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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September 2023 – Adventures in Ambient: Music of Another Dimension

Prelude

In the last article (August 2023), I explored the alluring realm of dub reggae, as one of my musical passions. This month, as we race headlong into autumn with its cooler, darker evenings, I’d like to explore another musical genre close to my heart, ambient electronica. There seems to be a great deal of consensus about where ambient came from while, at the same time, a great deal of disagreement about what it is today, let alone where it is going. While this may sound inherently contradictory, the convoluted world of ambient music is quite fascinating, at least to me. Unlike reggae, which had a defined geographical origin – the small island of Jamaica in the Caribbean – ambient has a completely different set of roots. Also, while dub reggae and ambient seem entirely discrete, there are some crossovers.

Once again, like dub reggae, the ambient musical landscape is not really guitar‑based. It is essentially one of three things, acoustic – mainly classical – instruments, the sounds of the natural and built world all around us, and electronic sounds, primarily but not exclusively synthesizers.

As with all previous articles, this is not intended to present any sort of definitive academic analysis, it is purely my interpretation of ambient music, past and current, as I see (or rather hear) it. There are a lot of blurred overlaps and permeable boundaries here, so I am certain that some readers will disagree vehemently with my version of the story. That is their prerogative and this is my article, so I’m sticking to my biased version. This is also only the proverbial ‘tip of the iceberg’ with lots more to discover.

No AI has been used in researching and writing this article. All images used are royalty free courtesy of Pixaby and Wikimedia Commons.

So, get comfy, chill and absorb yourself into the mesmerising universe of ambient music for a while.


Defining ambient

Perhaps a good starting point is to understand what the solitary word ‘ambient’ actually means, both in non‑musical and musical contexts.

Literally, ambient is an adjective meaning ‘of the surrounding area or environment’, ‘existing or present on all sides’ or ‘enveloping or completely surrounding’. As a noun, it means ‘an encompassing environment or atmosphere’. In this article we are not talking about ambient temperatures or ambient pressures, although these may affect sound vibrations in the environment. We are also not talking ambient light, although this may affect mood and temperament.

Defining ambient sound

Ambient sound is the total of all background or surrounding noises that exist in every direction, in any immediate surroundings, as measured by sound pressure level (SPL – expressed in decibels). Decibel levels are important because they provide information to the brain on how quiet or loud a sound is in relative terms. Human ears and brains are designed to detect slight variations in SPL in stereo (binaural hearing), which help us determine from which direction a sound originates. Basically, ambient sound is the total of what you can hear in the present moment, wherever you are.

Ambient sound is always present, even if it is at very low levels. Humans cannot tolerate near‑0dB for long. 0dB is unobtainable under normal conditions. Experiments have shown that people who are deprived of ambient sound can quickly become unsettled or disoriented because humans rely on ambient sound to locate themselves within their environment. The dissociation of sight and sound is inherently problematic for us. The quietest place on Earth is an anechoic chamber at Orfield Laboratories in Minnesota, USA. It is so quiet that the longest anybody has been able to experience it is just 45 minutes.

The simple fact is that there is always some ambient sound present in our lives. These ever‑present characteristics play a part in ambient music compositions.

Defining ambient music

Ambient music is a term that means, ‘a genre of instrumental music that focuses on patterns of sound rather than typical melodic form and is used to promote a certain atmosphere or state of mind’. Another definition is ‘incidental music intended to serve as an unobtrusive accompaniment to other activities and characterised by quiet and repetitive instrumental phrases’.

So far, so what? Useful background info but it doesn’t really mean much on its own. So let’s delve a bit deeper.


A brief pre‑history of ambient music

There is a significant amount of information on the hinterwebby thingummy about the history of the genre, so this is a brief retelling of the essential elements, starting in France, then Germany before crossing the Atlantic to America and then back to the UK. These unfolding events were probably all ahead‑of‑their‑time and in the vanguard of experimental art.

Let us begin by going all the way back to 1917. French composer Erik Satie (1866‑1925) used Dadaist‑inspired explorations to invent what he called musique d’ameublement (‘furniture music’ or, more literally, ‘furnishing music’), music played by live musicians and designed to be unconsciously experienced rather than consciously listened to. Satie described his compositions as music that could be performed at a function to create a background atmosphere for the function, rather than being the prime focus of it. In Satie’s words, his music would, “… be part of the noises of the environment”.

Satie’s use of repeated short compositions is said to have influenced ‘minimal music’ from 1960s onwards, particularly the experimental avant‑garde music of composer John Cage. Satie is also regarded as an essential forerunner to modern ambient music and a key influence on British artist, Brian Eno.

During the 1940s, Frenchman Pierre Schaeffer (1910‑1995) who was, amongst other things, a composer, engineer and musicologist took a different approach. Schaeffer experimented with recording sound, then processing the signals to create an abstract sound collage. The resulting sounds and tones were unrecognisable from the originating source material. Schaeffer used musical instruments, vocals, recorded environmental ‘sound objects’ and electronic sound synthesis. This type of music composition became known as musique concrète (concrete music).

Prolific and controversial German composer Karlheinz Stockhausen (1928‑2007) was a pioneer in electronic music. Stockhausen’s electronic music compositions comprised abstract noise collages created through the use of tape loops, oscillators and recorded sounds. He also specialised in ground breaking ‘spatial music’, using multiple sources to locate sounds within a three dimensional space (an early form of surround sound). Stockhausen created one of the first examples of purely electronic music using sine wave generators and filters, called ‘Studie I’ (1953). In 1954, he pushed the boundaries of classical music using acoustic instruments augmented by electronic sounds. The same year, he published the first fully electronic music score. Stockhausen, the so‑called ‘father of electronic music’, was an important figure who rejected conventions and heavily influenced multiple genres outside classical music, including jazz, pop and rock decades later.

Muzak is a type of background music created by American inventor George Owen Squier in 1934. Known commonly as elevator music (or lift music in the UK), it became used predominantly in public spaces, retail stores and other venues. The word muzak has become embedded in the public consciousness as synonymous with all types of generic and inconspicuous background music. Muzak was particularly prominent during the 1960s and 1970s. Muzak has been a registered trademark of Muzak LLC since 1954. Ambient by stealth?

From the 1950s, particularly in Germany, elektronische musik (electronic music) took precedence over previous forms such as musique concrète. The term ‘elektronische musik’ was first used by German composer and musicologist Herbert Eimert in 1952 to describe music created only by the use of electronic instruments and technology. As the genre developed, elements of musique concrète were incorporated into electronic music. Natural environmental recordings combined with music resurfaced later as a popular element of new age music. German electronic music heavily influenced krautrock, an experimental rock genre that emerged out of West Germany in the late 1960s and early 1970s with bands like Can and Neu!.

American composer John Cage was another influential figure in post‑war avant‑garde music including electroacoustic music. He had been experimenting with studio electronics since the late 1930s. In 1952, Cage ‘performed’ his now‑famous composition, 4′33″. The piece is not, as many believe, silence; it is the intentional ‘absence of deliberate sound’. The musicians do nothing but be on the stage with instruments. For the aforementioned duration of the piece, the audience is encouraged simply to listen to and experience the ambient sounds in the auditorium around them.

Minimal music is a form of art music that, as its name suggests, uses a very limited array of components to produce a composition. Minimal can apply to the instruments used, the sounds/tones produced, as well as the studio processes employed. Minimalism may comprise continuous drones, pulses or repetitive phrases. Minimalism emerged in New York in the late 1960s with American composers such as Philip Glass, Terry Riley, Steve Reich and La Monte Young. It has been suggested that minimalism was one influence behind experimental rock band The Velvet Underground during the 1960s and, much later, on electronic dance music (EDM) sub‑genres such as minimal techno. In 1990, British electronica duo The Orb used a sample from Steve Reich’s work on their hit single, ‘Little Fluffy Clouds’.

At this point, it is worth making quick mention of cinematic music, a.k.a. film scores or original soundtracks (OSTs). The first music to accompany film goes back to the earliest part of the 20th Century if not further, although its use really came into its own, ironically, with the advent of talking pictures in 1927. Cinematic music is composed specifically as a background to fit well with what is happening on screen by creating a certain atmosphere. Many classic theme music pieces would simply not exist without the films for which they were created. Some of the best cinematic music is an integral part of the audio‑visual experience, rather than the music being consciously listened to in isolation. The best soundtracks are equally good pieces of music in their own right and the art form has become highly respected (and profitable). John Williams, Ennio Morricone, Jerry Goldsmith, John Barry, Bernard Herrmann, Lalo Schifrin, Vangelis, Jóhann Jóhannsson and Hans Zimmer are some of the principal cinematic music composers.

In the field of television, the BBC Radiophonic Workshop, set up in 1958, stands out for its experimental work in electronic incidental sound design and music for radio and TV. Key members of the unit included Delia Derbyshire, Daphne Oram and David Cain.


A brief history of electronic sound synthesis

It is probably true to say that synthesizers changed the world of music forever. Here’s a short resume of how that change came about. Warning! This is the techy bit.

Analogue synthesizers – The word synthesizer was first used by RCA in 1956, although it has widely been used to refer to electronic musical instruments from the early 20th Century onwards. Early electronic analogue sound synthesizers were developed in the 1920s and included the Theremin, invented by Leon Theremin in Russia in 1920, the Ondes Martenot, invented by Maurice Martenot in France in 1928 and the Trautnium, invented by Friedrich Trautwein in Germany in 1929.

There are basically only three parts to an analogue synthesizer; one or more oscillators to produce the sound, filters to change the sound, and voltage‑controlled amplifiers to adjust the volume of the sound. In addition, envelope generators are frequently used to change the behaviour of the sound (commonly referred to as ADSR – attack, sustain, delay, release).

Another major development in electronic sound synthesis was by American engineer Robert Moog (1934‑2005) who invented the first commercially available analogue synthesizer, the Moog Modular in 1964. The first fully integrated synthesizer, including the keyboard, was the Minimoog released in 1970. Moog developed his products in response to demand for more practical and affordable electronic musical instruments.

Moog Synthesizer

Samplers – A sampler is an electronic device that captures, records and plays back sections of the recordings. The first example was the Chamberlin, invented by American Harry Chamberlin in 1946. The British Mellotron, introduced in 1963, was perhaps the first famous electro‑mechanical instrument used to play back tape recorded sound samples.

Sequencers – A key factor in making music synthesizers usable was the introduction of the programmable sequencer to program and play back multi‑part arrangements. The first example was probably the analogue Buchla 100 synthesizer in 1964. More importantly, Moog introduced the Moog Modular Sequencer Module – the 960 Sequential Controller in 1968.

As synthesizers became more complex, additional features were added, such as arpeggiators that automatically play a sequence of notes based on a chord or scale, and a range of effects used to process the sound even further.

Digital synthesizers – The first digital synthesizer was made by Synclavier in 1977, while the first commercially successful model was made by Yamaha in 1983. The first production polyphonic synthesizer, able to play chords, was the analogue Oberheim Polyphonic Synthesizer, designed by Tom Oberheim, produced from 1975 to 1979. Yamaha, however, may disagree, citing their GX‑1 ‘Dream Machine’. These were followed shortly thereafter by the Polymoog. Another first was the programmable analogue Prophet 5 made by Sequential circuits in 1978. The culmination of these inventions was the introduction of the Fairlight CMI (standing for ‘Computer Musical Instrument’) in 1979, the first polyphonic digital synthesizer, sampler and sequencer.

Finally, polyphonic digital sound synthesis was here to stay, as was the studio recording technology able to exploit it. Miles away from ambient while owing a debt to it, Donna Summer’s massive disco hit single, ‘I Feel Love’ (1977), written and produced by Giorgio Moroder, was seen as a milestone and “a rejection of the intellectualization of the synthesizer in favour of pure pleasure”. It did, however, herald sound synthesis to the popular market. The phenomenal boom in synthpop during the 1980s, leading to the EDM boom of the 1990s, was the tangible result of lengthy electronic music development.

MIDI – MIDI (Musical Instrument Digital Interface) is a powerful industry standard protocol introduced in 1983 that enables wide variety of electronic musical instruments, computers, and audio devices to communicate. MIDI has become essential for synchronizing, playing, editing, and recording music.

These, and many other tools, were a valuable resource for the new generation of experimental composers and musicians. Everything was pretty much now in place.


A brief history of ambient music

Up to this point it is probably fair to say that elements of ambient music’s predecessors existed, and indeed thrived, on the periphery of the popular music of their time, rather than being front and centre of the mainstream. During the 1960s, that was about to change, albeit relatively slowly.

One interpretation of ambient music is that it is a style of calm, often electronic instrumental music with no discernible rhythm or beat, used to create or enhance mood or atmosphere. Ambient music emphasises tone and textural layers of sound that focus on the actual sounds being produced rather than the traditional musical form in which those sounds would normally reside. As such, ambient music may well intentionally eschew formal structured composition, harmony, melody and metre.

While now commonplace, ambient music, at least in the past, broke the rules of what we understand as familiar music or song content. Ambient music is not limited by accepted tropes of how it is produced, making use of acoustic and electronic musical instruments, unorthodox implements used as instruments, environmental sound recordings and sometimes vocals. A large proportion of ambient music is instrumental, not requiring narrative arrangement through either sung lyrics or spoken words.

One characteristic of ambient music since the 1990s has been the ubiquitous use of looping, creating repeated sections of sound, initially using tape and most commonly through digital effects. Another key trait has been the use of modern digital reverb and delay techniques to provide a sense of space, disconnection and otherworldliness.

One key element of ambient music is the way it can reward equally both passive and active listening. The listener can either focus on the content or allow ‘cognitive drift’ to occur, which can encourage a sense of calm, introspection or contemplation, meditation or as an aid to sleep.

While ambient music is a self‑contained genre, it does not stand alone; it has been incorporated into, or fused with, many other musical genres. This fact, in part, contributes to the debate about what ambient music actually means today and why it has become successful both artistically and commercially.

At last, getting to the point now… Ambient music as we now (think) we know it emerged in various forms during the 1960s and 1970s, largely thanks to the commercial availability of synthesizers. The album that is widely regarded as the watershed that brought ambient music to wider attention was, ‘Ambient 1: Music For Airports’ (1978) by British musician, producer and artist Brian Eno. This studio album also established the term ‘ambient music’ in the public mind set. Eno, either solo or in collaboration with other artists, released many subsequent ambient works, further defining the genre. By the early 1980s, the ‘new’ genre had become recognised and widely accepted. Eno has been oft‑quoted that “ambient music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting”.

In 1995, Brian Eno used the term ‘generative music’ to describe any music created by a computer system that is ever‑different, non‑repeating and always changing. Eno has frequently used generative ambient music as a background for visual art installations, thereby creating an immersive audio visual experience. There are now a number of autonomous ambient music generators available on the Internet, such as Generative.fm, that provide completely unique compositions that never end, never repeat and last as long as the listener wants them to. The introduction of Artificial Intelligence (AI) into music is likely to expand the scope of generative music considerably.

A discrete subset of the genre is Japanese ambient pioneered by artists such as Hiroshi Yoshimura, Haruomi Hosono, Midori Takada, Osamu Sato and Susumu Yokota during the 1980s. The offshoot aligned with the Japanese concept of ‘wa’, meaning harmony and serenity. Japanese ambient was an expression of the deep cultural appreciation for nature, an aesthetic preference towards minimalism, and traditional values of maintaining peace.

Ambient has heavily influenced many sub‑genres of downtempo dance music, including ambient house, ambient techno, ambient dub, trip‑hop, nu‑jazz, new age, chillwave and deep house. Ambient has undoubtedly come a very long way from its avant‑garde artsy origins. Ambient was now cool and it was here to stay.

In recent years, ambient music has continued to evolve and expand. Some contemporary artists have incorporated elements of jazz, classical music, and other genres into their work, while others have experimented with new digital technologies such as AI and virtual or augmented reality to create new experiences. Improvisation and extemporisation have become integral elements of many ambient compositions.

Overall, ambient music has remained a vibrant and innovative genre that continues to explore the limits of what is possible in music. Perhaps, the essence of ambient music continues to flourish at the margins, requiring some effort to discover as the means of dissemination moves away from traditional record companies, labels, distributors and physical media. The Internet and streaming services may become the only means to access these esoteric future forms.

Ambient music’s experimental aspirations, though, have been an on‑going thorn in its side, which seems particularly hard to expunge. Partly because of its eclectic roots, many regard the lofty art & culture baggage of ambient as self‑absorbed, arrogant, sanctimonious, pompous and pretentious – or just plain dull and boring. Brian Eno in particular has attracted considerable scorn for refusing to conform to populist ideals and short‑term fads. The fact that he is not fazed by such clichéd criticisms and follows his own path regardless, encourages his opinionated detractors even further.

A predilection for ambient music is a choice, not a requisite and it doesn’t carry any cache amongst some imaginary elitist intellectual cultural community. It is, though, not for everyone, with many seeing ambient as a tedious interminable din. Indeed, if anything has been learned through the decades about ambient music is that its appeal is, at least partially, subliminal, nurturing our subconscious need for enlightened contemplation and therefore beyond our ability to control whether we appreciate it or not. Discuss…

Influential artists that have dabbled in ambient music either in part or whole include (in no particular order) Brian Eno, Aphex Twin, William Basinski, Steve Roach, Robert Rich, Pauline Oliveros, Cluster, Biosphere, Harold Budd, John Hassell, Max Richter, Tim Hecker, Terry Riley, William Orbit, Four Tet, Steve Hillage, Stars Of The Lid, Bonobo, Mark McGuire, Ash Ra Tempel, Alice Coltrane, Jon Hopkins, Edgar Froese, Oneohtrix Point Never, The Caretaker, Laurie Speigel, Tycho, GAS, Boards Of Canada, Burial, Fripp & Eno, Slowdive, Air, Julianna Barwick, A Winged Victory For The Sullen, Ben Chatwin, Richard Norris, Luke Abbott, The Cinematic Orchestra, Daniel Avery, Darshan Ambient, The Gentleman Losers, Ibizarre, A.M.P. Studio, Orbient, Nacho Sotomayor, Sigur Rós, Johnny Jewel, Bicep, Marconi Union, Memory Tapes, Neon Indian, Com Truise, The Orb, The KLF, Divination, Lawrence English and The Irresistible Force.


A brief history of other music genres related to (but not) ambient music

New age music –New age music emerged in the 1970s and 1980s, influenced by a variety of styles including classical music, jazz, world music, religious music, folk and rock. New age music often explores arcane folklore, ancient traditions, ethnic groupings, astrology, mythology, mysticism, spiritualism, fantasy and even the occult. Lacking any precise definition, it is often seen as an umbrella for many different and often divergent styles. Ambient and new‑age music are two distinct genres albeit with some overlap between them.

Starting with the similarities… New age music is a genre of music characterised by its soothing and relaxing qualities. It often features acoustic instruments such as flutes, harps, guitars and pianos, traditional Asian or African instruments as well as nature recordings and synthesizers. New‑age music is often used for relaxation, contemplation, yoga, massage, stress relief and anxiety management. As background music, it is used to create a calm, serene, peaceful atmosphere for other activities.

… and some key differences… Ambient music tends to be more experimental and abstract than new‑age music, with a greater emphasis on soundscapes and textures rather than rhythm, melody or harmony. New age music tends to be more melodic, structured and more easily accessible than ambient music.

Overall, both ambient and new age music are genres designed to create a sense of serenity in the listener (the ends). However, they go about achieving this goal in different ways (the means).

New age music has habitually been ridiculed (erroneously) for being part of hippie culture, with acolytes that embraced new age beliefs being called ‘zippies’. From the 1990s. Zippies were in favour of new age principles such as social change, environmentalism, and alternative lifestyles while also being influenced by rave culture, cyberculture, and psychedelic drugs.

New Age Travellers are a loose grouping of people primarily in the United Kingdom generally adopting new age beliefs along with the counter culture movement of the late 1960s. Their nomadic lifestyle often brought them into conflict with static communities and the authorities.

Prominent new age artists include Enigma, Enya, Deep Forest, Clannad, Gregorian, Phil Thornton, Patrick Kelly, Peter Gabriel, Bernward Koch, Paul Winter, Grouper, All About Eve and William Ackerman.

Nature recordings – Ambient nature sounds or, technically, field recordings are a popular sub‑genre of ambient music that feature environmental recordings such as the sounds of water, animals, thunderstorms, wind and even fire. The origins of combining natural sounds with musical compositions can be traced back to the early 20th century. Field recording is regarded by many as a genre in its own right, with or without music.

Field Recording

The use of field recordings in music became more widespread in the 1950s and 1960s with the advent of portable recording equipment and with digital recording from the 1980s. Musicians such as John Cage and Dan Gibson began using natural or built environmental sounds into their compositions.

The use of field recording in ambient music can be traced back to Brian Eno’s ‘Ambient 1: Music for Airports’, which featured recordings of airport terminal announcements and other environmental sounds. Since then, many ambient artists have incorporated field recordings to create captivating soundscapes that blur the line between music and environmental sound.

Some popular ambient nature sound artists include David Dunn, Chris Watson, Dan Gibson, Diane Hope, Lawrence English, Biosphere and Francisco López.

Downtempo and chillout music – Ambient music did not burst onto the scene overnight and, at least initially, it did not attract significant commercial success. With the popularity of EDM and the domination of house and techno in nightclubs, ambient experienced a mini‑revival towards the late 1980s with sub‑genres including ambient house, ambient trance, ambient techno and ambient dub. During the dance‑dominated 1990s, ambient music became trendy as an after‑party ‘comedown’ with the advent of ‘chillout rooms’; spaces within clubs that served as venues for a relaxing alternative to the high‑energy ‘rave rooms’.

Chillout is a form of downtempo music (or vice versa) characterised by relaxed rhythms, mellow beats, laid back grooves and atmospheric soundscapes intended to induce a tranquil mood – fertile ground for ambient music to proliferate. Chillout is heavily derived from EDM, but typically at slower tempos and with sonic palettes often reminiscent of ambient, electronic‑styled new age, progressive electronic and even elements of instrumental hip hop, dub, deep house and breakbeat.

However, neither chillout nor downtempo come under the definition of ambient, due to their prominent use of structure and rhythm. Sunset beach bars, restaurant venues and cult dance clubs in Ibiza in the 1990s jumped onto the ambient/downtempo/chillout bandwagon as an escape from the more intense side of life and a counterpoint to the hectic rave and acid house scenes of the time. In the UK, the Bristol trip hop scene also capitalised on the chillout boom.

The chillout zeitgeist during the late 1990s was partly due to a proliferation of commercial chillout compilation albums from record labels such as Ministry of Sound, Café del Mar, Café Mambo, Beyond Records, Kompakt Records and Mercury Records. Mainstreaming ultimately motivated underground producers to move away from chillout into other more adventurous leftfield ventures. By the early‑mid 2000s, popularity of chillout music faded heavily. However, it would see a revival in the 2010s and 2020s (so far), which aimed to recapture the spirit of earlier forms of the genre.

Ambient and downtempo/chillout and are not interchangeable, although the boundaries between them are often unclear. Downtempo and chillout would go on a different path to influence subsequent genres like psybient, psychedelic trance, chillwave, lounge, post rock, lo‑fi hip hop, hypnagogic pop and nu‑jazz.

Prominent downtempo and chillout artists include The KLF, The Orb, Thievery Corporation, Deep Dive Corp, East India Youth, The Album Leaf, Nightmares on Wax, Falco, Robert Miles, Morcheeba, Bowery Electric, Mr. Scruff, Tosca, Hallucinogen and Ultramarine.

Trip Hop – Trip hop is a genre of electronic music that emerged from downtempo/chillout in the early 1990s. Trip hop is characterized by its use of hip hop beats, samples, and dense atmospheric soundscapes, fusing influences from jazz, soul, funk, reggae, dub and R&B. Like other forms of electronic music, trip hop uses structure, melody and beats, differentiating it from ambient. The term trip hop was first used in an article in Mixmag magazine in 1994 about American artist and producer DJ Shadow. Trip hop music was popularised mainly by artists from Bristol in the UK such as Portishead, Massive Attack and Tricky. Trip hop further influenced genres like instrumental hip hop and UK garage.

Other artists that have made use of trip hop leanings include Sneaker Pimps, Aim, Howie B, The Dining Rooms, FKA Twigs, Glass Animals, Kosheen, Martina Topley‑Bird, Poliça, Smoke City, 9Lazy9, Bomb The Bass, Coldcut, Morcheeba, Pretty Lights, DJ Shadow, DJ Food, DJ Vadim, Funki Porcini, Gorillaz and London Grammar.

Electronica – Electronica is a massively broad term for music that uses electronic instrumentation and sound manipulation technology as the primary means of production. As such, it is a catch‑all for music that doesn’t slot easily into existing sub‑genres. In its widest sense, electronica is pervasive, directly or indirectly, in much of modern contemporary music. There is, therefore no point in defining it or attempting to establish its scope here.

Since the 1960s, electronica artists have both influenced and taken influence from many other music genres. The commercial breakthrough of electronic music occurred with the advent and subsequent domination of synthpop, Europop and Eurodance in the 1970s. This was followed by EDM sub‑genres such as house, techno and electro from the 1980s onward. The burst in electronic creativity was fuelled by a self‑perpetuating feedback loop, pushing things further in the popular mainstream as well as in the margins that continues to this day.

Some prominent artists under the diverse panoply of electronica include (again in no particular order) Clara Rockmore, Kraftwerk, Aphex Twin, Depeche Mode, Daft Punk, Kraftwerk, Röyksopp, Gary Numan, Japan, David Sylvian, Natural Snow Buildings, Global Communication, Moby, The Chemical Brothers, Orbital, Underworld, The Human League, Visage, Thomas Dolby, Howard Jones, Ultravox, Rick Wakeman, Jean‑Michel Jarre, Skrillex, Leftfield, Herbie Hancock, Electronic, Deadmau5, Fred Again.., Sven Väth, Major Lazer, Armin van Buuren, Sasha, Thom Yorke, Emerson Lake & Palmer (ELP), Daft Punk, Four Tet, Floating Points, Flying Lotus, Hot Chip, Pet Shop Boys, Fatboy Slim, The Prodigy, Giorgio Moroder, M83, Goldfrapp, Amon Tobin, Carl Cox, Crystal Castles, Infected Mushroom, Groove Armada, Eat Static, LCD Soundsystem, Faithless, Disclosure, System 7, 777, Erasure, Yazoo, Paul van Dyk, Eric Prydz, Heaven 17, Orchestral Manoeuvres In The Dark (OMD), Tears For Fears, Monaco, Bronski Beat, Vince Clarke, Eurhythmics, Thompson Twins, Yello, Squarepusher, Machinedrum, Pendulum, Romare, Calvin Harris, Apollo 440, Ladytron, MØ, Flume, Public Service Broadcasting, Solar Fields, The Grid, X‑Press 2, Arms And Sleepers, Caribou and ATB.


A brief history of ambient electronica (and related) artists

OK, so we’ve looked at some of the genres that have led up to the current day and the prevailing view of ambient music in context. Now, it’s time to take a brief look at some key artists involved along the way, whether they could strictly be considered proponents of ambient music or not. Here are some of the most prominent.

Tomita – Isao Tomita (1932‑2016) was a Japanese composer, regarded as one of the pioneers of electronic music and space music, and as one of the most famous producers of analogue synthesizer arrangements. Tomita is known for his electronic versions and adaptations of familiar classical music pieces as well as futuristic science‑fiction themes and trance‑like rhythms. Tomita received four Grammy Award nominations for his studio album based on music by classical composer Claude Debussy, ‘Snowflakes Are Dancing’ (1974). He also famously adapted Gustav Holst’s ‘The Planets’ (1976).

Wendy Carlos – Wendy Carlos (1939‑) is an American musician and composer born as Walter Carlos and transitioning to female gender in 1972. She is known for her pioneering electronic music and film scores. Carlos studied physics and music at Brown University before studying music composition at Columbia University in New York City. She helped in the development of Robert Moog’s first commercially available synthesizer. Carlos’ breakout release was Grammy Award‑winning ‘Switched‑On Bach’ (1968), an album of music by Johann Sebastian Bach performed entirely on synthesizer. Carlos went on to release further synthesized classical music adaptations, as well as experimental and ambient electronic music. She composed film scores for three major studio films, ‘A Clockwork Orange’ (1971), ‘The Shining’ (1980), and ‘Tron’ (1982).

Tangerine Dream – Tangerine Dream is a German band founded in 1967 by Edgar Froese (1944‑2015). The best‑known incarnation of the group was the mid‑1970s trio of Froese, Christopher Franke and Peter Baumann. Tangerine Dream is considered a pioneer in electronic, ambient and space music, a.k.a. kosmische musik (‘cosmic music’). Tangerine Dream were key members of the so‑called Berlin School of electronic music. Despite having released over one hundred albums over the years, they are best known for their use of synthesizers and sequencers, including milestone albums, Phaedra (1974) and Rubycon (1975). Tangerine Dream has also composed over sixty film soundtracks as well as the score for the video game Grand Theft Auto V. However, it is their mid‑1970s material that profoundly influenced the development of electronic music styles such as ambient, new age and EDM.

Klaus Schulze – German electronic music composer and musician Klaus Schulze (1947‑2022) is considered one of the pioneers of electronic music since the late 1960s. Schulze was an early member of the band Tangerine Dream before leaving to pursue a solo career in 1970. Schulze had a prolific career, releasing over sixty studio albums. Schulze’s music is known for its long, repetitive sequences and its use of analogue synthesizers. His early work was influenced by the psychedelic rock of the late 1960s and early 1970s, while his later work was more experimental and ambient. Schulze’s music has been used in films such as ‘The Exorcist’ (1973).

Brian Eno – English musician, composer, producer and artist Brian Eno (1948‑) has become synonymous with contemporary ambient music, pioneering and contributing to the ambient, electronica and minimalist drone genres. He started out in experimental rock, glam rock, art pop and art rock as former keyboard player with Roxy Music. Along with his extensive solo career, Eno has also collaborated on many side projects with other artists including Harold Budd, David Bowie, David Byrne, Fred Again.., Jon Hopkins and Cluster. Many of his collaborations explored beyond the scope of purist ambient music. He has also been prominent behind the studio desk producing many artists including John Cale, David Bowie, Jon Hassell, Laraaji, Talking Heads, Ultravox, Devo, U2, Coldplay, Daniel Lanois, Laurie Anderson, Grace Jones, Slowdive, James, Kevin Shields and Damon Albarn. In addition, Eno has composed a number of film scores. If that wasn’t enough, Eno has also worked prolifically in other media, including audio visual installations, art installations, film and as an author. As mentioned above, Eno pioneered the introduction and growth of generative music. A little known fact is that Eno also composed the six‑second music snip that accompanied the start‑up of the Windows 95 computer operating system, known as ‘The Microsoft Sound’. Love him or loathe him, Eno’s legacy is probably as far reaching as it is incalculable.

Brian Eno (courtesy of Cosciansky)

Kratwerk – German electronic band Kraftwerk was founded in Düsseldorf in 1970 by Ralf Hütter and Florian Schneider. Kraftwerk is widely regarded as an innovator and pioneer of electronic music and was one of the first successful acts to popularise and commercialise the genre. The group began as part of West Germany’s experimental krautrock scene in the early 1970s before adopting electronic instruments for which they are best known, including synthesizers, drum machines, and vocoders. Their massive hit single and album, ‘Autobahn’ (1974) cemented their reputation. Kraftwerk inspired many artists including David Bowie, Joy Division, New Order, Daft Punk and LCD Soundsystem.

Jean‑Michel Jarre – Jean‑Michel Jarre (1948‑) is a French composer, musician and record producer. He is widely regarded as an innovator in electronic, ambient, new age and synthpop music. His breakout studio album, ‘Oxygene’ (1977) has become an electronica classic, selling over 18 million copies worldwide. Jarre’s musical style builds on the work of Tangerine Dream and adds a bit of populist French va‑va‑voom. He is famous for organising extravagant outdoor events involving laser light shows, visual projections and pyrotechnics to accompany his stage music. One of his concerts in Moscow, Russia in 1997 holds the world record for the largest audience for a single outdoor event, estimated at 3.5 million people.

The Orb – The Orb is an English electronic music group founded in 1988 by Alex Paterson and Jimmy Cauty. The duo began as ambient and dub DJs based in London before making the move into music production. The Orb is well known for their psychedelic ambient space sound. Over the years, The Orb has developed a cult following among clubbers ‘coming down’ from drug‑induced highs and, as such, their music became popular in club chillout rooms. Their influential debut studio album ‘The Orb’s Adventures Beyond The Ultraworld’ (1991) established the UK’s underground ambient house trend. The Orb’s second album, ‘U.F.Orb’ (1992) confirmed the band’s popularity and ensured their longevity. The Orb was influenced heavily by predecessors, Brian Eno and Kraftwerk. The Orb has maintained their signature science fiction aesthetic throughout their prolific career.

Amorphous Androgynous – British electronic music duo Amorphous Androgynous and its better known alter ego, The Future Sound of London (FSOL), was founded by Garry Cobain and Brian Dougans in 1988. The duo’s music is characterized by its psychedelic, ambient, and experimental sound. They acted as a bridge between the underground and well‑established electronic artists and has been influential in the development of electronic music genres such as ambient house, ambient dub and trip hop. They have released several albums, including ‘Tales of Ephidrina’ (1993) and ‘Lifeforms’ (1994).

Orbital – Orbital is an English electronic music duo founded by brothers Phil and Paul Hartnoll in 1989. The band has had on‑off periods of activity, breaking up and reforming on more than one occasion through the years. The band’s name is taken from the M25, London’s orbital motorway, which was key to the early (illegal) rave scene and (legal) acid house scene of the late 1980s and early 1990s. Orbital’s involvement with dance music has led to its strong reputation as a live band. They have mixed ambient sounds along with techno, trance, breakbeat and electronic rock styles. They have also been hugely influential in the development of modern electronic sub‑genres such as glitch, wonky and Intelligent Dance Music (IDM), as well as EDM.

The Chemical Brothers ‑ English electronic music duo The Chemical Brothers, originally known as The Dust Brothers, was formed in 1989 by Tom Rowlands and Ed Simons in Manchester, UK. Along with peers, The Prodigy and Fatboy Slim, they were pioneers in bringing the big beat, techno, house and EDM to popularity. Their breakout studio album, ‘Dig Your Own Hole’ (1997) rapidly became a rave classic. Like Orbital, they have become regular headliners on the festival and arena circuits. While their music is far from ambient, the origins are still evident and their enduring influence has also been widespread.


Contemporary music genres related to ambient

Here we are now, well into the 3rd decade of the 21st Century, so what position does ambient occupy now? Has it stagnated, frozen in aspic? Is it languishing in some obscure genre limbo? Or is it still evolving either on its own terms or in other ways? Let’s look at where ambient influences have led us and which may give a clue to where it might be going in the future. Here are eight of the most important modern‑day ambient spin‑offs.

Drone – Drone is a music genre that plays on long, sustained tones or repeated single notes. Unlike other genres that use drones as a component, drone music puts drones at the forefront, removing most melody and rhythm. As such, it bears many similarities to ambient. Drone music explores the changing timbre of individual sounds over time. For electronic drone, this is often achieved by slight fluctuations in the drone’s pitch, tone and amplitude.

The origins of drone, whether electronic or classical, are found in traditional music from across the world and date back to the 1940s with ‘Monotone Silence Symphony’ (1949) by Yves Klein. Drone developed through minimal music and through rock. Drone has seen a resurgence in the 2020s. Drone music has expanded to influence countless other genres, including ambient, EDM, drone metal and post‑rock.

Progressive Electronic – Progressive music in its widest sense generally attempts to expand existing stylistic boundaries associated with a specific genre of music. It also places emphasis on creating a sense of progression or development throughout a piece of music. Layered soundscapes, intricate changes in rhythm, a wide range of sound effects and textures are commonly used. Improvisation is also a key characteristic of progressive electronic music, as many musicians use improvisation to create new and inventive sounds rather than relying on pre‑recorded samples or synthesizer presets. Another important aspect is the use of lengthy, extended compositions, with tracks frequently having multiple sections and mood changes. Basically, progressive electronic covers a large proportion of electronic music from the late 1960s to the current day, including post rock. Is it a genre in itself? Make up your own mind.

Vaporwave – Vaporwave emerged in the early 2010s and is characterised by its use of synthesizers, slowed‑down samples and a great deal of studio manipulation including time shifting and cutting up of sound clips, then applying reverb, echo and other studio effects. The advent of computer‑based digital audio workstations (DAWs), such as Pro Tools, Logic Pro, Abelton and Cubase, greatly aided production and the Internet provided the means of distribution through platforms like YouTube, Bandcamp and SoundCloud.

Vaporwave got its name from ‘vaporware’, a term applied to computer hardware or software which is announced by a developer well in advance of release, but which then fails to emerge.

At first, vaporwave was a nostalgic reflection of the sounds of the 1980s and 1990s, drawing from popular music, contemporary R&B, smooth jazz and muzak, as well as from consumer culture, corporate logos, films, radio broadcasts and television commercials. Vaporwave has been described as a form of ‘post‑Internet’ electronic musical movement that reflects the fragmented and disorienting experience of living in the digital age.

The release of ‘Eccojams Vol. 1’ (2010) by Daniel Lopatin, under one of his aliases Chuck Person, is widely regarded as the foundation of vaporwave as a genre. The debut was followed ‘Floral Shoppe’ by Macintosh Plus and ‘Far Side Virtual’ by James Ferraro (both 2011), bringing greater visibility to vaporwave and its associated aesthetics. Despite this, vaporwave remains niche with tracks not readily available on physical media such as CDs or vinyl.

Like ‘pure’ ambient, vaporwave shuns structure and rhythm. The use of looping, glitching, pitch‑bending, panning, and echoing sound samples came to define the sound of vaporwave, giving the patchwork sound a hazy, surreal, dreamy and atmospheric quality with a focus on hyperreality. The vapor movement alludes to a disconnection or separation from reality presented through its original form.

In addition, vaporwave gave birth to a distinct aesthetic based on subcultures like cyberpunk, seapunk, manga and anime. Artist names, album titles and track listings often used uncommon symbols and Japanese script. In conjunction with the heavily manipulated and often intentionally degraded sound of vaporwave music, much of the genre’s artwork featured low‑grade image distortion or digital artefacts, bringing the limitations and flaws of past technology and positioning it within the broader post‑internet artistic landscape. The integration of the visual and the music elements can be interpreted as a criticism of consumer capitalism and hi‑tech culture.

Dreampunk – Dreampunk is an evolution of Vaporwave, also emerging in the mid‑2010s. Dreampunk artists wanting to experiment with more minimal and atmospheric compositions while, at the same time, distancing themselves from the nostalgic restrictions of the 1980s. The Internet record label, Dream Catalogue, helped popularize dreampunk within the vaporwave community as well as further afield.

The abstract, hypnotic, atmospheric soundscapes and repetitive structure of vaporwave is perhaps closer to ambient music, although the presence of rhythm differentiated it from its predecessor. This contributes to the dreamlike ethereal sound for which the genre is known. Dreampunk artists tend to seek anonymity, with many using several Internet aliases to create a sense of mystique around their music, hiding behind the aesthetic, often utilizing abstracted imagery of cityscapes, neon‑lit night scenes and incorporating futuristic dystopian and cyberpunk themes. Like vaporwave, dreampunk also uses Japanese scripts to further mystify their image. Classic dystopian and cyberpunk films such as ‘Blade Runner’ (1982) and ‘Ghost in the Shell’ (1995) also influenced and inspired the music genre. Both vaporwave and dreampunk continue to thrive in the underground.

Ambient, morphed through the lens of vaporwave and dreampunk, heavily influenced other genres such as hypnagogic pop, chillwave, VHS pop, witch house and slushwave.

Some popular vaporwave and dreampunk artists include Blue In Tokio, Fishmans, T e l e p a t h (テレパシー能力者), 2 8 1 4, Windows96, SkyTwoHigh and Lindsheaven Virtual Plaza.

Chillwave – Chillwave, a.k.a. glo‑fi, is an Internet genre that originated predominantly from the United States circa 2009. Chillwave, like vaporwave, looked back to the aesthetics and musical styles of the 1980s and 1990s, intentionally evoking a sense of nostalgic reflection. Chillwave melded analogue instruments with modern recording technologies and techniques to create a hazy dreamlike atmosphere. Chillwave appropriated elements of synthpop, funk, downtempo, EDM and alternative/indie genres like indie pop, neo‑psychedelia and synthwave.

Chillwave, vaporwave and dreampunk led to a great deal of fusion and crossover material, blurring the differences between them. Chillwave declined in popularity by the start of the 2020s but like many other genres, the end of chillwave may have been greatly exaggerated. Expect it to come back to the fore in due course. Chillwave’s influence would go on to play a part in genres such as cloud rap, alternative R&B, future bass, synthwave, ethereal wave and bedroom pop.

Prominent chillwave artists include Toro y Moi, Neon Indian, Washed Out, Memory Tapes, Flume, Com Truise, Tycho, Panda Bear, Lemon Jelly and Nite Jewel.

Intelligent Dance Music and its spin offs, glitch and wonky – Intelligent Dance Music (IDM) is a genre of electronic music that emerged in the early 1990s as a derivative (and rejection) of EDM. It is characterized by complex rhythms, intricate melodies, and a focus on sound design and experimentation. IDM artists often use unconventional time signatures, polyrhythms, glitches and de‑tuned sounds to create a unique listening experience. The genre is also known for its use of ambient textures and atmospheres, which can create a vague or otherworldly feel. IDM has been influential in the development of other electronic music genres such as ambient techno, and intelligent techno.

Some of the most well‑known IDM (and glitch/wonky) artists include Aphex Twin, Four Tet, Daniel Avery, Actress, Floating Points, Machinedrum, Moderat, Oneohtrix Point Never, Boards Of Canada, Mouse On Mars, Flying Lotus, LFO, Clark, Luke Vibert, Autechre and Squarepusher.

Dream pop – Deriving more from structured alternative and indie rock rather than ambient, dream pop uses reverb‑laden guitars, effects‑rich vocals, and dense studio production, to create a psychedelic, spacious, ethereal and surreal sound, albeit with a de‑emphasized beat accompanied by quiet, breathy harmonised vocals to elevate the music from its origins.

Dream pop is commonly fused with other genres such as shoegaze and noise pop, although dream pop does not solely depend on ‘walls of sound’, heavily distorted guitar layers or feedback. Dream pop relies heavily on modulation effects such as chorus, tremolo, vibrato, delay and reverb, to create mesmerising sonic textures. Dream pop bands often employ synthesizer layers to add atmosphere and lush soundscapes. Influences include slow core, post rock and trip hop.

In a similar way to shoegaze, vocals focus on melody and timbre, rather than lyricism. It is not uncommon for dream pop groups to have multiple vocalists to make good use of harmony and ‘instrumental’ vocals.

Prominent dream pop artists include Warpaint, 2:54, Lanterns of the Lake, Beach House, Cigarettes After Sex, The xx, Bat For Lashes, Low, Chromatics, Spiritualized, Julee Cruise, Broadcast, Zero 7, Phantogram, Yo La Tengo, Cocteau Twins, Dévics, Esben And The Witch, Pure Bathing Culture, School Of Seven Bells, His Name Is Alive, How To Dress Well, Lush, London Grammar and Mazzy Star.

Ambient dub – Ambient dub fuses ambient music with dub electronica. Ambient dub is a chillout fusion of ambient, dub reggae and future dub, featuring the atmosphere of the former and the Jamaican‑style basslines, percussion, and psychedelic production techniques of the latter. The name of the genre was coined by record label Beyond Records with a series of compilation albums of the same name, starting with, ‘Ambient Dub Volume 1: The Big Chill’ (1992). Many of the prominent artists within the genre also perform or mix in elements of dub techno, dubstep or ambient techno, which has led to some confusion over ambient dub’s actual sound. While the lines are indistinct between such electronic genres, ambient dub can genuinely be discerned by its denser atmospheres, a heavier use of reverb and/or delay, and an emphasis on bass akin to traditional dub, as well as reggae rhythms.

Notable ambient dub artists include: The Dub Syndicate, Bill Laswell, Dreadzone, Higher Intelligence Agency, The Orb, Ott, Loop Guru, Transglobal Underground, Jon Hopkins, Jah Wobble, Mad Professor, Burnt Friedman, Deadbeat, The Bug, Solar Quest, Ladytron and Banco de Gaia.

Dark ambient – before we leave, it’s worth a quick mention about dark ambient, a.k.a. ambient industrial. While most ambient music creates a peaceful, welcoming and safe place, dark ambient is intended to disturb. Dark ambient emerged as a post‑industrial counterpoint to the wider ambient landscape. It is characterised by an ominous, brooding, eerie, sinister and overbearingly gloomy atmosphere, often with discordant overtones, dissonant timbres and lengthy drones. Dark ambient often crops up in film scores intended to unsettle the audience and create a sense of disorientation or suspense.

Dark ambient artists include Deathprod, Agalloch, David Lynch, Throbbing Gristle, Angelo Badalamenti, Nine Inch Nails, Trent Reznor, William Basinski, Blut Aus Nord, Mortiis, Cabaret Voltaire, Dolorian, NON, Controlled Bleeding, Earth, Jóhann Jóhannsson, Sunn O))) and Steven Wilson.

STOP! Enough already! I hear you cry. We are beginning to go down a bit of a proverbial rabbit hole here, so the short list that follows suggests other sub‑genres heavily influenced by ambient and its derivatives. These sub‑genres include black ambient, ritual ambient, space ambient, space music, ambient Americana, ambient house, ambient techno, ambient trance, psybient, psydub, minimalism, modern classical, ambient industrial, tribal ambient, pop ambient, dubstep and turntable music. Phew!


Key ambient+ albums:

As with my previous article on dub reggae, it would be remiss not to mention some of the key albums that have impressed over the years. Here are some predictable and some very unpredictable selections to showcase the vast expanse of electronic ambient music as it is today. As this article has hopefully shown, ambient isn’t a clearly defined pigeon hole with unbreakable rules but rather a constantly changing complex and diverse approach to experimental soundscapes. Hence this ‘top 20’ collection is more like ‘ambient+’ (as I call it; remember, you read it here first!), intended to demonstrate the ecosystem’s multiplicity. Another ‘desert island disc’ compendium to daydream about. Again, it was a difficult decision‑making process with many excellent works that didn’t make this particular cut. These albums are all classified as contemporary, i.e. 1975 to the current day.

  1. Aphex Twin – Selected Ambient Works 85‑92 (1993) and Vol. II (1994). Two seminal albums in the ambient genre that feature a mix of electronic and acoustic sounds. It is known for its dreamy, otherworldly soundscapes and has been described as ‘a journey through a strange and beautiful world’.
  2. Brian Eno – Ambient 1: Music For Airports (1978). Basically, the one that started it all. Essential listening for devotees of the ambient music genre. A starting point for the many great ambient works that followed and an entrée into Eno’s many other ambient works.
  3. Tangerine Dream – Rubycon (1975). Along with its predecessor, ‘Phaedra’ (1974), the pair stand out from the band’s extensive canon. The band had stopped using traditional instruments in its compositions and focused on analogue synthesizers and sequencers. Truly remarkable.
  4. Max Richter – Sleep (2015). Almost 8½ hours of sweet lilting lullaby, a transcendent, cinematic, post‑minimalist ambient album of gentle music intended to be experienced as much as it is to be listened to, awake or asleep (or, interestingly, in between – a phenomenon known as ‘eyelid movies’; what the mind conjures up when one is in the transitional state of near sleep).
  5. GAS – Pop (2000). A comforting, immersive experience and a lesson in how to make electronica sound organic and engrossing. Transcendent and transformative. A lysergic trip for your ears.
  6. Fripp & Eno – Evening Star (1975). Combining the talents of Brian Eno and Crimson King guitarist Robert Fripp. Good to see guitar making a contribution to ambient music.
  7. Four Tet – Rounds (2003). Not really ambient, more IDM and glitch. However, a disarmingly elegant stripped back intimate album. Perhaps, Kieran Hebdan’s landmark album.
  8. Boards Of Canada – Music Has The Right To Children (1998). Focusing on concepts of childhood nostalgia, created by the use of obscure samples and masterly manipulated layers of sound. The album has become rather essential listening along with ‘The Campfire Headphase’ (2005) and ‘Geogaddi (2002).
  9. Bonobo – Black Sands (2010). Lush, sumptuous and beguiling. Not ambient in a true sense but a great example of downtempo electronica from Simon Green. Also worth a listen is, ‘The North Borders’ (2013). Both also have excellent remix albums.
  10. The KLF – Chill Out (1990). A classic ambient album that features a mix of samples and original music. It’s known for its dreamy, atmospheric soundscapes and has been described as ‘a road movie in music form’.
  11. Stars Of The Lid – Tired Sounds Of Stars Of The Lid (2001). An album that features long, slow‑moving pieces that are built around drones and other ambient textures.
  12. Chromatics – Night Drive (2001) – More ambient pop, dream pop and synthwave than pure ambient. Chromatics’ ethereal style was featured by David Lynch in his surreal TV series, ‘Twin Peaks’.
  13. Burial – Untrue (2007). Enigmatic London‑based dubstep artist burst onto the scene with an album that is stark, blurred, eerie, tender and hauntingly evocative. A breath taking and inimitable event.
  14. William Basinski – The Disintegration Loops I‑IV (2002‑2003). Four albums that feature loops of decaying tape recordings. The music is haunting and melancholic, and has been described as ‘a meditation on loss and decay’. Dedicated to the victims of 9/11. Tape music entropy as it happens, captured for posterity.
  15. Tim Hecker – Radio Amor (2003). An album that features a mix of electronic and acoustic sounds, including guitar and piano. It’s known for its dense, layered soundscapes and has been described as ‘a beautiful, immersive experience’.
  16. Banco de Gaia – Last Train To Lhasa (1995). Along with its predecessor, ‘Maya’ (1994), it shows the approach of Toby Marks to progressive ambient electronica. Again, not really ambient but hugely influenced by it.
  17. Thievery Corporation – The Richest Man In Babylon (2000). Along with its remix EP, ‘Babylon Rewound’ (2004) it takes other influences including reggae and dub and brought it into the downtempo chillout world.
  18. The Higher Intelligence Agency – Freefloater (1995). British artist Bobby Bird started off running experimental electronic music nights in Birmingham. Ambient techno meets ambient dub meets ambient. Also worth a listen is, ‘Colourform’ (2010).
  19. Lindsheaven Virtual Plaza & SkyTwoHigh – Imaginary Pathways (2021). The final Internet album by Brazilian musician and producer, Cesar Alexandre before his untimely death due to covid. More dreampunk, ambient techno and downtempo with a hint of vaporwave rather than ambient. Blissful.
  20. The Gentleman Losers – The Gentleman Losers (2006). Finnish brothers that take a mix of ambient, post rock, lo‑fi, dreamlike slowcore and even a hint of Americana and blend it into a strange place where one isn’t certain of what is light and what is dark.
20 Ambient+ Studio Albums

In addition, referring back to ubiquitous compilation albums of the 1990s, one of the most significant events was ‘Ambient Dub Volumes 1‑4’ by various artists (1992‑1995) – A series of ambient dub compilation albums from Beyond Records that announced ambient dub to the world. The last of the four isn’t quite up to the first three but best seen as a whole. Another name check is for the annual ‘Pop Ambient’ compilations (2001‑) curated by Wolfgang Voigt, the man behind Kompakt Records and his nom de guerre GAS (see #5 above).


The future of ambient and ambient‑related music

The legacy of ambient music in all its facets has had a major impact on pretty much everything we listen to, even if we aren’t always aware of it. The question is, where is it going?

Ambient has exhibited somewhat of a resurgence in the early 2020s. Part of this renewed interest may be because of what is called multi‑sensory branding, where media events attempt to evoke memories through stimulation of all the senses. Another reason may be the rediscovery of obscure Japanese ambient music, as well as an interest in previously experimental, niche or underground music now garnering mainstream recognition. Streaming services make accessing unconventional music much easier. In addition, the growth of interest in mindfulness and mental health & wellbeing as a ‘cure’ for stress and anxiety caused by an increasingly frenetic and unpredictable world has reinforced the search for aids to relaxation, introspection and contemplation.

One thing we’ve learnt from this escapade is that ambient and ambient+ (or whatever else you want to call it) has been pushing the boundaries ever since the start of the 20th Century. If nothing else, it will continue to explore the outer limits while influencing the mainstream.

Probably the most significant tool in the future of ambient electronica won’t even involve human beings or actual instruments! AI will make significant inroads into generative music. Ultimately, though, this is likely to be a bit of a creative dead end. The drawback of AI is that it can only learn from what has come before it, it lacks the imagination and inventiveness of the human mind. At some point, AI generated ambient will become stale and derivative and human creativity will, once again be needed to bring spontaneity and unpredictability back to front and centre of music. Go People!

Given the inherent limitations of traditional musical instruments, electronic music may, arguably, have the greatest potential for innovation and creativity. One can only imagine the possibilities yet to be explored.

While many critics view electronica as soulless, cold and inert, it is sure to develop the ability to elicit more organic, fluid emotional responses. Many artists are looking backwards to analogue instruments and production techniques to add warmth and to create beauty out of its inherent imperfections.

Genre developments can only surprise once before they become part of the historical mosaic. One possible future is that ambient reaches a point where it becomes sterile and disposable. One might envisage it derided in the way that elevator muzak has become. Arguably, a proportion of current‑day throwaway popular music is already demonstrating that bleak possibility with anything new ultimately being short‑lived around the periphery before being subsumed into universal, amorphous homogeneity.

How we will be listening to music is another factor. If music becomes more clichéd, contrived and derivative, it will become more and more dismissible, fading into the background environment. However, isn’t that exactly what Erik Satie intentionally started with back in 1917?

For some, like the author, ambient resonates with the psyche on both a subconscious and conscious level. Others, meanwhile, may find the genre melancholic or even highly irritating. Ultimately, like all music preferences, it is partly a deliberate decision and partly predetermined in some obscure way.

Personally, I have confidence that people who appreciate ‘real’ music and have a passion for creating and performing it that will perpetuate this idiosyncratic form of music into a healthy future. Once again, discuss…


Tailpiece

So… there you have it. Another lengthy (apologies) delve into a relatively narrow niche of the wondrous world of music. Back to the real world, sadly. I cannot write about things that I don’t have some sort of fascination with. Having said that, these ambient+ genres are not exclusive listening. However, they can be just the ticket when one feels like some chillaxing, escaping from reality or as an antidote to insomnia.

Why do I dig ambient and electronic ambient+ music? It just resonates with me, It creates a welcoming oasis of contemplative calm away from a crazily intense ‘real’ world and it is somewhere to go that isn’t, well, here. Nothing profound, transcendent or conceited. See you in The Matrix soon.

I have no idea what’s up next, so it will come as much of a surprise to me as it will to you. Thoughts on a postcard please.

Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “If you could literally have the world, what, exactly, would you do with it?”

© 2023 CRAVE Guitars – Love Vintage Guitars.

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