.k.a. the LP) for Columbia Records, Peter Carl Goldmark was born in Budapest, Hungary.
29September1907American guitarist, singer, songwriter, actor, rodeo performer and businessman, ‘the singing cowboy’ Gene Autry (1907-1998, 91) was born in Tioga, Texas
26January1908Amazing French virtuoso jazz violinist, known as ‘the grandfather of jazz violinists’ Stéphane Grappelli was born in Paris.
30May1909American jazz clarinet player and bandleader, the ‘King of Swing’, Benny Goodman was born in Chicago, Illinois.
10August1909One of the most significant figures in guitar music history and business, Clarence Leonidas ‘Leo’ Fender (1909-1991, 81) was born in Anaheim, California.
10October1909American businessman, president of guitar manufacturer Gibson and mentor to luthier Paul Reed Smith, the formidable Theodore ‘Ted’ McCarty (1909-2002, 91) was born in Somerset, Kentucky.

The 1910s

The 1910s was a tumultuous decade and one that would leave the world on a watershed, with positive and negative implications for the ones that would follow.

 Historical Context 1910-1919

1911

Norwegian explorer, Roald Amundsen became the first person to reach the South Pole.

The Chinese Revolution led to the formation of the republic of China.

The first Indianapolis 500 motor race took place at Indianapolis Motor Speedway in Indiana.

1912

The so‑called unsinkable ocean liner, the RMS Titanic sank on its maiden transatlantic voyage from Southampton to New York after striking an iceberg, killing over 1,500 passengers and crew.

1913

The first crossword puzzle was published in a Sunday newspaper, the New York World.

1914

The Panama Canal in Central America opened, connecting the Atlantic and Pacific Oceans.

The First World War (WWI) started between Germany/Austria and Britain/France/Russia, which lasted until 1918.

1915

A German torpedo sank the British ocean liner Lusitania off the Irish coast, killing nearly 1,200 people.

1916

Albert Einstein published his ‘General Theory of Relativity’ proposing a unified description of gravitation as a geometric property of space and time.

1917

The Russian Bolshevik Revolution took place, led by Vladimir Lenin and Leon Trotsky.

America joined WWI on the side of the Allies.

1918

The British Royal Air Force was founded.

Women over the age of 30 were given the vote in Britain.

A deadly influenza pandemic infected c.500 million people around the world and resulted in the deaths of 50 to 100 million, equivalent to 3-5% of the global population.

The armistice between the Allies and Germany ended WWI. Approximately 17 million people were killed during the conflict.

1919

The infamous Chicago Black Sox baseball match fixing scandal, when 8 members of the White Sox were accused of intentionally losing the World Series to Cincinnati for money from a gambling syndicate.

The Grand Canyon National Park in Arizona was created.

After WWI, the League of Nations was established, intended to ensure world peace, lasting until it was abandoned in 1946.

Musical Genre Development 1910-1919

By 1910, blues music was migrating into urban areas and would have a major influence on all forms of music. Jazz particularly New Orleans Jazz maintained its popularity during the 1910s. Religion was of great solace to the oppressed black communities of southern USA and unaccompanied singing of spirituals grew in popularity, eventually morphing into gospel by the 1930s. Social development in America and particularly Europe during the 1910s was heavily impacted by World War I. In the absence of technological music distribution, the ‘new’ music from the previous decade continued to spread and it maintained its influence during the 1910s. As a consequence, no major genre styles appeared before the boom period of the post‑war ‘roaring twenties’. Recordings of Afro‑Caribbean calypso music began to appear in the 1910s, which proved not only popular but also influential.

Musical Facts 1910-1919

DayMonthYearMusic Fact
23January1910Belgian/French virtuoso gypsy jazz guitarist, Django Reinhardt (1910-1953, 43) was born in Liberchies, Pont‑à‑Celles, Belgium.
28May1910Influential American blues guitarist, singer and songwriter T-Bone Walker (1910-1975, 64) was born in Linden, Texas.
10June1910Legendary blues American guitarist and singer Howlin’ Wolf (real name, Chester Burnett) (1910-1976, 65) was born in White Station, Mississippi.
8May1911Legendary American blues guitarist, singer and songwriter, Robert Johnson (1911-1938, 27) was born in Hazlehurst, Mississippi.
5November1911American singer, guitarist and popular Western film actor, known as the ‘King of the Cowboys’ Roy Rogers (1911‑1998, 86) was born in Cincinnati, Ohio.
15March1912American country blues singer, songwriter and guitar legend, Sam ‘Lightnin’ Hopkins (may be 1911 or 1912‑1982, 69) was born in Centreville, Texas.
14July1912Legendary and influential American folk singer, songwriter and guitarist, Woody Guthrie (1912‑1967, 55) was born in Okemah, Oklahoma.
4April1913Legendary American Chicago blues guitarist, Muddy Waters a.k.a. McKinley Morganfield, (1913-1983, 70) was born in Issaquena County, Mississippi.
7August1913American pioneer of the 7-string jazz guitar, long before its current popularity in modern rock music, George Van Eps (1913-1998, 85) was born in Plainfield, New Jersey.
22November1913Famous English classical composer, conductor and pianist Benjamin Britten was born in Lowestoft, Suffolk.
20March1915Influential American gospel singer, songwriter and guitarist, Sister Rosetta Tharpe (1915-1973, 58) was born in Cotton Plant, Arkansas.
7April1915Legendary American singer Billie Holiday was born in Philadelphia, Pennsylvania, She is widely recognised as one of the greatest jazz singers of all time.
9June1915True American guitar legend and musical innovator, the incomparable Les Paul, a.k.a. Lester William Polsfuss (1915-2009, 84) was born in Waukesha, Wisconsin.
1July1915Influential American blues singer, songwriter, upright bass player and guitarist, Willie Dixon (1915-1992, 75) was born in Vicksburg, Mississippi.
29July1916Highly influential American jazz guitarist, Charlie Christian (1916-1942, 25) was born in Bonham, Texas.
12March1917American record producer and co-founder of Chess Records in Chicago, famous for pioneering blues and rock ‘n’ roll artists, Leonard Chess was born in Motal, Poland.
7June1917American singer, actor, comedian, and producer Dean Martin was born in Steubenville, Ohio.
22August1917Massively influential American blues guitarist, singer and songwriter, an all-time great music man, John Lee Hooker (1917-2001, 83) was born in Tutwiler, Tallahatchie County, Mississippi.
30September1917Legendary American jazz drummer and band leader Buddy Rich was born in Brooklyn, New York.
21October1917American jazz trumpeter, bandleader, composer, and singer Dizzie Gillespie was born in Cheraw, South Carolina.
17November1917Influential American country singer, songwriter and guitarist, Merle Travis (1917-1983, 65) was born in Rosewood, Kentucky.
27January1918American blues guitarist, the ‘king of the slide guitar’, Elmore James (1918-1963, 45) was born in Richland, Mississippi.
25April1918Renowned American jazz singer, known as the ‘First Lady of Song’ and the ‘Queen of Jazz’, Ella Fitzgerald was born in Newport News, Virginia.
19August1918Pioneering American luthier, Orville H. Gibson, founder of Gibson guitars, died in a New York hospital at the age of 62.

Tailpiece

OK, there you have it for this month’s article and we’ve only covered two decades! But, what influential decades they were. Things are just starting to hot up and there is still plenty to look forward to over coming months. Music and world events begin to get even more complicated and quite exciting from here on in. I’m not sure how many months this series will last, so we’ll just have to take things as they come.

In the background, the repatriation project is ongoing at an intentionally slow pace with about 3‑4 guitars a month attracting some much deserved tender loving care and attention. Also, the ‘most wanted’ vintage gear hunt is still underway but with no desperate urgency, as there is plenty else to be getting on with. Also, the postponed and much‑needed cellar renovation (i.e. future guitar accommodation) may begin to get underway by mid‑year. So, lots of fun and games to be had if at all possible. Until next time…

CRAVE Guitars ‘Quote of the Month’: “Intelligence is not about what you know or how much you know but about having the curiosity to ask ‘why?’”

© 2019 CRAVE Guitars – Love Vintage Guitars.

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July 2018 – A Potted History of the Guitar Part V

Hello again and welcome back to the latest, fifth, part in the long history of the guitar, abridged and serialised for your entertainment. After the lengthy but hopefully coherent, tome of last month, I promise this one is a bit shorter and focused back on whole guitars, for easier consumption.

If you wish to recap on previous articles before starting with this part, the previous articles making up the ‘Potted History of the Guitar’ series can be accessed here (each part opens in a new browser tab):

The previous article (Part IV) in the series covering the guitar’s evolution looked at some essential 20th Century technological innovations without which, the electric guitar and modern music would not have evolved within the context of our current civilisation.

The artificial increase in volume provided by the pickup, amplifier and loudspeaker was important to enable the guitar to be elevated from just an accompanying instrument to a lead/solo instrument. This significant expansion in functionality proved massively popular across most non-classical musical genres and would change popular music forever. Crucially, the electric guitar provided a springboard for the musical revolution that occurred from the 1950s, fuelled first by jazz and blues and then by country and the rock ‘n’ roll ‘explosion’. At the same time, post‑war economic growth and social liberalisation in most western societies provided a fertile environment within which the electric guitar and the music it influenced could flourish. Part V explores how those key innovations were first introduced to the guitar world and then became an integral part of what would eventually become today’s musical landscape.

There were considerable challenges in turning prototypes into successful working commercial products. One of the barriers was the capability to manufacture the various elements to consistent quality in large numbers at low enough cost to match supply with demand. Another potential inhibitor was to persuade exiting dealerships and traditional musicians to adopt the new technology. One strategy was to attract big name artists to not only endorse but also to be seen using them in live performance. All of these factors were important in helping to build and then sustain long‑tem interest.

Scientific and technological progress in the first half of the 20th Century, it seems, was inevitable and unstoppable. Guitar builders were taking massive leaps of faith and the risks were great. If the new‑fangled popular music turned out to be a temporary fad or the features offered didn’t catch the consumer’s imagination then all the investment in time, effort and money would be wasted. Manufacturers had to get their products ‘just so’ in a timely fashion, so there was pressure to adapt, get the balance right and to do so within a relatively short space of time.

In hindsight, the answers to these challenges seem relatively straightforward, although it may not have seemed so at the time. As mentioned briefly in the previous part of the story there were essentially two ways to migrate from an acoustic instrument to an amplified electric one…

The first method was, perhaps, an obvious incremental approach achieved by simply adding one of the new‑fangled pickups to an existing hollow‑body acoustic instrument. The modified acoustic guitar could then simply be connected to a portable valve amplifier and speaker. This would be an attractive approach for many well‑established jazz/dance band musicians. However, the potential of this solution – at least initially – was limited by fact that that all that was happening was simply electrifying acoustic guitars. Not surprisingly, it worked for companies already producing credible archtop acoustic guitars, including, for example, Gibson.

The second method was to take a more radical approach and invent an entirely new type of instrument designed from scratch. This was technically far more difficult at the time and carried no guarantee of success. However, a bespoke approach was seen as less of a compromise and more a means of going straight to a visionary objective in one step, as well as doing so quickly without being constrained by anything that had gone before. The forward‑looking pioneers in this field believed that a purpose‑built electric guitar would appeal to a completely different audience and were prepared to take the massive risk of alienating the current generation of risk‑averse musicians in order to grow a fresh following for the new generation of guitars from a low base.

Arguably, both ways were important and both were needed in order to refine the inventions and for the best of both worlds to converge. Without these pioneering efforts, we would not have the diverse range of electric guitars (and other instruments) we have today. The following sections take a brief look at what happened to each of these seemingly opposing strategies and how successful they really were.

Generally speaking, the development of acoustic guitars had taken different courses on the eastern and western sides of the United States, so perhaps it was not surprising that the developments leading to the electric guitar also followed a rough east/west geographical split. In addition, the routes taken to get to the nirvana of the electric guitar were fundamentally different. While there were many inventors, engineers and entrepreneurs working on similar projects, this part of the story focuses on two key enterprises based in Michigan and California during the 1930s. The pace of innovation that occurred in the wake of WWII, through the late 1940s and into the 1950s will be the focus of the next part of the series.

Amplified Archtop Guitars

On the eastern(‑ish, actually the mid-west) side of America, Gibson being Gibson, felt that they were in control of their own destiny. They were intent on doing things their way and in their own time. Although Gibson was no stranger to innovation, perhaps predictably, they chose the ‘safe’ option, which was to add an electromagnetic pickup to their successful range of existing archtop guitars and then take it from there. This was seen as a simple, effective and relatively painless way of making the transition for an existing largely conservative and loyal user base to the new platform. Professional musicians, perhaps conscious of retaining their reputation and credibility could keep the look, feel and timbre of their existing instruments and just plug them into an amplifier to make them louder. While the approach was successful, as we now appreciate, the seemingly straightforward act of electrifying an acoustic instrument isn’t always ideal. Many initially sceptical professional musicians were, however, persuaded to embrace incremental change. They could retain their trusty, mostly expensive, high quality acoustic archtop guitars and also keep their expectant audiences happy.

While their upstart competitors on the west coast may have beaten Gibson to the starting gate technologically (see below), the Hawaiian lap steel market was finite and Gibson was intent on occupying what they saw as their rightful territory in the centre ground. Gibson founder, Orville Gibson had passed away in 1918, long before Gibson electric guitars became a reality. One wonders what Orville would have thought and, perhaps more intriguingly, done if faced with the same set of circumstances.

While acoustic engineer Lloyd Loar was employed at Gibson, he had experimented with electrostatic pickups in the early 1920s, although not very successfully. It would, however, take Gibson another 10 years to make their breakthrough. It fell to Gibson employee, Walter L. Fuller, who had joined the company in 1933 who was responsible for finalising the design of Gibson’s first pickups used on their electric metal‑bodied E150 lap steel guitars, introduced in 1935. The electric E150 was, like the early Rickenbacher Electro lap steel guitars, constructed from sold aluminium. To help entice early adopters, the E150 was offered with a matching E150 amp.

A year later, in May 1936, Gibson introduced their first ‘Electric Spanish’ (ES) model, the hollow body archtop ES‑150. While some may dispute the circumstances, the Gibson ES‑150 is historically significant in that it is generally regarded as the first commercially successful production electric guitar. The Gibson ES‑150 employed the same pickup as used in the previous year’s E150 lap steel. Two large 5” bar magnets were hidden under the top of the guitar, as can be seen by the triangle of mounting bolts, while the hexagonal pickup with its distinctive ‘blade’ polepiece was visible, mounted near the neck. The output jack socket was positioned unobtrusively on the side of the guitar’s lower bass bout. Otherwise, the ES‑150 was a relatively unremarkable example of familiar archtop jazz guitar design of the 1930s. Interestingly, the ES‑150 wasn’t a replacement for another Gibson model; it was a new introduction, supplementing existing instruments.

Like the E150, the ES-150 was sold with an accompanying EH‑150 amplifier and cable. The ‘150’ of its name derived from the guitar’s introductory price of $150.

Importantly for Gibson, the ES‑150 was endorsed by acclaimed jazz guitarist Charlie Christian (1916-1942), which helped to popularise amplified archtop guitars not only for rhythm work but also for lead/solo playing. The distinctive black and white hexagonal pickup used in the ES-150 is still known today as the ‘Charlie Christian’ pickup and is held in high regard by aficionados, despite being very low‑powered in its original form. After 1938, Gibson redesigned the pickup so that it was more powerful – it had a notch in the polepiece below where the wound ‘B’ string would go, in order to balance the output across all 6 strings. A third variation of the pickup appeared on Gibson ES-250s from 1939, perhaps indicating that development of the pickup was ‘work‑in‑progress’.

By the end of the 1930s, Gibson’s Walter Fuller was experimenting with Alnico (aluminium, nickel and cobalt) alloy magnets in pickups. Various guitars of the early 1940s featured early versions of what would become one of Gibson’s most famous pickups, the P90. These developmental designs, used on Gibson ES-250 and ES-300 guitars, were a far cry from the familiar P90 pickups that would follow. Another early version of the P90, called the P-13, appeared on Mastertone Electric Spanish Guitars from 1940, a budget brand owned by Gibson.

Between 1943 and 1945, a substantial proportion of Gibson’s manufacturing capacity was re‑focused on supporting the American war effort. Supply of materials and tooling caused a temporary hiatus in America’s pickup, guitar and amplifier development, not only for Gibson but also for all manufacturers in the industry.

It wasn’t until 1946 that Gibson introduced the fully‑fledged single coil P.U.90, now known simply as the P90, on their ES-150 and ES-300 archtops. The P90 has become one of the company’s most famous and highly respected pickups, and a design that has endured almost unchanged over many decades. The P90 pickup was important to Gibson as it really established Gibson’s dominance in pickup design prior to the introduction of humbucking pickups. The successful P90 became a standard and effectively replaced Gibson’s earlier pickup designs. Although Gibson’s humbucking pickups were intended to replace the P90 in the 1950s, the P90 remains in production today as Gibson’s predominant single coil pickup, testament to the quality of its original design.

Once the concept of electric archtop guitars had been broadly embraced by enough mainstream guitarists, Gibson extended the use of pickups to other guitars. In 1949, Gibson released the ES-175. Like the ES‑150 before it, the model was named after its introductory price of $175. This model was important in the historical timeline because it was designed from the start to be an electric guitar, rather than an acoustic guitar with a pickup. It was also considered a cheaper guitar than Gibson’s upmarket archtops like the acoustic L5 and Super 400. Unlike its predecessors, the ES-175’s all‑hollow body was constructed from laminated boards rather than solid wood and it was the first Gibson to feature a pointed Florentine cutaway. Initially, the ES-175 came with one and then two P90 single coil pickups. By 1957, Gibson switched to their new humbucking pickups to the E‑175.

Following on from the ground breaking ES-150 and the ES-175, Gibson revisited an earlier classic creation by introducing the luxuriously appointed L5CES in 1951. The new model was based on the preceding L5 originally designed by Lloyd Loar in the 1920s. The L5CES was aimed squarely at the high end and was designed to provide the best of both worlds for discerning professional musicians. The ‘C’ stood for the single ‘cutaway’ body comprising spruce top and maple back and sides. The model was produced initially with a smoothly rounded Venetian cutaway and a pair of P90 single coil pickups, followed later by a sharply pointed Florentine cutaway and humbucking pickups. The ‘ES’ continued the ‘Electric Spanish’ nomenclature of other models. By using 2 pickups, the L5CES was intended to be used both acoustically and electrically. A notable user of the electric L5 was Scotty Moore who worked with emerging rock ‘n’ roll singer, Elvis Presley in the 1950s. There were a number of variations on the theme, including the thinline, short scale Byrdland and in the 1970s, Gibson even introduced a solid body version of the L5, called the L5S.

In 1955, Gibson introduced their first production humbucking pickup, designed by Seth Lover. Early versions of the Gibson P.U.490 humbucker have become known as PAF (Patent Applied For) pickups, while ones produced after their patent was awarded in 1959 are known as ‘Patent No.’ pickups. Succeeding versions of the Gibson humbucker right up to the current day have built on the foundations of these early, now legendary, pickups. As they had done in the 1930s, Gibson launched their new pickup first on lap steel guitars in 1956 before phasing them in to replace P90s on the aforementioned ES‑175.

It wasn’t long before PAF humbuckers were used on many Gibson guitars. Unsurprisingly, they also began to appear in the company’s (relatively) new solid body gold top Les Paul Model and black Les Paul Custom guitars from 1957 as well as on the all‑new semi‑acoustic ES‑335 from 1958. However, that’s getting ahead of this particular part of the story. Fortunately for Gibson, their humbucking pickups proved highly successful across all types of electric guitar and have long since become an industry standard, with many 3rd party pickup suppliers creating their own versions. Even the original Charlie Christian pickups are now being replicated for enthusiasts of the unique sound they produced.

There have, perhaps obviously, been plenty of other electric archtop guitars over the intervening years from a wide range of manufacturers across the globe. While this part of the story recognises this diversity, it cannot do justice to the proliferation of instruments on the market today. Needless to say, many of today’s designs have been inspired by the few milestone instruments mentioned here. Arguably, progress would have taken place anyway, even without these key instruments. However, the guitars covered above are particularly notable in historical terms not necessarily because they were the first or the best but because of the part they have played in the overall heritage.

Again in hindsight, the addition of one or more pickups to an existing acoustic guitar may seem to be an obvious option. However, at the time, it was a significant development by a company that was known for combining innovation with traditionalism. It was a strategic decision by Gibson that achieved that clever balancing act, innovating while preserving their reputation and sustaining their user base during a time of major industry and social change.

When the time came to introduce their own range of solid body guitars in the early 1950s, Gibson already had plenty of experience under their belt to make informed decisions about what would and what wouldn’t work. It is not surprising that other manufacturers followed suit and the electric archtop guitars became mainstream until the 1950s.

The electric archtop guitar proved extremely popular with traditional guitarists looking to continue using archtop jazz guitars while also enjoying the benefits of greater volume provided by amplification. After a commercial nadir in the late 20th Century, archtop electric designs have also proved exceedingly dependable and many models remain popular to the current day, and will probably now endure well into the instrument’s future.

 

The Early Solid Body Electric Guitar

Possibly the main individual associated with the rather awkward birth of the electric solid body guitar was Adolph Rickenbacher (1886‑1976). Shortly after he was born in Basel, Switzerland, Richenbacher emigrated to America in 1891 with relatives following the death of his parents. After settling initially in Wisconsin, Adolph moved to California in 1918. In 1925, he set up the Rickenbacher Manufacturing Company, a tool and die business manufacturing metal and plastic products in Los Angeles.

To begin with, Rickenbacher spelled his family surname with an ‘h’, rather than the ‘k’ we are familiar with today. Rickenbacher later changed his surname, partly to ‘Anglicise’ it and partly to capitalise on the fame of his cousin and WWI flying ace, Eddie Rickenbacker.

Alongside Rickenbacher, the other key person was none other than George Beauchamp, the Texan Vaudeville entertainer and inventor who had already played such a major part in the development of resonator acoustic guitars with the National String Instrument Corporation in the 1920s. In addition to pioneering resonator guitars (see Part III), Beauchamp had been experimenting with pickups and amplified instruments since the mid‑1920s but with little success (see Part IV).

Perhaps ironically, during the late 1920s, Rickenbacher’s company was manufacturing metal resonator guitar bodies for National, so perhaps it is not surprising that Beauchamp and Rickenbacher’s paths should cross. Rickenbacher was even a shareholder in National. According to some commentators, it was Beauchamp’s involvement with Rickenbacher that possibly precipitated the former’s ultimate departure from the newly merged National Dobro Corporation in around 1934.

Beauchamp’s quest for greater guitar volume had led him to explore the idea of using an electromagnetic pickup to create a signal and an amplifier to produce volume. Like many before him, Beauchamp was driven to prove the concept in a practical way and he was largely successful. Beauchamp had started designing pickups and ideas for an electric guitar while still at National and in collaboration with another National employee, Paul Barth. Beauchamp and Barth’s first successful pickup design comprised a pair of U‑shaped magnets arranged in a ‘horseshoe’ shape that housed the pickup’s wire coil and surrounded the guitar’s strings.

In October 1931, Rickenbacher, Beauchamp, Barth and a number of others became business partners and founded the Ro‑Pat‑In Corporation (short for Electro‑Patent‑Instruments), based in Los Angeles. Ro‑Pat‑In’s stated goal was to produce fully electric musical instruments. Their prototype Hawaiian electric guitar from c.1931 exhibited many of the features of the eventual production model, although it was mainly constructed from wood. This was not an acoustic guitar in any shape or form, so it had to function as an electric instrument from the outset.

Ro‑Pat‑In became the first company to design and manufacture a production solid bodied electric guitar in 1932, way before Gibson. Finally, albeit in embryonic form, the fully electric guitar had finally arrived. These early guitars were, perhaps unkindly, nicknamed ‘frying pans’ because of their distinctive shape, comprising small circular bodies, long necks and all-metal construction. The guitar comprised a circular cast aluminium body and neck and incorporated the all‑important ‘horseshoe’ pickup and a volume control.

Wisely, Ro-Pat-In changed its unwieldy name to Electro String Instrument Corporation in 1933. Confusingly, early instruments appeared with the ‘Electro’ (and even ‘Elektro’) name. Even more confusingly, the company used the Rickenbacher spelling inconsistently until it finally became Rickenbacker from around 1950.

Following the name change, the ‘frying pan’ became the Rickenbacher Electro A-22. The profile of the instrument was heightened by steel guitarist Jack Miller who played a ‘Frying Pan’ with Orville Knapp (1904-1936) and his orchestra from 1934. Although he was little‑known at the time, Miller may possibly be able to lay claim to being one of the first artists to popularise the electric guitar.

As previously covered in Part IV of the story, Beauchamp’s 1934 patent application for an ‘electrical stringed musical instrument’ incorporating an electromagnetic pickup was finally awarded in April 1937. The intervening 3‑year period allowed enterprising competitors to take advantage of the new technology and create their own versions. Rickenbacher made a conscious decision not to defend their patent in the courts, thereby effectively opening up the market to competition.

Aluminium often caused tuning problems under demanding stage conditions, so Rickenbacher also experimented with other materials, including plastic and wood. From 1935, Electro released the influential Model B Hawaiian lap steel guitar. The Model B was notable for being made from cast Bakelite, a form of synthetic plastic invented in 1907 by Belgian-American chemist Leo Baekeland (1863-1944) in New York. Model B guitars were originally produced with a single volume control and five decorative chrome panels before models from the late 1930s featured volume and tone controls with white enamelled panels.

Richenbacher and Beauchamp recognised that the market for lap steel guitars was relatively small and there were other opportunities to be exploited. From 1932, Rickenbacker also went on to design more traditional ‘Electro Spanish’ guitars with conventionally‑shaped acoustic wood bodies, f‑holes, a slotted headstock and neck to body join at the 14th fret. By 1935, guitarist and early endorsee Ken Roberts was honoured with a ‘signature’ model that had a neck to body join at the 17th fret, featured a vibrato tailpeice and was the first electric Spanish‑style guitar to have a 25½” scale neck.

Like the ‘frying pans’ before them, both the Model B and the Electro Spanish guitars used the distinctive ‘horseshoe’ pickup. In addition to guitars, Rickenbacher Electro used their expertise to develop other electric instruments including mandolins, violins, cellos and even a harp. To accompany their electric guitars and to make them usable, Rickenbacher Electro also produced guitar amplifiers.

Timing of these guitar developments wasn’t ideal and market conditions were challenging for Rickenbacher. Electro String’s instruments appeared shortly after the Wall Street Crash in October 1929, an event that initiated the Great Depression, a major worldwide downturn that persisted until the late 1930s. Coincidentally, during the 1930s, global political tensions started to increase culminating in the outbreak of WWII. Most of America’s industrial concerns were focused on supporting the war effort for several years and the ensuing recovery was slow. The impact on the uptake of electric guitars during depression‑era America was significant, particularly in rural areas. Despite the difficulties, Electro String Instrument Corporation persevered and had produced over 2,500 ‘frying pans’ by the time the company stopped making them in 1939.

After all his vision, ambition, creativity and drive, George Beauchamp became disillusioned with the direction in which things were moving and he left Rickenbacker in 1940 to follow other pursuits, including his passion for deep sea fishing. Beauchamp died of a heart attack while on a fishing trip near Los Angeles in 1941 at the age of just 42. Beauchamp was largely unrecognised at the time for his many significant contributions to guitar evolution.

Following Beauchamp’s departure, Rickenbacker continued making musical instruments until 1953 when he sold the company to Californian businessman Francis Cary Hall. After the sale, the Rickenbacker company embarked on a whole new era of guitar building and commercial success under Hall’s leadership. Adolph Rickenbacker died in 1976 as a result of cancer in California at the age of 89. The company he founded in 1931 continues to thrive and still bears his name (complete with its ‘k’) today as the Rickenbacker International Corporation (RIC).

End of Part V

This moment seems like another ideal stopping point, albeit covering a fairly short period of intense guitar evolution in the 1930s. Together, Gibson’s and Rickenbacker’s milestone innovations had bridged that all‑important gap between the guitar’s acoustic history and the introduction of commercially produced modern solid body electric guitars in the 1950s. From this watershed point on, nothing in the music world would ever be quite the same again.

It is the emergence of the modern electric guitar, and particularly the now‑familiar solid‑body guitar, as we know it that will be picked up in Part VI. The fascinating battle between industry stalwart Gibson and new‑kid‑on‑the‑block Fender was about to take place. Fender and Gibson started fighting for market supremacy in the 1950s and are still doing so today.

I hope you enjoyed this part of the guitar’s story and trust that you’ll come back for the next exciting instalment – same time, same channel, next month (hopefully!). Until next time…

CRAVE Guitars ‘Quote of the Month’: “Failure may not be an option but the risk of failure is something that most of us have to work damn hard to avoid at all costs.”

© 2018 CRAVE Guitars – Love Vintage Guitars.

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May 2018 – A Potted History Of The Guitar Part III

Here we are again with the 3rd in a series of articles telling the long story of the guitar. Part I (→ read here) started over 3,500 years ago, emerging in the Middle East and gradually developing before dispersing across continental Europe and Asia. Eventually, the embryonic guitar found a home in Europe during the early Renaissance where it began to exhibit the characteristics and features that we recognise today. Part II (→ read here) expanded on the humble beginnings and evolved the acoustic instrument into a (generally) standardised form that we are familiar with, as well as focusing on some key 19th Century innovations in acoustic guitar design. This instalment looks at key 20th Century developments that will ultimately lead to the widespread introduction of the electric guitar.

The story from c.1900 is not only reasonably well-documented elsewhere but also fairly involved, so the pace slows compared to previous parts and also becomes richer in content. I would encourage anyone with a serious interest in guitar heritage to explore the hinterwebby thing for further information, along with all the usual caveats about the accuracy and believability of what’s out there.

Modern Era (1900-present)

At the end of the 19th and during the early part of the 20th Century, before the introduction of the electric guitar, musicians sought ever‑louder instruments, leading to various creative adaptations to the basic construction of the acoustic guitar. While the acoustic guitar continued to be popular for classical and traditional folk music, many guitarists were struggling to be heard as the trend for ensemble, ‘big band’ or swing orchestras became popular at the time. The issue with volume in a group context meant that the guitar essentially became consigned to a rhythm, rather than lead role, especially when competing with percussion and horns. In order to adapt to demand, a radically new approach to guitar design was needed. Thus, the fundamental divergence from traditional nylon strung classical and steel-strung acoustic ‘folk’ guitars had begun.

Guitars at the beginning of the 20th Century were, though, still entirely acoustic instruments. However, two key innovations were about to take place in America that would bridge the gap from acoustic to amplified electric guitars, which would began to appear in the 1930s. The first development involved the emergence of the acoustic archtop guitar on the east coast while, on the west coast, the second invention to appear was that of the resonator guitar.

Guitars weren’t the only ubiquitous chordophones at the start of the 20th Century; far from it. The mandolin, banjo, harp and violin also had periods of great popularity and fashion. However, it was during the first quarter of the 1900s that the guitar started its elevation from just another part of a band or orchestra into being the pre‑eminent instrument it is today. Arguably, in addition to the standardisation of classical and steel strung acoustic guitars, it was the introduction of archtop and resonator guitars that contributed towards that success. As is often the case in these matters, the path to success was more complicated than it seems at first and it would be far from a smooth transition with many pitfalls along the way.

Acoustic Archtop Guitars

The acoustic archtop guitar incorporated some of the basic components of the steel string acoustic guitar with a body style that bore some design and construction similarities with classical orchestral stringed instruments. An archtop guitar may be defined as, a stringed musical instrument with a convex curved top, formed either by carving a solid piece of tone wood or by heating a sheet of laminated wood in order to  mould it into the curved shape.

Most flat top acoustic guitars up to the end of the 19th Century used a single integrated bridge/tailpiece mounted to the surface of the top soundboard, meaning that the strings exert not only significant horizontal pull but also lift because of torque. In order to prevent the bridge from lifting and/or twisting, particularly with the greater tension required by metal strings, the thin flat acoustic soundboard required strong internal bracing. Heavily braced tops had the effect of reducing resonant vibrations and inhibiting overall volume. One solution was to make guitars bigger, an approach used by C.F. Martin in the 1930s with the introduction of the company’s sizeable X-braced D-series dreadnoughts, as covered in the previous part of this series of articles. Archtop guitars took an entirely different approach.

Unlike acoustic guitars, most orchestral stringed instruments had a long history of using a carved arched top featuring a separate moveable bridge and fixed tailpiece. The main advantage of using separate structures is that they serve different functions. The non-adjustable tailpiece is used to anchor the strings at that end of the instrument and deals only with the longitudinal stresses caused by string tension. The separate ‘floating’ bridge (meaning that it was not fixed and could be repositioned if needed) supports the strings and is used only to control string height (action) and intonation. The solid carved top of the soundboard was arched upward, as on a violin or cello, in order to counteract the downward pressure that the strings exerted on the bridge, thus providing a stable and resonant structure. The major benefit of this type of design is that it needs less internal bracing which allows the instrument’s soundboard to vibrate more freely, thereby producing a noticeably louder sound.

It was therefore not really surprising that, at some point, enterprising guitar builders would seek to exploit some of the characteristics of other instruments and incorporate the best of these into guitar design. While there may have been numerous examples of experimentation before this time, the enduring convergence of classical stringed instrument construction and acoustic guitar design resulted in the advent of the acoustic archtop guitar from the beginning of the 20th Century.

The Rise of Gibson Guitars

Although not the only innovator in guitar design at the turn of the 19th Century, certainly one of the key pioneers that popularised early archtop guitars was American luthier Orville H. Gibson (1856-1918), who was born in Chateaugay, New York. Gibson started making mandolins in his home workshop in Kalamazoo, Michigan in 1894 as ‘O.H. Gibson, Manufacturer, Musical Instruments’.

Gibson himself was, by all accounts, somewhat unconventional, being described as an obsessive, eccentric genius as well as an extreme perfectionist. He apparently held other, more traditional, instrument makers of the time in contempt and he was determined to do things differently and in his own way. Orville Gibson, the person, remains somewhat of an enigma and appears to have suffered from mental illness throughout his life, spending several periods in mental institutions before his death in a psychiatric asylum in New York.

Gibson started out by adapting European violin designs for use in mandolins and then, subsequently, guitars. By 1897, Gibson had made his first hollow archtop guitar with a relatively thick carved solid wood top, back and sides, cello style tailpiece, floating bridge and steel strings. His early designs retained the traditional acoustic guitar sound hole, although oval in shape. He used spruce wood for the top for its resonance and maple for back and sides for strength and density. Unlike traditional flat top acoustic guitars of the time, Gibson’s archtop guitars did not use internal bracing, as he felt this would hamper both volume and tone. When played hard, Gibson’s relatively un‑stressed design was more capable of projecting the loud, bright and ‘percussive’ acoustic volume that guitarists were seeking at the time.

Orville Gibson submitted his only patent application in 1895 for an archtop mandolin design (also applicable to the guitar), which was granted by the U.S. Patent Office in February 1898. The patent covered archtop construction comprising carved, tops and sides cut from solid wood, rather than the acoustic guitar’s braced flat top and bent wood sides. While earlier guitar/mandolin patents by James S. Back in 1893 and A.H. Merrill in 1896 may lay claim to the first archtop designs, it was Gibson that converted his own visionary concepts into a successful business enterprise.

On 11 October 1902, Orville Gibson, along with five local business partners founded the Gibson Mandolin-Guitar Manufacturing Co. in Kalamazoo. The company soon started building archtop guitars using the techniques Gibson had patented for the mandolin. However, Gibson was paid a $2,500 lump sum and monthly income to step back from day-to-day business where his overt, pedantic idiosyncrasies tended to affect production.

While the Gibson F-2 mandolin was a major milestone in the instrument’s history and is now considered a classic landmark design, mandolins generally were beginning to lose favour with musicians. In addition, Gibson had initially followed the trend for tenor banjos in the late 1910s before guitars became the mainstay of the business. Gibson was also known to make complex but not widely used harp guitars, such as the Style U.

Gibson’s Style 0 archtop guitar design proved better suited to the jazz and swing orchestras of the time than the flat top acoustic guitar. As a result, Gibson guitars became very popular in the early part of the 20th Century up to the 1920s, particularly amongst the jazz fraternity. The Style 0 archtop, which retained the oval sound hole beneath the strings, is often referred to as the direct precursor to the archetypal jazz acoustic archtops that followed. The hand‑carved guitars were, however, very resource intensive to build, so supply fell short of demand and there was a growing need for an instrument that was quicker, easier and cheaper to build.

Orville Gibson finally left the company he founded in 1916 to live in upstate New York until his death in 1918 at the age of 62.

In the same year, 1918, composer, musician and engineer, Lloyd Loar (1886-1943) was hired by the Gibson company as acoustic consultant and advisor. After a break to entertain WWI troops in Europe, Loar re-joined Gibson in 1919. Loar went on to design many of the company’s new instruments in an attempt to turn around disappointing sales. While Loar wasn’t a luthier by trade, he led a design and construction revolution at the company during the 1920s, growing the company’s enviable reputation for building fine professional guitars, mandolins and other stringed-fretted instruments.

One of Loar’s first and best‑known guitar designs, released in 1923, was the Gibson L5 ‘Master Model’. The L5 is widely recognised as the first commercially produced ‘jazz’ guitar. In 1923, the L5 featured all the fundamental characteristics that we recognize in a ‘jazz’ guitar; a carved archtop fully hollow body, separate tailpiece and floating bridge, etc. It was also the first commercial archtop guitar to employ f‑holes that are now synonymous with the style of guitar. The L5’s neck incorporated other innovations, including an adjustable truss rod, designed to counteract string tension, and the body used an adjustable bridge to set the height of the strings above the fingerboard. These key improvements enabled guitars to become more streamlined and therefore easier to play. The L5 was a trendsetter and gained a strong following in the jazz community. Early adopters included the popular guitarist Eddie Lang, comedian/singer George Gobel, and jazz virtuoso guitarist Wes Montgomery.

The L5 is now considered to have been pivotal in acoustic archtop guitar design. As if to evidence its standing, the perennial L5 remains in production well into the 21st Century, proving the soundness of Loar’s original concept. Lloyd Loar did not stay long at Gibson, leaving in 1924. During the 1920s and 1930s, Gibson became the leading manufacturer of archtop guitars. The perennial Gibson L5 will resurface again later in the guitar’s story.

Gibson archtop guitars remain in production today, including some faithful reproductions and improvements on the classic designs that began in the 1920s.

The Competition

Gibson wasn’t alone in the market and its competitors included Stromberg, Epiphone, Gretsch and Hofner were also making high quality instruments. In addition, from 1932, American luthier John D’Angelico (1905-1964) started producing very fine archtop guitars from his workshop in New York City. In 1965, his apprentice of 12 years, Jimmy D’Aquisto (1935-1995) took over D’Angelico’s work and continued to produce fine acoustic archtop guitars after his master had passed away. Original examples of these guitars are seen by many to represent the pinnacle of the jazz guitar era.

In order to provide ever‑increasing demand for volume, the size of archtop guitar bodies increased from the 16” L5 up to 18” or even 19” measured across the lower bout. Gibson’s reaction to competition was to produce one of the brand’s most famous archtop guitars, the classic Super 400 in 1935.

Arguably, classic archtop guitar designs provided a strong link between traditional steel strung acoustic guitars, through hybrids (electric archtops) to the emergence of later solid body electric guitars. The introduction of electric archtop guitars in the mid‑1930s enabled the transition from acoustic to electric guitars and is covered later in the story.

With the widespread uptake of electric guitars allied to the massive growth of blues and rock ‘n’ roll music in the 1950s, the pure archtop guitar with its strong jazz association struggled to remain popular. Manufacture and sale of archtop guitars fell dramatically and suffered a nadir in the 1990s. However, in the 21st Century, many guitarists are rediscovering the aesthetic and sonic qualities of classic ‘jazz boxes’. Sales of new archtop guitars have picked up due to a new generation of musicians either seeking an alternative to mainstream instruments or wishing to recreate the sights and sounds of the past with a degree of authenticity.

Many current‑day archtop guitars incorporate pickups to make them more usable in contemporary situations. Modern manufacturing processes including CNC machines used to carve the tops also help to reduce cost and make archtop guitars relatively affordable. Alternatives to solid wood are also abundant today, including the use of formed laminates to create the curved tops.

Acoustic Resonator Guitars

While the concept of archtop guitars was one response to the need for louder instruments a discrete branch of guitar evolution was taking place on the west coast of the U.S.A. In the time before amplified guitars, manufacturers had to respond to the demand for greater acoustic volume during the golden ‘jazz age’ of the ‘roaring twenties’. This particular alternative to the archtop guitar is broadly categorised as the resophonic or resonator guitars. Hereafter they are called simply resonator guitars for brevity.

A resonator guitar in this context is still a hollow acoustic guitar. Resonator guitars differ from previous designs because of the way that mechanical string vibrations are transferred not to the guitar’s sound board but via the guitar’s bridge to one or more spun metal cones incorporated within the guitar’s body. It is these resonating metal cones that produce a louder sound than the traditional wooden sound boards of flat top or archtop acoustic guitars. Musicians also favoured the flexibility of resonator guitars over banjos, which were popular in the early part of the 20th Century.

The unique construction of resonator guitars also produced a very distinctive thin, bright, metallic sound with little sustain, very different from other acoustic guitars. The distinctive resonator sounds were adopted by blues, bluegrass and country guitarists of the time and have produced many of the characteristic sounds of rural American music over many decades, especially when played with a bottleneck slide. It should be noted that, while resonator guitars are widely associated with the blues, and particularly with Mississippi delta blues guitarists, they have been used in a diverse range of musical genres.

General resonator guitar designs tend to fall into two separate types: square-neck Hawaiian lap steel resonators tend to be played horizontally with a slide and round‑neck resonators that can be played either horizontally, lap-steel fashion, or conventionally. The height of the strings above the fingerboard varies considerably depending on whether the guitars are used for slide, hybrid or regular fingerstyle use. In addition to lap‑steel and Spanish‑style guitars, resonators have been used in many diverse instruments including, ukuleles, banjos, basses and mandolins. Resonator guitars remain popular today, principally for their unique sound and the musical styles they inspired. English guitarist, Mark Knopfler’s iconic 1937 National Style 0 resonator was famously featured on the sleeve of their classic studio album, ‘Brothers In Arms’ (1985).

Some famous guitarists are associated with resonator guitars, including Tampa Red, Son House, Bukka White, Bo Carter and Blind Boy Fuller.

The Rise of National and Dobro Guitars

Probably, the most significant contributor to the development of the resonator guitar was a Slovakian immigrant to the U.S., John Dopyera (1893–1988). The Dopyera family moved to California in 1908 and John followed in his father’s footsteps, starting a business in the 1920s making and repairing musical instruments.

The crucial catalyst in resonator progress was provided by a Texan Vaudeville performer and musical experimenter, George Beauchamp (1899-1941). Once Beauchamp (his surname was pronounced ‘Beechum’) had moved to California, he approached John Dopyera in 1925 to design a guitar loud enough for use in a dance orchestra. Beauchamp had seen examples of some sort of external megaphone‑style horn arrangement to project a guitar’s volume. Dopyera’s initial prototype, involving a stand‑mounted amplifying horn proved far too bulky and was considered a failure. Undaunted, Dopyera and Beauchamp’s creative solution was to invent the resonator guitar.

Recognising the potential of the new resonator guitar design, John Dopyera and George Beauchamp founded the National String Instrument Corporation in 1927, based in Los Angeles, California to manufacture resonator guitars and other instruments under the National brand.

National’s first major instrument was a metal‑bodied guitar using three inward‑pointing suspended spun aluminium cones connected by a metal T‑shaped bracket to the bridge. The arrangement was, perhaps unsurprisingly, called a ‘Tricone’. String vibrations were acoustically amplified by the cones, acting like passive loudspeakers, giving the guitar its distinctive resonator sound. Dopyera filed a patent application for the Tricone design in April 1927, granted in December 1929. The ground breaking early National Tricone resonator guitars from the late 1920s are now highly collectable. The first engraved metal bodies were made of copper and zinc alloy (often called ‘German silver’ or ‘white brass’) before changing to traditional brass which was cheaper and more plentiful, then finally to steel.

1939 National Tricone Resonator

John Dopyera was concerned about the manufacturing cost and retail price of the complicated tricone design and proposed a cheaper, simpler single cone alternative. When the new design was presented to National’s board, it was rejected. His new single-cone design comprised an arrangement where the strings passed over a bridge that sat on a small circular wooden mounting disc (called a ‘biscuit’) that was in turn attached to the apex of the inward‑pointing spun metal cone. Although it wasn’t taken up at the time, Beauchamp, through National, went on to patent Dopyera’s single cone ‘biscuit’ resonator design, filed in March 1929 and granted in June 1931.

John Dopyera, having become frustrated by National’s internal politics, left the company in 1928. Crucially, to keep his options open, Dopyera remained a major shareholder in National. Along with his four brothers (Rudy, Emile, Robert and Louis), John Dopyera founded the Dobro Manufacturing Company to compete with National. The Dobro name comprises the ‘Do’ from the family’s surname and ‘bro’ as a contraction of ‘brothers’. The term ‘dobro’ has over the years come to be used as a generic term in common parlance when talking about single resonator guitars. Conveniently, and perhaps intentionally, the word dobro also means ‘good’ in Slovakian, leading directly to the company’s early motto using a play on words, “Dobro means good in any language”.

As National owned the resonator patents to-date, early Dobro resonator guitars had to differ from the single cone design made by National. The new Dobro guitars used a wooden body and a single inverted (outward‑facing) resonator cone with guitar strings passing over a bridge attached to an 8-legged cast aluminium ‘spider’ (resembling a spider’s web) that in turn was attached to points around the edge of the spun metal cone. Unlike the National single cone design, the Dobro cone projects outwards, thereby increasing volume. Dobro filed a patent in February 1932 for Rudi Dopyera’s resonator design, which was granted in February 1933. National objected to Dobro’s resonator design, resulting in several contested law suits between National and Dobro, which lasted for several years.

The advantage for guitarists was that the Dobro was both louder and considerably cheaper than the complex and costly National Tricone design. In addition, Dobro cleverly licensed their designs to brands such as Regal to extend their reach into an eager customer base. National responded to competition from Dobro by introducing their lower cost resonators, the Triolian in 1928 and Duolian in 1930. Also in 1930, National released their nickel-plated, steel‑bodied, round necked Style 0 resonator guitars, which featured Hawaiian scenes sandblasted into the guitar’s finish and are now considered iconic. In an attempt to cover all bases, both companies also produced resonator mandolins.

In 1932, with National in financial difficulty, the Dopyera brothers secured a controlling interest in both National and Dobro companies. The companies subsequently merged in 1934 to form the National Dobro Corporation, thereby ending the feud and eliminating the fierce competition between the two. Beauchamp was fired by the new company for his involvement with newcomers, Rickenbacker, who were developing new ideas for electric guitars. The National Dobro Corporation moved operations to Chicago in 1936 where it manufactured resonator guitars until it ceased production in 1941, shortly after America entered World War II. Aluminium was needed to support America’s war effort, making the raw material for resonator cones scarce and the demand for tooling machinery high.

Post-War Resonator Guitars

The remnants of the pre‑WWII National Dobro Corporation were later reorganised to become Valco in 1942, which eventually reintroduced resonator guitars under the National brand in the early 1960s. American company Mosrite bought the Dobro brand in 1966 before going bankrupt themselves in 1969. A new company, National Reso‑Phonic Guitars was formed in 1989, based in California, to produce resonator guitars based on original pre‑war designs as well as some all-new designs, including electro-acoustic resonator guitars.

Taking a different direction altogether, Emile and Rudy Dopyera formed the Original Musical Instrument Company (OMI), based in California in 1967 to make resonator guitars using the brand name Hound Dog. In 1970, OMI secured the Dobro brand name from the bankrupt Mosrite, which meant the Dopyera family could once again manufacture Dobro guitars using their original name. OMI was subsequently acquired by The Gibson Guitar Corporation in 1993 and they currently produce Dobro branded resonators, including Dobro Hound Dog budget models through their Epiphone operation in China. In an attempt to secure the heritage, Gibson has stated that they will defend their exclusive right to use the Dobro name.

While many variations of resonator guitars have been manufactured by a large number of companies over the years, National and Dobro, along with Dobro-licensed Regal, are the names most associated with pre‑WWII resonator production. The influence and legacy of these brands is significant in historical terms and 21st Century popularity of resonator guitars suggests that they are here to stay with a bright future ahead. Many modern resonators now incorporate either electro‑magnetic or piezo‑electric pickups, enabling them to be amplified, just like other electric guitars, while retaining their distinctive acoustic tone. Given the reason why resonators were invented in the first place – to increase acoustic volume – the concept of electric resonators seems a touch ironic today.

End of Part III

I will stop at this juncture, just before the dawn of the electric guitar. In terms of the overall amount of material, Parts I-III cover about half the story I have to tell.

I must mention that this part of the story proved particularly convoluted and I apologise if it comes across confusingly. It was a major challenge to untangle the web of misinformation and distil a meaningful chronological narrative. I hope that you are able to make some sense of the various interweaving threads. The information for the next part proved even more tortuous and I’m still trying to simplify and condense it for the serial article format. As with previous parts, I am happy to amend any factual errors that may well have crept into the timeline thus far.

Before we get back to the next decisive milestones in the guitar’s long story, Part IV will be both a temporary and necessary diversion from the core subject matter. The next episode focuses on two key innovations upon which the electric guitar is entirely dependent. You will have to wait a while to see what unfolds. There is a great deal of background material to wade through, so it will be a challenge to cut down the full version in order to keep the story moving. However, once that contextual reference material is in place, the modern electric guitar in all its splendour can finally be unleashed, hopefully in Part V and thereafter.

Thank you or looking in. As interesting as the story may be, it’s now time for me to stop typing and get back to more important matters; playing (vintage) guitars. Until next time…

CRAVE Guitars ‘Quote of the Month’: “Dancing, even in silence, is literally the embodiment of music.”

© 2018 CRAVE Guitars – Love Vintage Guitars.

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April 2018 – A Potted History Of The Guitar Part II

Hello again. Part II of CRAVE Guitars’ abridged history of the world’s favourite instrument continues from the point where Part I left off (March 2018 → read the first article here). For brevity (!), I won’t repeat the rationale or contextual backstory up to this point.

Part II covers the period starting shortly after the beginning of the European Renaissance in the 15th Century and covers the development of the acoustic guitar as we know it, largely up to the middle of the 20th Century. So, without further ado, here we go stepping right back into the story where the last part left off…

Renaissance (1400-1600 CE)… Continued

The lute remained fashionable in Europe in both Spain and, particularly, Sicily. The popularity of the nascent instrument was through its use as a solo instrument in European courts during the 16th Century. The number of string courses used by the lute increased considerably, to as many as 14 or 19, or more, courses. Over time, however, the lute diminished in popularity, with keyboard instruments and the guitar eventually taking over. Its descent was so marked that, by 1800, the lute was pretty much absent from European social life.

The Spanish vihuela emerged in the late 15th and early 16th Centuries. The vihuela was a small flat‑backed, guitar instrument that derived its influence directly from the earlier ‘Spanish Guitars’. The vihuela’s appearance included the now familiar waisted ‘hourglass’ body shape, the circular sound hole with ornamental ‘rosette’, 10 moveable tied gut frets and 6 courses of gut strings. The vihuela’s tuning, however, was often distinctly more lute-like, often tuned to either G, C, F, A, D, G or A, D, G, B, E, A. Design and construction of the vihuela, however, tended to vary considerably during its reign, with the ‘vihuela da mano’, played with the fingers (rather than with a bow or plectrum), becoming the dominant form. Although the vihuela’s influence in Spain, Portugal and Italy diminished to be superseded by other forms of early guitar, it may, arguably, be the legitimate grandparent of the contemporary (12‑string) guitar. As if to support this notion, there is a small number of books of printed music tablature (or Spanish cifra translated as cipher) for the vihuela dating from the 16th Century, suggesting its use for formal performance music by skilled vihuelists. Only 2 examples of the vihuela are known to survive in museum collections, one in Italy, the other in France.

Effectively succeeding the Spanish vihuela was the plain (i.e. undecorated) Renaissance guitar, which began to rise in popularity from the second half of the 16th Century and remained fashionable well into the 17th Century. These instruments were slightly smaller than the Spanish vihuela and initially had 10 frets, later increased to 12 frets. The Renaissance guitar tended to have 4 courses of stings tuned to G, C, E, A.

The first written music notation for guitar began to appear in the mid-16th Century, initially in tablature (tab) format, soon to be superseded by modern staff manuscript. Early pieces for a 4‑course guitarra were published by Alonso de Mudarra in Spain in 1546 and an early manuscript by Miguel Fuenllana for the chitarra battente (see below) dates from around the same period (1554). A substantial amount of material appeared in France from c.1550-1570, principally by French musician Adrian le Roy, as the instrument gained popularity with the aristocracy.

Baroque Era (1600-1750 CE)

While the Renaissance guitar was rather plain and undecorated, the Baroque guitar (chitarra barocca), which originated during the baroque period of music from c.1600‑1750 was quite ornate in comparison. In addition, Baroque guitars gained an extra course of strings increasing from 4 to 5 courses tuned to A, D, G, B, E. The guitars were widely used in Spain, Italy and France, mostly by the wealthy classes. Baroque instrumental and dance court music was particularly popular at the time and contributed significantly towards subsequent development of the instrument and of classical guitar music.

Another branch of the guitar family tree from the same period includes the 4 or 5‑course chitarra battente (Italian for ‘strumming guitar’) commonly used in Italy. The instrument was traditionally played by folk musicians although it was also known to be used in court music. The chitarra battente comprised an ‘hourglass’ body shape and was similar to, although commonly slightly larger than, the baroque guitar. A number of 17th Century instruments are known to exist in museum collections.

These various forms of early guitar continued incremental change including the introduction of metal strings and frets to replace gut. By the 16th and 17th Century, the ‘standard’ guitar tuning of A, D, G, B, E was proving popular and was becoming established. The tuning was equivalent to the top 5 strings of the modern guitar, although re-entrant tunings (where single strings are not tuned in order from the lowest pitch to the highest pitch) were also used during the same period.

By the late 16th and early 17th Century, the immediate predecessors of the ‘modern’ classical and flamenco guitars were firmly established. According to many historians, the documented history of the present-day classical guitar as we know it today really starts around this time – the ‘guitar’ had finally arrived.

The familiar shape of the guitar had been refined and had become largely well‑established. The traditional characteristics were in place including a flat front and back, distinct waist bouts providing the familiar and distinctive ‘hourglass’ body shape, a long, slim fretted neck and mechanical tuning on the headstock. However, the number of courses or single strings and tuning had not yet been fully standardised.

Classical Era (1750-1820)

While the European Renaissance was hugely important in bridging the gap between early guitar-like instruments and the recognisable forbears of the modern guitar, it certainly isn’t the end of the story. Musical styles and tastes in Europe were changing and the guitar was able to adapt to the major shift from baroque to classical music composition c.1750.

The 6-course guitar commonly appeared first in Spain during the classical period of music covering c.1750-1820, effectively using the same principle as today’s 12-string guitar. The modern-day ‘standard’ guitar tuning, E A D G B E, was in common use by c.1770 and by 1800, the practice of using six single strings had largely taken over from the earlier 5‑courses of paired strings. Many of these now‑‘obsolete’ 5‑course guitars were easily adapted to 6 single strings by simply removing the 2nd and 4th rows of the original 5 pairs of tuners from the headstock and adjusting the bridge and nut to suit. The change to 6 single strings was probably driven by musical tastes and the need for a louder, clearer-sounding instrument that could also be used for both solo and ensemble performance.

The Romantic Guitar

Not to be confused with the ‘Romantic Era’ of music (1820-1900 CE), the development of the romantic guitar predated the time period that it was known for. The basic body construction of these early guitars was relatively unchanged from those that preceded them, with transverse bracing struts used to support the top soundboard. However, incremental improvements had been made over time. The move from tied gut frets to fixed metal frets made of brass and the introduction of tuning gears, rather than violin pegs of previous instruments, became common. The consistent approach to guitar making in Europe between c.1790 and c.1830 is often referred to as belonging to the early romantic guitar. Known examples of early romantic guitars appear from the start of this period although opinions differ as to authenticity of the ‘first’ surviving specimen. The romantic guitar is often cited as the immediate precursor to the modern classical guitar that became established from the mid-19th Century.

During the first half of the 19th Century, many classical music composers used or played the romantic guitar, including several familiar names such as Hector Berlioz (1803-1869), Franz Schubert (1797-1827) and Niccolò Paganini (1782-1840). Schubert is often quoted as saying “The guitar is a wonderful instrument which is understood by few”.

Geographically, Naples in Italy had been a centre for educating religious and performance musicians since the mid‑16th Century and this continued right up to the 19th Century. The guitar developed as a serious instrument during the Baroque period and into the classical period, partly as a result of the influential major music conservatories based in Italy. The surge in popularity of the instrument led to the development of the luthiers’ craft, not only for guitars but also for violin and mandolin manufacture. There is no doubt that the craftsmanship involved with Italian instrument manufacture during the romantic guitar period was outstanding.

Influential luthiers from the romantic guitar period include Italians Gaetano Vinaccia (1759-c.1831), Giovanni Battista Fabricatore (c.1777-c.1849) and Pierre René Lacôte (c.1785-c.1868).

Coincidentally, prominent guitar players from the period include Italians Federico Moretti (1769‑1839) and Mauro Giuliani (1781-1829).

Romantic Era (1830-1900 CE)

The influence of romantic guitar on the broader romantic era of music is debateable. What was crucial to the guitar’s success was the ability of the luthiers who made them and the musicians who played them to adapt to changing styles of popular music.

Up to this point, evolution in the guitar’s development had been incremental and largely reactionary, i.e. responding positively to prevailing cultural circumstances rather than dictating them. Luthiers had adopted the skills, knowledge and experience of their predecessors and passed them onto the next generation with only minimal change and improvement. However, things were about to change significantly and a fundamental shift in the design and construction was about to transform the acoustic guitar and this would in turn thereafter drive musical development.

Over recent years, the level of interest in period instruments has grown considerably. The result of renewed fascination in the past is that there are many modern‑day luthiers making accurate recreations of historic instruments, as well as many musicians playing music in the style of the time, keeping the important heritage alive for future generations.

Revolutions in Classical and Acoustic Guitar Construction

While still in the formal ‘Romantic Era’ of music, the mid-19th Century led to two landmark developments in the path to the modern instrument. While these innovations occurred separately on either side of the Atlantic Ocean, they came to define modern classical and acoustic guitars as we know them today. They also, arguably, paved the way to the even more revolutionary advances that took place during the 20th Century, but more of that later in the story.

One of these breakthroughs occurred in southern Spain from around 1860 while the other leap forward occurred on the east coast of the United States of America from about 1850.

Spanish Innovation and Development

Spanish luthier, Antonio de Torres Jurado (1817-1892), introduced a major breakthrough in classical guitar design from the 1860s onwards. Torres worked in Seville and then in Almeria, Spain; the location of his workshops largely defined the two major periods (the so‑called ‘epochs’) of his work.

Up to this point, many classical guitars used what is called ladder bracing – a simple method where braces supporting the top sound board were in a grid aligned with and perpendicular to the strings. Torres’ revolutionary approach was to introduce fan‑braced soundboards with thinner strips of timber diverging from the sound hole to the base of the body in a fan shape. This seemingly simple invention enabled Torres to make guitars with larger bodies and thinner tops without increasing the weight of the instrument. In addition Torres popularised the use of mechanical machine heads for tuning strings, rather than wooden pegs.

Torres’ design influence spread rapidly and the classical guitar, also widely known as the modern ‘Spanish guitar’, became hugely popular well into the early 20th Century. Many modern classical guitars still exhibit the characteristics established by Torres’ milestone designs. Before modern nylon strings were invented, classical guitars still used gut for the unwound treble strings and a combination of silk and silver to form the wound bass strings.

Until the late 19th Century, there was essentially a single form of classical guitar. The differentiation between classical and acoustic Flamenco guitars became clearer after classical virtuoso guitarist Andres Segovia (1893-1987) used Torres’ fan-braced Spanish guitars to perform concert material from the so-called ‘modern school’ of classical music. From the early 1920s, Segovia was particularly influential in extending the repertoire of the instrument as well as increasing its popularity through early phonograph recordings, musical collaborations and extensive touring.

The distinction between Flamenco and classical guitars are relatively subtle but important to practitioners of the different musical genres. The differences are mainly to do with the tone woods used, rather than fundamental structural principles. The construction, materials used and therefore the sound and tone they produce are different, as are the techniques used to play them. Flamenco guitars tend to be lighter and the soundboards are usually thinner with less internal bracing than those found on the modern classical guitar. The result is that Flamenco guitars are said to produce a more resonant, percussive, brighter sound quality than the thicker, smoother, louder and heavier sound of classical guitars.

American Innovation and Development

Around the same time in the 19th Century, a parallel step change in guitar design was taking place on the other side of the Atlantic. In 1833, German American immigrant, Christian Frederick Martin (1793-1873) founded his guitar‑making business, C.F. Martin & Co., firstly in New York City before relocating to Nazareth, Pennsylvania in 1839.

Martin’s early guitars were heavily influenced by Viennese luthier Johann Georg Stauffer (1778-1853), with whom Martin had worked before he emigrated to America.

Martin established the next great innovations of the modern acoustic guitar, introducing X‑braced soundboards from the 1850s onwards. X-bracing involves the timber strips supporting the soundboard being configured diagonally in both directions from the sound hole to the base of the body in the shape of the letter ‘X’. This form of construction was important for the widespread use of steel strings, which first became readily available around 1900. Martin’s X-bracing technique directly addressed the problem caused by the increased tension of steel strings that proved too much for the Torres-style fan‑braced flat top of the guitar. Alongside the stronger and more resilient X-bracing Martin introduced vital neck reinforcement that allowed the company to make narrower, thinner necks. Martins innovations proved highly popular with guitarists and the techniques rapidly became the industry standard for the flat‑top steel‑string acoustic guitar.

The widespread adoption of steel strings enabled guitar makers to meet the increasing demand from musicians for louder guitars. Steel strings also produced a different sound and encouraged a different playing style, often using a plectrum or guitar pick rather than the fingerstyle technique used almost exclusively in classical guitar music.

Jumping ahead a little bit, Martin also made another significant development in 1931 when the company introduced the ‘dreadnought’ guitar, named after a British battleship design. The Martin Dreadnought D-28 was larger than most acoustics of the time and featured a deeper, fatter (i.e. less ‘waisted’) outline. Martin’s aim was to produce a louder, more powerful guitar during a period when guitarists were demanding greater volume from their instruments. The classic American dreadnought was to prove very popular with acoustic guitarists from the 1930s onwards and the design remains highly influential today. Pre-war Martin dreadnoughts are very highly sought after as they are considered an exemplar of their type.

The two key developments by Torres in Spain and Martin in America, aided by more modern (i.e. accurate) manufacturing techniques, and the degree of relative standardisation provided the stable foundation upon which the vast majority of today’s ‘traditional’ classical and steel‑strung acoustic ‘folk’ guitars are built.

Modern Era (1900 CE-Present Day)

Acoustic Guitar Types

While there remains an infinite variety of designs and numerous incremental developments, the nylon‑strung classical guitar and the steel string acoustic ‘folk’ guitar define the major two categories of the contemporary acoustic guitar. Acoustic guitars based on Torres’ and Martin’s design principles remain very popular today.

As the evolution of the acoustic guitar continued, a loose classification according to body size, shape and depth was developed. These generic designations, originally defined by C.F. Martin, mostly apply to steel string acoustics include:

  • ’Parlour’,
  • ‘0’ (Concert)
  • ‘00’ (Grand Concert)
  • ‘000’ (Auditorium)
  • ‘OM’ (Orchestra Model – also ‘0000’)
  • ’M’ (Grand Auditorium – also ‘AS’)
  • ‘D’ Dreadnought
  • ‘DS’ Slope Shouldered Dreadnought
  • ‘J’ Jumbo
  • ‘Grand Jumbo’

The following diagram, although not exactly corresponding to the table may help with identifying the various types of acoustic guitar:

While the nomenclature can be confusing, it does provide for a certain degree of useful normalisation. Just to confuse matters, other manufacturers such as Gibson and Taylor use their own type designations.

Many modern acoustic guitars now have sophisticated on‑board electrics both to improve flexibility and to help them to compete on a level playing field with their solid body electric guitar equivalents. These advances in technology are necessary for acoustic guitars to stay relevant and up‑to‑date in contemporary situations at home, in the recording studio and in a live environment. The acoustic guitar remains alive and well in the 21st Century.

Variations on a theme

The key milestones described here are, I trust obviously, not the only ones that have taken place over the centuries. There are an infinite number of guitar designs for just about any style of music, all with an infinite array of construction techniques and materials. It is impossible to do justice to every aspect of the guitar landscape and the point of the guitar’s story isn’t to be comprehensive but to give a taster for what’s out there to be discovered. This narrative is simply a starting point from which to explore the many other areas in much greater detail. Before we move onto some major milestones of the 20th Century that will eventually lead to the introduction of the electric guitar, it is worth a modest glimpse into the delights on offer to those who wish to explore the fringes of the guitar’s story. Here are a few selected examples from diverse sub‑genres of guitar building. Note: archtop acoustic and resonator guitars that emerged during the 20th Century will be covered in the next instalment (Part IV) of the series.

Gypsy Jazz Guitars

Before moving onto the ‘missing links’ between acoustic and electric guitars, there is an additional discrete family tree branch worth noting, generally referred to as gypsy jazz guitars. These acoustic designs were popularised by the jazz virtuoso guitarist, Django Reinhardt (1910-1953) in the 1930s and 1940s. The guitar of choice is often referred to variously as the Selmer, Selmer Maccaferri or Maccaferri guitars.

Selmer was a French manufacturer while Maccaferri was an Italian guitarist and luthier. From 1932-1934, the partnership between the two introduced what is now known simply as the gypsy jazz guitar. While still an acoustic guitar, its large body, D‑shaped (early) or oval (later) sound hole, single cutaway body, slotted headstock, steel strings, ladder bracing, separate floating bridge and trapeze tailpiece characterise the direction that some acoustic jazz guitar designs were taking at the time.

Many other companies have produced gypsy jazz guitars over the intervening decades, often heavily influenced by the original Selmer Maccaferri template. While interesting in its own right, the gypsy jazz-style guitar is, at least in technical terms, a bit of an evolutionary dead end.

Mariachi Guitars

Another branch on the guitar family tree is a key instrument in the Mexican Mariachi band, a type of Spanish theatrical folk orchestra originally comprising guitar, violins and harp. The music originated in the 19th Century in central-western Mexico, emerging mainly from the state of Jalisco, as well as neighbouring Colima and Nayarit. By all accounts, the first evidence dates from about 1880. By the start of the 20th Century, the instruments of the mariachi band comprised the 5-string vihuela (see above) the ‘guitarrón mexicano’ (a large acoustic fretless bass‑like guitar), two violins and trumpet. The Mariachi band has become integral to the social geography and musical culture of Mexico. While an interesting departure, like the gypsy jazz guitar, Mariachi guitars are generally considered to be another evolutionary cul‑de‑sac.

Harp Guitars

A relatively radical version of the acoustic guitar is the harp guitar, which originated around the end of the 18th Century, although there are references that go back even further, perhaps as early as the mid‑17th Century. Some supporters of the instrument, both luthiers and musicians believed it to be a viable replacement for the standard guitar. However, it remains popular only at the margins of the modern‑day guitar landscape. The first harp guitar was produced in Paris around 1773 by a luthier called Naderman and comprised 6 standard fretted strings and 6 open bass strings. Orville Gibson, founder of Gibson guitars, made harp guitars alongside mandolins and guitars in the early 20th Century. Contemporary fusion guitarist John McLaughlin has been known to use a harp guitar alongside more traditional acoustic and electric guitars. There are many independent luthiers mow making harp guitars for the 21st Century.

End of Part II

So… this seems to be another convenient break point in the story and concludes Part II of the guitar’s long history. I hope you enjoyed the fascinating tale of the ups and downs, twists and turns and various machinations of guitar evolution to this point.

While Part I covered a period of about 3,000 years, Part II has covered a mere 500 years. Arguably, more technical development has taken place over the last half‑millennium than in the preceding 3 millennia. As the pace of progress increases, the level of technological advance also expands, so the depth of each part of the story becomes increasingly condensed.

The period covered in this article provides a solid the foundation and launch pad for the modern instrument in the 20th Century. The ancestral DNA presented in parts I and II is now directly and inextricably connected to each and every guitar bought today, whether they are mass produced in giant factory facilities or bespoke custom built in a one‑person workshop. For the curious reader, I hope that the story thus far inspires you to look beyond the immediate and obvious. There is plenty to discover, including anything along a continuum from the conventional to the obscure. Enjoy the journey.

Looking forward, Part III will cover the period from the start of the 20th Century to the mid-1900s. This period is crucial, covering the relentless drive to achieve greater volume and versatility from acoustic instruments to the point where early electric guitars were just about to appear.

The entire historical narrative of these articles is a journey of discovery and exploration for the author. In particular, I am not content in simply regurgitating what others have written before me. I am still researching, writing and editing later parts of the guitar’s history so, depending on personal circumstances and degree of refinement required to publish the rest of the story, Part III may or may not appear for a while yet. Watch this space.

While uncovering the acoustic guitar’s distant past has been fascinating, the dawn of the electric guitar will probably be familiar territory for anyone with a remote interest in the instrument’s heritage. As a purveyor of ‘Cool & Rare American Vintage Electric’ Guitars, it is also the period in which I am personally most interested. It is also the period from which most of CRAVE Guitars’ vintage ‘collection’ derives.

Talking of which, it is high time for me to disconnect from the hinterwebby thing, put down the laptop, pick up one of those American now‑vintage electric guitars and put it to good use. Which one to choose remains an on‑going challenge. Until next time…

CRAVE Guitars ‘Quote of the Month’: “Learn from the future now and avoid the mistakes of the past”

© 2018 CRAVE Guitars – Love Vintage Guitars.

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