Acoustic Shadows's tailpiece, "Blake's Painting The Soul Hovering over the Body Reluctantly Parting with Life," feels like a farewell.
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It made sense, because the worms split in half to reproduce, and a blind, brainless tailpiece is vulnerable as its body develops.
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From there, he simply holds down the tailpiece of the lock to provide tension, and sticks the wrapper-pick inside, where the key would go.
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This violin tailpiece has one fine tuner on the E string. Bass guitar tailpiece A tailpiece is a component on many stringed musical instruments that anchors one end of the strings, usually opposite the end with the tuning mechanism (the scroll, headstock, peghead, etc.).
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The tailpiece and endpin are found in the lower part of the cello. The tailpiece is the part of the cello to which the "ball ends" of the strings are attached by passing them through holes. The tailpiece is attached to the bottom of the cello. The tailpiece is traditionally made of ebony or another hard wood, but can also be made of plastic or steel on lower-cost instruments.
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Drawing the bow across the tailpiece creates a very quiet resonant sound. Because the tailpiece is large and heavy this sound is general of a quite low pitch.
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A violin consists of a body or corpus, a neck, a finger board, a bridge, a soundpost, four strings, and various fittings. The fittings are the tuning pegs, tailpiece and tailgut, endpin, possibly one or more fine tuners on the tailpiece, and in the modern style of playing, usually a chinrest, either attached with the cup directly over the tailpiece or to the left of it. There are many variations of chinrests such as clamped to the body in the center, on either side of the tailpiece as with a Guaneri style chinrest or to the left of the tailpiece.
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Spohr's original design called for a small block of wood to be centered over the tailpiece, but soon evolved. Today, there are at least 50 different types of chinrests available. Most common models of chinrests in ebony and rosewood One of the most popular type of chinrest is the "Guarneri" type, whose attachment is centered over the tailpiece with the cup for the chin to the left of the tailpiece. Some players prefer a chinrest with the cup centered over the tailpiece.
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Ellipsocephalus has 12 thorax segments. The tailpiece (or pygidium) is 4× wider than long.
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Because of the Jaguar's shorter neck length, the tailpiece is placed relatively further forward than the Jazzmaster's. To use the same jigg, both guitars are made with the tailpiece in the same boat position, meaning the Jazzmaster's tailpiece sits closer to the bridge than it does in higher-end Fender models. This move changed the visual style of the guitar slightly making it distinct from all other Jazzmasters. While altering the visual style, the relocate tailpiece solved two of the critical design flaws in the original guitar by increasing the break angle over the saddles and increasing clearance over the tailpiece's domed screws.
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The knife-edge acts as a fulcrum on which the tremolo block, or tailpiece, pivots.
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Early models also have maple necks. The original bridge was the Schaller 455, a combination bridge/wraparound tailpiece with six brass saddles. Some 1984 models came with a Nashville Tune-O-Matic and separate stop tailpiece. There is one tone and one volume control.
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It also produced an ES-295, with all the original trimmings, plus a B-7 bigsby vibrato tailpiece.
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The subsidiary operates independently, and produces the popular Bigsby vibrato tailpiece as well as several Paul Bigsby-designed electric guitars.
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The tuning pegs and the tailpiece (that shows the Nativity of Christ) are not original, but were added by Vuillaume.
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Rosewood Fingerboard, with a Black-Stained Maple bridge. Nickel Tailpiece and Machine Heads. "ff" sound holes. Volume and Tone Controls.
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The original model would have been made of plain maple/basswood/maple. Hardware includes a zigzag trapeze tailpiece and Tune-O-Matic bridge mounted on a rosewood base. While the Tune- O-Matic bridge is branded as a Gibson part, the zigzag tailpiece is not and is most likely not an American-made part.
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It has a floating bridge and a metal tailpiece. The instrument body is more often made from staves like a lute.
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That is, deleting the tailpiece from the µ heavy chain prevents the formation of polymeric IgM. Conversely, cells expressing a γ heavy chain that has been modified to include the tailpiece produce polymeric IgG. The role of the cysteine in the Cµ3 domain is more subtle. Figures 1C and 1D represent possible models for pentameric IgM.
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Google Books link to Volume IV Satyr sitting in a tree and playing pipes – tailpiece ornament for Chapter LV: The Conquest of India.
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These are common on carved-top guitars, such as the Gibson Les Paul and the Paul Reed Smith models, and on slab-body guitars, such as the Music Man Albert Lee and Fender guitars that are not equipped with a vibrato arm. A floating or trapeze tailpiece (similar to a violin's) fastens to the body at the base of the guitar. These appear on Rickenbackers, Gretsches, Epiphones, a wide variety of archtop guitars, particularly Jazz guitars, and the 1952 Gibson Les Paul. Pictured is a tremolo arm or vibrato tailpiece style bridge and tailpiece system, often called a whammy bar or trem.
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The bridge and tailpiece, while serving separate purposes, work closely together to affect playing style and tone. There are four basic types of bridge and tailpiece systems on electric guitars. Within these four types are many variants. A hard-tail guitar bridge anchors the strings at or directly behind the bridge and is fastened securely to the top of the instrument.
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Dave Grohl displaying his signature Gibson DG-335 guitar, a custom model based on the 1964-1971 Gibson Trini Lopez Standard. Dave Grohl 335s is based on the Gibson ES-335. DG-335 was designed by Gibson based on the Trini Lopez Standard specs, but in a different color and with a stop tailpiece instead of the Trini Lopez's trapeze tailpiece.
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This increased the sustain of the Goldtop noticeably; however, the intonation and string height adjustability were limited. A new design, the Tune-o-matic, replaced the stopbar in 1955. It consisted of a separate bridge and tailpiece attached directly to the top of the guitar, combining an easily adjustable bridge with a sustain-carrying tailpiece. This design has been used on most Les Pauls ever since.
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The reissues also have a cable jack located in the strap knob. The Convertible had a floating bridge and a separate tailpiece. On the Convertible, the tailpiece was used to hold the strings equally apart while the metal riser on the bridge was not notched, with the undesirable result that the strings slid back & forth on the bridge when the guitarist bent strings while playing.
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Until 1939, it had a hand-engraved tailpiece and a hand-engraved finger rest support. During the very early production stock the truss rod cover had engraved "L5 Super"; on later guitars this was changed to "Super 400". In 1939 the guitar was changed. The upper bout was enlarged, and the hand-engraved tailpiece was replaced with the one still fitted today on current Super 400s.
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Dimers self-associate though the coiled-coil rods to form myosin filaments. The tail domain ends at the C-terminus with a 34-residue non- helical tailpiece.
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The special cream finish on early serial number 4001CS basses is somewhat brittle, and the finish often chips at the edges where the tailpiece screws to the body.
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Despite the 137 being somewhat thinner than the ES-175, it is not classed as a thinline model. However, the ES-137 does sport an internal mahogany center block inside the body. This design eliminates feedback problems common with hollow-bodied guitars. The center block also facilitates the use of a stop tailpiece alike the ES-335, therefore eliminating the use of a "trapeze"-style tailpiece found on most hollow-bodied Gibsons.
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The bike shares the same bodywork (tank, side covers, tailpiece) as the earlier CB750F Super Sport. There are similarities between the CB900F bodywork and that of the CB1100F and CBX.
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The wood tailpiece was removed to place the powder charge inside the shell, and then set firmly back in to hold the powder within. Trajectory had to be an arc in order for the plunger to detonate the piece. A small pressure spring attached to the side of the plunger stem held the plunger in place during flight. The grenade was stabilized by four thin paper fins set into a wood tailpiece protruding from the rear of the projectile.
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For instance, some early Les Pauls were fitted with black covered P-90 pickups instead of the cream-colored plastic covers that are associated with this guitar. The weight and the tonal characteristics of the Goldtop Les Paul were largely due to the mahogany and maple construction. In 1953, the trapeze tailpiece was dropped, and a new stopbar design was added. This design combined a pre-intonated bridge and tailpiece with two studs just behind the bridge pickup.
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Rundgren sold the guitar in 2000 at auction for around $150,000 to pay off a tax debt, donating 10% to Clapton's Crossroads Centre. The Fool was resold to a private collector a few years later for around $500,000. The Fool has had other work done: some of the control knobs have been replaced and, most notably, the original trapeze-style tailpiece was replaced with a stop-tailpiece. The guitar now has Grover tuners rather than the original Klusons.
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The vincular furrow, a groove that fits the margin of the tailpiece or pygidium when the animal was enrolled, is wide and deep. The pygidium is about 3 times wider than long.
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Eddie was also an inventor on three patents related to guitars: a folding prop to support a guitar in a flat position, a tension-adjusting tailpiece, and an ornamental design for a headstock.
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It may also be seen as a vanitas or memento mori, foreshadowing Hogarth's death six months later. Headed Tail Piece, it was intended as the tailpiece for a bound edition of Hogarth's engravings.
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The Floyd Rose vibrato tailpiece on the guitars was later replaced with the Vintage tremolo seen more often on Fender Stratocasters in the early 1990s after a lawsuit with Rose himself over royalties.
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The edge of the body was rounded off around the top of the guitar, and white plastic binding was added to the soundhole. Production models retained the prototypes' use of the rectangular trapeze tailpiece until late 1964, when twelve-string models were fitted with Rickenbacker's "R" tailpiece. The last 360/12 OS was produced in Fireglo and made in December 1968 S/N HL1725.(Ref. R.Smith) After 1969, the 360/12 gained a 24-fret neck instead of the traditional 21-fret neck.
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The vibrato tailpiece was the floating type with a locking device. This mechanism was developed for the Fender Jazzmaster and also used on the Fender Jaguar. Engineered to mimic the function of the Bigsby vibrato- tailpiece, it was more elaborate than the synchronized tremolo of the earlier Fender Stratocaster, and was claimed by Fender to be superior, but it failed to achieve the same popularity. It disappeared from the Fender catalogue with the withdrawal of the Jaguar line in the 1970s.
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Kluson has re-engineered many of the original products lines. Kluson now produces technologically improved versions of their original stamped steel tuning machines, #9 tailpiece, Waffleback tuning machines, and Gibson Firebird banjo tuning machines.
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Tailpiece (or pygidium) is 20 to 35% of the length of the body. The pygidial axis (or rachis) is pointed (or acute), ending at the border.Struve, W. Suborder Phacopina, p. O467. in Moore, R.C. (ed.).
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In the case of the γ heavy chain, the only inter-γ bonds are formed by cysteines in the hinge, and accordingly each γ chain binds to only one other γ chain. By contrast, the Cµ2 and Cµ3 domains and the tailpiece each include a cysteine that form a disulfide bond with another µ chain. The cysteines in the Cµ2 domains mediate the formation of monomeric IgM (µL)2. The tailpiece along with the included cysteine is necessary and sufficient for the formation of polymeric immunoglobulins.
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Like both the original Melody Maker and the original Junior, the Les Paul Melody Maker featured dot inlays as fretboard markers and did not have a cap on its top. Unlike either the original Melody Maker or the original Junior, both of which used wraparaound bridge/tailpiece units, the Les Paul Melody Maker used a Tune-O-Matic bridge and separate stop tailpiece. The Les Paul Melody Maker also differed from other Les Paul submodels in the width of the neck and the length of the heel.
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It is often made of leather and it attaches to the bridge and tailpiece with ties or straps. It is used to hold the bow while a player plays pizzicato parts. A wolf tone eliminator is used to lessen unwanted sympathetic vibrations in the part of a string between the bridge and the tailpiece which can cause tone problems for certain notes. It is a rubber tube cut down the side that is used with a cylindrical metal sleeve which also has a slot on the side.
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Gadulka strings are steel, either plain in the smaller gauges or wound with steel or bronze in the larger ones; they are basically guitar strings. The strings are secured to the tailpiece by their ball ends.
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Some came with "dirty fingers" pickups where some are cream and black colored (Zebra) or all black. Most had the standard stop-bar tailpiece, but some E/2's did come with a TP6 tailpiece. The E/2 was also offered in burst colors and clear finishes, whereas the E-II did not come in clear finishes. Gibson also produced a range of Explorer models between 1981 and 1984 with high-output "dirty fingers" pickups, maple neck and body, and a bound figured maple top available in natural, cherry sunburst, or vintage (tobacco) sunburst finishes.
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A regular, and popular, feature was the opinion and general musings column which occupied the last page. This became known generally as the 'tailpiece', as its first series was written by Eric Winter, editor of FR's contemporary magazine, Sing, published by the Workers Music Association, punningly entitled "Winter's Tailpiece". When Winter withdrew from this monthly commitment, he was replaced, from September 1973 until April 1976, by Michael Grosvenor Myer, whose column appeared under the title "Taking the Mike". In addition, several songs, with their music, would appear in every issue.
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Techniques in this section include strings struck with the palm of the hand, taps on the sound board with fingertips, and strikes on the stand with the bow or the chair with the nut (stands and chairs at the time were made of wood). Measures 42–45 are based on wood and metal, with a mix of the techniques described above. This section “mediates” the marked opposition of the metal and wood. The A’ section comes back to typical arco style, but includes bowing between the bridge and tailpiece and bowing the bridge and tailpiece.
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Most well known, however, was the development of the Bigsby vibrato tailpiece, a wildly popular vibrato arm for guitars that was installed on their own models, as well as numerous other companies such as Gretsch, Gibson, Ibanez and many others.
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The Bulgarian tambura has 8 steel strings in 4 doubled courses. All the courses are tuned in unison, with no octaves. It is tuned D3 D3, G3 G3, B3 B3, E4 E4. It has a floating bridge and a metal tailpiece.
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Solid spruce top, with solid Maple back and sides, with a maple neck. Rosewood fingerboard and bridge. Nickel machine heads with engraved nickel tailpiece. M50 Series Electro-acoustic Bluegrass Mandolin with Nato Top, Back and Sides, and a Nato neck.
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Joe Perry playing his signature "Boneyard" Les Paul Gibson has issued two signature Les Paul guitars for Joe Perry of Aerosmith. The first was developed in 1996 and was customized with an active mid-boost control, black chrome hardware, and a translucent black finish. It was replaced in 2004 by a second, more visually distinctive Les Paul, the "Boneyard" Les Paul. This guitar is characterized by Perry's custom "Boneyard" logo on the headstock and a figured maple top with a green tiger finish, and is available with either a stop bar tailpiece or a Bigsby tailpiece.
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This endpin is generally thicker and more robust than that of a cello, because of the greater mass of the instrument. The materials most often used in double bass construction for fully carved basses (the type used by professional orchestra bassists and soloists) are maple (back, neck, ribs), spruce (top), and ebony (fingerboard, tailpiece). The tailpiece may be made from other types of wood or non-wood materials. Less expensive basses are typically constructed with laminated (plywood) tops, backs, and ribs, or are hybrid models produced with laminated backs and sides and carved solid wood tops.
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The tailpiece anchors the strings to the lower bout of the violin by means of the tailgut, which loops around an ebony button called the tailpin (sometimes confusingly called the endpin, like the cello's spike), which fits into a tapered hole in the bottom block. Very often the E string will have a fine tuning lever worked by a small screw turned by the fingers. Fine tuners may also be applied to the other strings, especially on a student instrument, and are sometimes built into the tailpiece. The fine tuners enable the performer to make small changes in the pitch of a string.
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Dynamic Vibrato, unique to the Fender Mustang. The Mustang introduced the Fender Dynamic Vibrato tailpiece, which together with a floating bridge forms the Mustang vibrato system. The floating bridge concept is common to the Fender floating vibrato developed for the Jazzmaster, but on the Mustang the saddles have only a single string slot, while on other Fender guitars there are multiple slots to allow limited adjustment of the string spacing. The tailpiece was unique when introduced and remains the most unusual feature of the Mustang; Only the Jag-Stang and Fender Custom (Maverick) share this particular mechanism.
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Mandolin tailpiece, which simply anchors the strings solidly The tailpiece anchors the strings, so it must be strong enough to withstand their combined tension. Tailpieces of the violin family or viol families of instruments, including double basses, are attached by a "tailgut" looped around the tailpin or end button, which is let into the bottom bock of the instrument. Originally made of animal gut and adjusted with difficulty by means of a knot, tailguts are now usually made of wire or nylon monofilament, and easily adjusted with threaded collars, usually made of brass, on the ends. Tailpieces are made of many materials.
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The Trini Lopez Standard featured the same body shape and profile as the ES-335, with diamond- shaped holes in the place of the f-shaped holes, a Gibson Firebird headstock, split diamond inlays on the fingerboard, a trapeze tailpiece with a plaque with Trini Lopez's name, and a standard cherry red finish. A modified version of the Trini Lopez Standard, with a stop-tailpiece and a custom Pelham Blue finish is used by Dave Grohl as his primary stage guitar; the Gibson Custom Shop produced a market version known as the "DG-335" in 2015. The Trini Lopez Custom came in a standard cherry sunburst finish, had a thicker body and cutout bouts with pointed tips instead of the standard rounded tips (similar to the Gibson Barney Kessel Custom guitar), a more ornate pickguard, and different locations for its two selector switches, but otherwise had the same tailpiece, fingerboard, headstock, and electronics as the Trini Lopez Standard.
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M20 Series A Bluegrass "ff" Sound Hole Mandolin with basswood top, back and sides. Nato Neck, a Rosewood Fingerboard, and a Black-Stained Maple Bridge. Also with nickel tailpiece and Machine Heads, with a "Violin Burst" Color. Comes in Left-Handed mode also.
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A baroque cello strung with gut strings. Note the absence of fine-tuning pins on the tailpiece. Baroque-era cellos differed from the modern instrument in several ways. The neck has a different form and angle, which matches the baroque bass-bar and stringing.
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World Polychaeta database. The body of the worm consists of a head, a cylindrical, segmented body and a tailpiece. The head consists of a prostomium (part for the mouth opening) and a peristomium (part around the mouth) and carries paired appendages (palps, antennae and cirri).
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This relocated tailpiece has remained in the Mexican Jazzmaster line ever since. Fender also installed special designed P-90-type high-output single-coil pickups. These P-90 pickups operated with a bar magnet at the base instead of the magnetized polepieces of the original pickups./view_specs.php?full_partno=0141600&name;=Classic+Player+Jazzmaster%26reg%3B+Special September 2010 saw the introduction of the Mexican-made Black Top Jazzmaster HS. This guitar sports a Duncan Designed single-coil Jazzmaster neck pickup and a hot vintage alnico humbucking bridge pickup, with other distinctive touches including skirted black amp knobs, a Jazzmaster tremolo tailpiece (without locking button) and a three-way toggle switch.
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The Casino, also designated by Epiphone as model E230TD, is a thinline hollow-bodied guitar with two Gibson P-90 pick-ups. Although generally fitted with a trapeze-type tailpiece, often a Bigsby vibrato tailpiece is used in its place (either as a factory direct feature or as an aftermarket upgrade). Unlike semi-hollow body guitars such as the Gibson ES-335, which have a center block to promote sustain and reduce feedback, the Casino and its cousin, the Gibson ES-330 are true hollow-bodied guitars. This makes it lighter, and louder when played without an amplifier, but much more prone to feedback than semi-hollow or solid-body electrics.
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The vibration of the strings is thus directly transferred to both the top and back of the instrument. Unlike many other stringed instruments, there is no nut at the top of the strings: the strings are simply stretched between a tuning peg at the top and the tailpiece at the bottom, passing over the bridge (the playing strings) or through holes in the bridge (the sympathetics).The tailpiece is typically made out of bone, and secured to the carved projecting "endpin" by stout steel wire. The endpin also serves to hold the bottom of the instrument to a strap or belt worn by the player.
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If simultaneous contacts were detected, the electronics selected the highest fret and the lowest string among the fretted notes. Each fret had to be connected to the electronics with its own wire running along inside the neck. Also each string had to be individually connected, and therefore isolated from the rest of the hardware, which meant that Hagström had to develop a new tailpiece/bridge system. The result very much resembled the standard Hagström hardware, except that the centers of the saddles were made of a dense plastic, and instead of a single tailpiece the strings terminated at separate blocks set in 2 rows.
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The trefoil is an anchor point, and instruments have different ways to anchor to it. Some clearly show violin style tailpieces tied to it and some citoles have a circle where the tailpiece should be, perhaps a ring to which the strings are fastened or a hole.
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Fray uses a cherry Epiphone Riviera electric guitar with a frequensator tailpiece (his main live guitar in the St. Jude era), G6136DC Gretsch White Falcon Double Cutaway electric guitar (appeared in Falcon era, main in Anna, Concrete Love eras), and Gibson Hummingbird acoustic guitar, amongst others.
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Variants are not evenly distributed throughout the texts. Textual scholar Kurt Aland explains that charting the variants shows the New Testament is 62.9% variant- free. Folio 41v from Codex Alexandrinus contains the Gospel of Luke with decorative tailpiece. Many variants originate in simple misspellings or mis- copying.
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This model was one of the Limited Edition releases in 2006. Each month a new model was issued. It is all black and has the Split Diamond inlay on the headstock. It has 3 uncovered black humbuckers, black Tune-o-Matic bridge and Stop-bar tailpiece.
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Gibson Little Lucille In 1999, Gibson launched the Little Lucille, a version of their Blueshawk guitar. It differed from the Blueshawk in having a Tune-o-matic bridge and a TP-6 stop tailpiece. Gibson discontinued the Little Lucille and the Blueshawk, on which it was based.
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The stoptail bridge consists of two parts: an adjustable fixed bridge piece, such as a Tune-o-matic and a separate stopbar (or stop bar) tailpiece. A stopbar tailpiece is, as the name implies, a bar-shaped formed metal piece commonly made of pot metal or zinc alloys although aluminum and brass may be used. Many manufacturers claim that the use of lightweight metals and alloys, such as aluminum, provide a greater transfer of the string's vibrational energy or "resonant quality" to the guitar body since there is less mass to excite. Aluminum was also used in the early examples of stoptail bridges from the 1950s, so it carries the mantle of "vintage" vibe.
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A fibreglass fuel tank, mudguards and seat/tailpiece/race number plate were all available as required. The trials version had an extended tailpiece with mounting for a road number-plate necessary in Combined trials which had timed road-stages linking with the several-to-many Observed Sections which historically could be scheduled as a typical part of a traditional UK trials event.Video of 1954 Invicta MCC (Ramsgate) Combine Trial Retrieved 2014-06-08 Under UK Construction and Use Regulations, competition machines intended for road-use were required to comply with statutory basics of sound engineering, a test certificate, mudguards, seat, audible warning device and number plate. Lighting was not required, but if fitted had to be complete and working.
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Chris Cornell 335s are based on the Gibson ES-335. The Chris Cornell ES-335 Tribute was designed by Gibson and Chris himself based on the guitars he played in the 80's and 90's, mostly Gretsch Jet models, but in Gibson's own 335 style, using the same construction of a typical 335 with the 3ply maple top, maple center block, mahogany neck, rosewood fretboard, but with Lollartron™ pickups in the neck and bridge, resembling the classic look on the Filter'tron™ pickups, used extensively by Gretsch. Also they feature one model (Olive Dab Green) with a Bigsby B7 vibrato tailpiece and another (Satin Ebony) with a Tune O Matic tailpiece.
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The guitar's pickups are twin single coil 'Hi-gains'. The Rickenbacker 620 sports the Rickenbacker signature, an 'R' style floating tailpiece. There is a twelve string version of this guitar available, the Rickenbacker 620/12. The Rickenbacker 620 comes in fireglo, mapleglo, jetglo, and midnight blue finishes from the factory.
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The Dean Z Guitar is an electric guitar made by Dean Guitars starting in 1977 along with its counterparts, the Dean ML, Dean V and Dean Cadillac. It has the recognizable Dean headstock and the V shaped tailpiece. The body shape is similar to the body design of a Gibson Explorer.
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Two Univox Coily guitars showing the red and green sunburst finishes A hollow body electric guitar manufactured by Matsumoku and sold under the Univox brand. It is nearly identical to the Epiphone EA-250 guitar also made by Matsumoku. The guitar featured two pickups, a floating roller bridge, and a Bigsby-style tailpiece.
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The engine made 136bhp and was the newer testastretta unit that had previously been used in the R bikes and included Ohlins front and rear. Other features for this limited edition model are You get a Limited Edition plaque on the headstock, tank graphics, tri-colore tailpiece graphics and upgraded Ohlins front suspension.
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Originally, the AJF series (aka: "Jazz King") used the "Chief-style" bolt-on neck construction, but Tacoma changed to a more traditional glued mortise and tenon neck joint. AJF's had a conventional ebony bridge with a composite tailpiece and pickguard/finger rest. EMG, Inc. designed a passive humbucking pickup for the AJF's.
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The earliest version had a combination bridge and trapeze-tailpiece design as specified by Les Paul himself, but was largely disliked and discontinued after the first year. Gibson then developed the Tune-o-matic bridge and separate stop tailpiece, an adjustable non-vibrato design still in wide use. By 1957, Gibson had made the final major change to the Les Paul of today - the humbucking pickup, or humbucker. The pickup, invented by Seth Lover, was a dual-coil pickup which featured two windings connected out-of-phase and reverse-wound, in order to cancel the 60-cycle mains hum that plagued single-coil pickups; as a byproduct, the two-coil design also produces a distinctive, more "mellow" tone which appeals to many guitarists.
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A version with a vibrato tailpiece was released as the 425 model. The two pickup 450 version was also upgraded to the new body style. In 1963, George Harrison of The Beatles bought a 420 model, while on a trip to the USA; though lacking a vibrato unit it was incorrectly labelled as a 425.
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A second Les Paul model was introduced in 1953. Called the Les Paul Custom, this black guitar with gold-plated hardware was dubbed the "Black Beauty". Various bridge and tailpiece designs were added in 1953 and 1954, including the popular Tune-o-matic bridge. The Goldtop and Custom models continued without significant changes until 1957.
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This feature created quite a demand for his fiddles. However, his greatest reputation came from the exquisite ornamentation on his instruments. Knut used a river pearl mussels from the river in Bø to decorate both the grip board and the tailpiece. Both the varnishing and the rose decorations had not been seen before or since.
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The Hipshot B-Bender, developed by David Borisoff, also mounts to the tailpiece end of the guitar without requiring any modifications. A lever extends behind the guitar and rests against the player's body. The bender is activated by moving the whole guitar against the player's body. The Hipshot is used by Will Ray of the Hellecasters.
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The Little Lucille is a relatively recently designed (1996-2006) Gibson model designed mainly for blues players. It superficially resembles the Les Paul in that the body outline is similar. The Little Lucille was discontinued by Gibson in 2006. The Little Lucille is a variant on the Blueshawk that features a stop tailpiece and tune-o-matic bridge.
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Chamberland played a 1953 Fender Telecaster. In his search to get exactly the sound he wanted from the guitar, Chamberland modified it. From the top down, the guitar had Grover heads, a 1957 Stratocaster neck, Humbucker pick-ups, and a Gibson bridge and tailpiece. The bottom portion of the body was milled out to fit these last two things.
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12v), a tailpiece (f.25r), and a whole-page miniature showing Saint Nicholas in the upper part and the archangels below (f.25v). Jovanović states (f.1r) that he writes in Slavonic-Serbian (a literary language blending Church Slavonic, vernacular Serbian and Russian elements), but the book is written basically in vernacular Serbian of the Ijekavian accent.
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The bridge and vibrato unit of the Jaguar and the Jazzmaster help produce sympathetic resonance since there is a considerable length of string between the bridge and the tailpiece. On top of that, when the strings are strummed behind the bridge, a characteristic chiming sound is created, which has been exploited by artists like Sonic Youth.
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The guitar is fitted with a special tailpiece with in-built sensors that pick up the frequency of the strings. An illuminated control knob selects different tunings. Motorized tuning machines on the headstock automatically tune the guitar. In "intonation" mode, the device displays how much adjustment the bridge requires with a system of flashing LEDs on the control knob.
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Violin tailpieces are typically made of wood: ebony, rosewood, boxwood, or rarely pernambuco. Other materials include cast light metal, and composites including plastic. Choice of material may have more than just cosmetic effect; a well-made instrument is sensitive to tailpiece weight, mass distribution, and tailgut placement on the saddle. Fretted string instrument tailpieces are typically made of metal.
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Gibson decided to remarket it toward jazz players and changed the tailpiece to one from a Riviera, and the pickups to mini-humbuckers. The result was a Casino that looked more like a short scale Riviera. The Casino was restored to its 1965 specifications around 1975, about the same time Matsumoku began production of set neck archtops.
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Paul Adelburt Bigsby (1899-1968) was an American inventor, designer, and pioneer of the solid body electric guitar. Bigsby is best known for having been the designer of the Bigsby vibrato tailpiece (also mislabeled as a tremolo arm) and proprietor of Bigsby Electric Guitars. He built an early steel guitar for Southern California steel guitarist Earl "Joaquin" Murphy of Spade Cooley's band, as well as Jack Rivers, then built a solid body electric guitar conceptualized by Merle Travis to have the same level of sustain as a steel guitar by anchoring the strings in the body instead of on a tailpiece. This instrument, which Bigsby completed in 1948, likely had an influence on the solid body Telecaster later produced by Leo Fender, as it had all six tuners in a row.
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Body of a 370/12, with the distinctive R-tailpiece, sharkfin inlays and stereo jacks In the 1960s, Rickenbacker benefited tremendously when a couple of Rickenbacker guitar models became permanently intertwined with the sound and look of The Beatles. In Hamburg in 1960, Beatles guitarist John Lennon bought a Rickenbacker 325, which he used throughout the early days of The Beatles. He eventually had the guitar's natural alder body refinished in black, and made other modifications, including adding a Bigsby vibrato tailpiece and regularly changing the control knobs.Babuik, Andy, Beatles gear: all the Fab Four's instruments, from stage to studio, , Lennon played this guitar for the Beatles' 1964 debut on The Ed Sullivan Show (as well as for their third Sullivan appearance, pre-taped the same day but broadcast two weeks later).
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They have a square sound box and two arms shaped like a swan's neck which terminate in the heads of an unidentifiable animal. The cross-bar is attached to the arms and itself terminates in animal heads at both ends. The seven strings were fastened to the sound box with a tailpiece. It is not clear how the strings were tuned.
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The body of the S-1 was broadly similar to the Marauder. It was made of a solid Les Paul Jr-like body with a maple Flying V neck bolted on. It was adorned with Schaller made "Harmonica" style tune-o- matic bridge and the standard Gibson stopbar tailpiece. However, the S-1 was unique in its elaborate electronics and wiring.
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Grohl displaying his signature Gibson DG-335 guitar, a custom model based on the 1964-1971 Gibson Trini Lopez Standard Dave Grohl plays a large number of guitars, but his two primary guitars are both based on the Gibson ES-335. His primary recording guitar is an original cherry red Gibson Trini Lopez Standard that he bought in the early 1990s because he liked the look of the diamond-shaped holes. His primary stage guitar is his signature model Pelham Blue Gibson DG-335, which was designed by Gibson based on the Trini Lopez Standard specs, but in a different color and with a stop tailpiece instead of the Trini Lopez's trapeze tailpiece. He also has another signature guitar called the "Memphis Dave Grohl ES-335" in silver finish that is otherwise similar to the DG-335.
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The ESP Viper has a set-through neck, 24.75" scale, a mahogany body and neck, ebony fingerboard, 42mm bone nut, thin U-neck contour, 24 XJ frets, black nickel Hardware, Gotoh Magnum Lock tuners, Gotoh TOM bridge and tailpiece, EMG 81 (B) / 85 (N) active p.u., and BLKS finish. The Viper-7 has set-neck construction, 25.5" scale, 45mm bone nut, EMG 707 (B & N) Active p.u.
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In the mid sixties, as Rickenbacker had become virtually synonymous with the electric twelve-string guitar, they produced a 12 string version of the 450. In the 1970s, Rickenbacker introduced the 480 line, which featured the Rickenbacker "R" style trapeze tailpiece, and an updated body style reminiscent of Rickenbacker's 4000 series of electric bass guitars. This was followed in the 1980s by the more modern 430 design.
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From 1961 to 1967, Standel had a short period as a manufacturer of stringed instruments. Bob Crooks made several attempts to market a Standel guitar. The first attempt resulted in 10 prototypes made by Semi Mosely. Joe Hall built the next line of guitars, a run of Mosrite-inspired double-cutaway guitars and a basses that featured an aluminum casting that housed the pickups, bridge and tailpiece.
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Nowadays, most zhongruans have tuning machine heads (弦鈕) instead of a peg box, since they make it easier to tune. There are some makers that still use the traditional peg box system but coupled with fine tuners at the tailpiece. The strings (弦) were made of silk in the old times. The number of strands of silk determined the thickness of the string.
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The Devils of Loudun calls for the use of a number of extended techniques on its instrumental writing. The use of such techniques is also for coloristic purposes. These extended techniques are evidently associated with specific notational symbols. Some of these techniques are: bowing in-between the bridge and the tailpiece, bowing the right marrow side of the bridge, and bowing the string holder.
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These were alternately named E/2, Explorer CMT, or The Explorer.id. They could be equipped from the factory with either a standard tune-o-matic bridge/stopbar tailpiece or a Kahler tremolo. From 1984 to 1987 the standard Explorer's body wood varied between mahogany and alder. The neck wood would vary between maple and mahogany and the fretboard wood varied between Indian rosewood and ebony.
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There are no screw poles on Firebird pickups. Some Firebirds from 1965 featured Gibson's single-coil P-90 pickup. The Firebird line went on sale in mid-1963 with four models distinguished by pickup and tailpiece configurations (see below). Unlike the Les Paul and SG line, which used the terms "Junior", "Special", "Standard" and "Custom", the Firebird used the Roman numerals "I", "III", "V" and "VII".
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The actual initial drain part in a lavatory or sink is termed a strainer. If there is a removable strainer device that fits into the fixed strainer, it is termed a strainer basket. The initial pipe that leads from the strainer to the trap is termed the tailpiece. Floor-mounted water closets seal to the toilet flange of the drain pipe by means of a wax ring.
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Bacon experimented with musical instrument making. While visiting Brandon, Vermont in 1901 he sold his "patent neverslip banjo bridge" to W. H. Johnson of that town. Johnson had been making the bridges for the "Bacon Banjo Bridge Company" and invented machinery to automatically make them. That same year, he took out a patent on a tailpiece that allowed musicians to restring their instruments faster.
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In 1967, Höfner actually produced a small range of semi-acoustic and acoustic guitars for Selmer UK These were badged with the Selmer logo and most had a Selmer "lyre" tailpiece. Model names were the Astra, Emperor, Diplomat, Triumph and Arizona Jumbo. With the growth of skiffle music and the arrival of rock and roll in the mid-1950s, Selmer UK began producing guitar and bass amplifiers.
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While Victoria is absent, Frederick loses his inspiration to compose and degenerates. When Victoria does not receive his letters for a full week, she resolves to return immediately. But when she arrives, she finds him in the arms of a new muse, the gypsy violinist woman. In a moment of rage, Victoria shoots the violin, grazing its neck and detaching its strings and tailpiece, before storming out.
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The A string is normally tuned first, to the pitch of the ensemble: generally 400-442hz. The other strings are then tuned to it in intervals of fifths, usually by bowing two strings simultaneously. Most violas also have adjusters—fine tuners, particularly on the A string that make finer changes. These adjust the tension of the string via rotating a small knob above the tailpiece.
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Early models of Epiphone's limited edition budget version had an ebony fingerboard but the later issues had a rosewood board. The ES-355 was available with a Vibrola vibrato unit or a Bigsby vibrato tailpiece. It was also available with a stereo output and Varitone tone filter circuitry. When fitted with the optional stereo wiring and Varitone, the model was known as the ES-355TD-SV.
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The dart, usually .50 caliber (12.7 mm), is essentially a ballistic syringe loaded with an immobilizing drug and hypodermic needle and is propelled from the gun by means of compressed gas. In flight, the dart is stabilized by a tailpiece, a tuft of fibrous material, making it behave somewhat like a badminton shuttlecock. The same syringe design may be used interchangeably in certain blowguns.
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Paul McCartney playing a 1960 left-handed cherryburst Les Paul Gibson Custom 50th Anniversary 1959 Les Paul Standard (2009) In 1958, new Standard model retained most specifications of the 1957 Goldtop, including PAF humbucker pickups, a maple top, and a tune-o-matic bridge with a stop tailpiece or Bigsby vibrato tailpiece. The gold color used since 1952 was replaced by a cherry-red version of the Sunburst finish long used on Gibson's flat-top and archtop acoustic and hollow electric guitars. Since the maple cap was now visible, tops were made either with a solid "plaintop" piece of maple or two bookmatched pieces of figured (curly or quilted) maple. To differentiate from the earlier Goldtop model, the new Les Paul was referred to as The Les Paul Standard. Specifications during 1958–60 varied from year to year and also from guitar to guitar.
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Jean-Baptiste Vuillaume created the instrument's tailpiece carved with the image of a woman in armor, Joan of Arc, the virgin warrior known as "La Pucelle d'Orléans". Vuillaume also created the instrument's elaborately carved pegs. According to the celebrated violin expert Charles Beare, La Pucelle is the first example of the instruments forming Stradivari's "Golden Period", the pilot model. The violin is currently owned by collector, David L. Fulton.
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Young has played a selection of Gretsch Jet Firebirds throughout his career. His first was a black, left- handed Firebird which was modified with an additional set of half-moon fret inlays on the fingerboard, and had the neck pick-up removed. It had an additional jack slot fitted, and a Burns tailpiece. This Firebird was inherited from Malcolm Young, and was used to record with Starfighters in the early 1980s.
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Given that this type of tremolo is installed on solid body guitars the degree to which sound transfer affects the sound that the instrument produces is minimal. Also, keeping a guitar with a non-locking tremolo in tune can be difficult. The most common types of non-locking tremolos are the "Synchronized Tremolo" type and an almost endless stream of copies. The Bigsby vibrato tailpiece is another option.
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Another new feature on the Electro- Spanish Ken Roberts is the stock Kauffman Vib-rola tailpiece, the world's first patented tremolo (US Patent: US2241911A). The Ken Roberts is the first instrument of any type to feature a hand-operated vibrato as standard equipment. It also marks Rickenbacker's first link to the unit's originator, Clayton Doc Kauffman, who would become a design collaborator for the company a couple of years later.
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The Gibson Blueshawk is a relatively recently designed (1996-2006) Gibson model designed mainly for blues players (hence the name). It superficially resembles the Les Paul in that the body outline is similar. The Blueshawk was discontinued by Gibson in Spring 2006, and returned in 2015 under the Epiphone brand. A variant on the Blueshawk is named Gibson Little Lucille and features a stop tailpiece and tune-o-matic bridge.
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") with a short compass, just 41 notes. The apex forms a sharp edge, as there is no tailpiece. Kottick observes that the RCM instrument closely resembles another (unpreserved) clavicytherium found as a diagram in the work of Henri Arnaut de Zwolle.Kottick (2002:25) Ripin describes its "unique and simple action" thus: "the key, a vertical lever and the forward- projecting jack are all assembled into a single rigid piece.
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His archtop designs incorporate an adjustable neck that mounts to the guitar via a turnbuckle mechanism that allows the action to be adjusted without affecting the tuning, a unique tailpiece and non-traditional sound holes. As of 2015 Parker has a shop in Massachusetts where he builds a small number of hand made and individualized custom archtop guitars per year.Bilger, Burkhard (14 May 2007). "Struts And Frets, Building A Better Guitar".
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A well-set-up instrument from the violin family will have attention paid to the tuning of the afterlength, or string length on the tailpiece side of the bridge. On many instruments it is set to 1/6 the playing length, or length between nut and bridge, sounding two octaves and a fifth above the open note of the playing length. This tuning may be varied to give certain desired effects.
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Some specific examples of Gibson-era Epiphone instruments from this period includes the Epiphone Sheraton (co-developed with the Gibson ES-335 & sharing its semi- hollow body, but with, Epiphone's pre-Gibson "Frequensator" tailpiece and "New York" mini-humbucker pickups, and significantly fancier inlays) and Sheraton II (replacing the Frequensator with Gibson's "stop-bar" tailpiece), the Epiphone Casino (similar to the Gibson ES-330), the Epiphone Caballero (similar to the Gibson LG-0), the Epiphone Cortez (similar to the Gibson LG-2), the Epiphone Olympic Special (similar to the Gibson Melody Maker), the Epiphone Sorrento (similar to the Gibson ES-125TC, except for a few cosmetic changes), and the Epiphone Texan (similar to the Gibson J-45, apart from a change in scale-length). The other Kalamazoo-made Epiphones had technical or cosmetic relationship with the similar Gibson version. Several Epiphone guitars have been produced in the United States after 1971. The Epiphone Spirit and Special were produced in the early 1980s in Kalamazoo.
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Strings run between mechanical tuning machines at the top of the neck to a tailpiece that anchors the other end of the strings. The strings are suspended over the neck and soundboard and pass over a floating bridge. The bridge is kept in contact with the soundboard by the downward pressure from the strings. The neck is either flat or has a slight radius, and is covered with a fingerboard with frets.
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The Studio Pro Plus was an upgraded studio with a AA figured maple top and gold hardware. Traditional mahogany body and set SlimTaper™ neck profile, rosewood fingerboard with acrylic trapezoid inlays, 490R neck pickup and BurstBucker Pro bridge pickup, TonePros® Tune-o-matic bridge and stopbar tailpiece, Grover™ tuners with vintage style green keys. Available in Desert Burst (DB), Trans Black (BL, 2004-05), or Trans Red (TR, disc. 2003) finish.
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In it he asserted that even in a field dominated by people's impulses to buy, that of marketing, there are striking regularities. The discovery and development of such lawlike relationships, was described in series of papers.Ehrenberg, A., (1966) Laws in Marketing – A tailpiece, Journal of the Royal Statistical Society, Series C, 15, 257–268.Ehrenberg, A., (1968) The Elements of lawlike relationships, Journal of the Royal Statistical Society, Series A, 131, 280–329.
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The Dean ML is an electric guitar made by Dean Guitars in 1977 along with its counterparts, the Dean V, Dean Cadillac and Dean Z. It has an unusual design, with a V-shaped headstock and V-shaped tailpiece. It was popularised by the guitarist Dimebag Darrell of Pantera. The neck had a slight "v" shape to it, which for some guitarists facilitated faster playing. The shape fit into some players' hands more comfortably.
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It also sports a stopbar tailpiece and Tune-o-matic bridge, like the higher end models. The main difference with the Les Pauls is the guitar's mahogany bolt-on neck, as opposed to the set-in neck normally found on Les Pauls and other Gibson guitars. The fingerboard also sports dot inlays instead of the Les Paul's Trapezoid inlays. The LP-100 currently comes with open coil 700T & 650R Ceramic humbucker pickups.
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The grenade was a three-piece weapon, consisting of the plunger (or nostril), casing (body or orange shell, containing main charge), and tailpiece. The slightly convex metal plunger was removed to set the percussion cap on the nipple within the casing. The plunger was refitted through means of depressing by the striking of something hard and solid to drive it back. This proved to be difficult, especially in the fray of battle.
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Hal Leonard Corporation. pp. 39. Retrieved 16 January 2015. The guitar, outfitted with a Bigsby tailpiece, served as one of the guitarist's prominent instruments and provided the first impetus to the use of Les Pauls during the British blues boom. In 1965, Eric Clapton began using Les Pauls because of the influence of Freddie King and Hubert Sumlin, and played a 1960 Standard on the groundbreaking album Blues Breakers with Eric Clapton.
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The stopbar has holes drilled into it that allow the guitar strings to be threaded from the rear and out through the front. The string path then goes over the bridge saddles and the string nut to the machine heads located on the headstock. The stopbar tailpiece is meant to be adjusted for string tension. The threaded posts can be lowered or raised to increase or relieve the string tension at pitch.
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S. Patent No. 508858) awarded to Back with half-ownership assigned to Orme. The critical feature described in the patent is a "raised longitudinal belly ridge" extending along the top of the instrument, under the strings, from the end of the fingerboard to the tailpiece. The innovation is depicted on a guitar in the patent application but the patent text makes mention of its applicability to other stringed instruments. A subsequent design patent (U.
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In addition, around 1963 these pickups were given a new sticker that had a patent number written on it. However, the stickers were labelled with "" until 1962, which is the number issued to the 1952 Les Paul trapeze tailpiece design and not the humbucking pickups. Between 1965-1966, Gibson switched to polyurethane-coated wire from enamel-coated to cut costs and streamline pigtail lead soldering time, changing the wire color from purple to red.
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The critical feature described in the patent is a "raised longitudinal belly ridge" extending along the top of the instrument, under the strings, from the end of the fingerboard to the tailpiece. The innovation is depicted on a guitar in the patent application but the patent text makes mention of its applicability to other stringed instruments. A subsequent design patent (U. S. Patent No. D27560) shows the concept applied to a guitar-shaped mandolin.
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The B section begins at rehearsal 32 and goes to rehearsal 44. This section contrasts with the arco techniques in the A sections. It contains such percussive techniques as; battuto col legno (strike the strings with the wood of the bow); taps con dita (with fingers) between the bridge and tailpiece; pizzicato and pizzicato con due dita (plucked with two fingers). Also, from measures 38–43 a shift occurs to the material category of wood.
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Moonlander guitar. Ranaldo usually uses Fender Jazzmaster, Telecaster Deluxe electric guitars and sometimes Gibson Les Pauls, with radically alternative tunings, and modifications. One of his Jazzmasters has a single coil pickup installed between the bridge and the tailpiece to exploit the resonating chiming sounds on that area of string at these so-called tailed bridge guitars. Ranaldo is one of the few popular artists to use the Ovation Viper solid body electric.
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The Fender TC-90 electric guitar features a set neck with double-cut body, American-made Seymour Duncan pickups. The semi-hollow ash body is set into a maple neck with rosewood fingerboard, 22 medium-jumbo frets and abalone dots, Adjusto-Matic bridge with anchored tailpiece. The guitar's pickup complement consists of a Seymour Duncan SP90-1NRWRP vintage P-90 (neck) and SP-90 3B Custom P90 (bridge), 3-way switching with master tone and volume controls.
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Other American-made variants include the mandolinetto or Howe-Orme guitar-shaped mandolin (manufactured by the Elias Howe Company between 1897 and roughly 1920), which featured a cylindrical bulge along the top from fingerboard end to tailpiece and the Vega mando-lute (more commonly called a cylinder-back mandolin manufactured by the Vega Company between 1913 and roughly 1927), which had a similar longitudinal bulge but on the back rather than the front of the instrument.
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For the Compton Press he illustrated A Shepherd's Life by W. H. Hudson (1977) and A Year of Birds by Iris Murdoch (1978). His last engraving was the only one he managed to complete of a series to illustrate a republication of Sacheverell Sitwell's book Valse Des Fleurs, published in a limited edition of 400 copies in 1980. It appears on the title page of the book, and a tailpiece woodcut is published at the end.
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In its original version, the Telecaster had the stock Fender bridge and tailpiece. In order to get the height on the strings that he wanted, Chamberland stuck popsicle sticks under the bridge to raise it higher. According to Tommy Mottola, other guitarists couldn't play Chamberland's Telecaster because of the way he modified it. He replaced the E-string, the bottom one, with a banjo A-string that he bent almost to the top of his Telecaster.
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The Melody Maker double-cutaway model was revived in 1977 and discontinued again in 1983. Some minor changes were introduced into the design including single coil pickups embossed with the Gibson logo, all metal tuning pegs and a latter-day Gibson stop tail piece and Tune-O-Matic bridge. In 1986, Gibson issued a Melody Maker with a single- cutaway body. It had one humbucking pickup, Grover tuners, a Tune-O-Matic bridge, and a stop tailpiece.
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The Kawasaki KZ750 L3 a sport bike motorcycle made by Kawasaki starting in 1983. It was very similar to the 1982 Gpz750. This is the year during which the Gpzs made the jump towards "sportbikes", while the KZ line branched off as "sport cruisers". This model can be distinguished by the three horizontal stripes along the gas tank and tailpiece, orange, red and yellow, and the lack of fairing typical on GPZ bikes of the same era.
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The goal for the Les Paul Jr. was to have a high-quality guitar that was still affordable. This was achieved by stripping the Gibson Les Paul down to the basics: no binding, no carved top, one pickup, one volume knob and one tone knob. The Junior was equipped with one P-90 "dog-ear" pickup at the bridge, which was actually a stop tailpiece from the standard Les Paul, repurposed. It was originally released in sunburst.
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Scroll and pegbox, correctly strung The pitches of open strings on a violin. The note names of the pitches are written in letter names below the stave and in their French solfege equivalents above the stave. G=sol; D=re; A=la; E=mi Violins are tuned by turning the pegs in the pegbox under the scroll, or by adjusting the fine tuner screws at the tailpiece. All violins have pegs; fine tuners (also called fine adjusters) are optional.
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The GK-55 is a stripped-down model based on the 1955 Gibson Les Paul, before the company began to produce the Les Paul Special. It is a flat-top 55 body style, dark sunburst or black, two "T top" humbuckers, no binding, dot inlays, and a bolt on neck. The GK-55 also came equipped with the TP-6 fine-tuning tailpiece. These were made in the Gibson plant in Kalamazoo, MI from 1979 through early 1981.
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It features Gibson's typical Tune-O-Matic bridge plus Stopbar tailpiece layout. The guitar is a through-neck construction with a maple body and mahogany neck with rosewood fretboard. Most variants feature a mahogany veneered headstock (with the exception of a white w/ black stripe model featuring white headstock and a black w/ black stripe featuring a black headstock), and cream binding on the body and fretboard. Gibson released a limited production run of Tom Delonge Signature ES-333s in the mid 2000s.
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There have also been several reports of this tailpiece failing at the hinge. All models of ES-165 feature gold plated hardware including "Tulip" Grover tuners (branded either as Gibson or Grover). The ES-165 was originally released with a single 490R humbucker, one volume control (300k Linear taper) and one tone control (500K audio with a .022 microfarad ceramic disc capacitor.) In 2004 the 490R humbucker was replaced with a Gibson BJB Floating humbucker and the tone control was removed.
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Retrieved November 13, 2014. Parsons's first product was painted copper color, however he decided to create a second version with a completely copper body, which White began to use instead. For the Raconteurs first tour, White also played a Gretsch Anniversary Jr. with a Bigsby vibrato tailpiece and three Filtertron pickups. He later added a custom Gretsch Anniversary Jr. with two cutaways, a lever-activated mute system, a built-in and retractable bullet microphone, and a light-activated theremin next to the Bigsby.
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In 2007, the Melody Maker became a separate model. It now has a smaller single-coil pickup than the P-90, a wraparound bridge/tailpiece unit, a mahogany neck, and a pickguard similar to the original Melody Maker. The CEO of Gibson said in reference to the new Melody Maker that it could "almost be considered a reissue of a 1959 Gibson Melody Maker." The guitar is offered in satin finishes and is one of the most economical Gibson guitars in recent years.
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The company was founded by Ralph Jones in 1967, originally under the name "Micro Tech". Jones and a small group of builders set up in a 15,000-square-foot factory financed by business partner Francis Marion Huggins on Grove Road. Apart of cutting bodies and necks, they also machined components including the company's Micro-Nut and Calibrato tailpiece. The first four models of guitars introduced that same year were the "Orbiter", "Huntington", "Plainsman" and "Covington", with bass guitars models added later.
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The A-Z of Harley-Davidson Part Two Although the batwing fairing was an easily removable option on early Electra Glides, it was not removable on later machines, as the instruments were moved from the fuel tank into the fairing. Electra Glide The FL frame was the basis for the 1971 FX Super Glide. The FX mated the FL frame with the forks of the XL Sportster, with buckhorn handlebars and a large fibreglass tailpiece completing the Super Glide specification.Mitchell p.
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The border is prominent elsewhere, and the eyes of small to medium size, sitting at the end of small palpebral lobes next to the frontal half of the glabella. The thorax consists of 13 to 16 segments, with the axis wider than pleural regions, obliquely truncated or rounded pleural tips, and the fulcrum placed very close to the axis. The tailpiece (or pygidium) is small, with 3 to 5 axial rings, distinctly segmented pleural fields, and an entire, evenly rounded margin.
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The term "vibrato unit" was introduced on high-end Fender guitar amplifiers in the 1950s, starting with the Vibrolux amplifier in 1956, in the same period in which what is now called a "tremolo arm" was introduced on Fender guitars. The "synchronised tremolo" was introduced in 1954 on the first Stratocaster guitar. The only previously successful "tremolo arm" was the Bigsby vibrato tailpiece, often simply called a "Bigsby". In 1958, Fender reinforced his usage with the "Fender floating tremolo" on the Jazzmaster and some subsequent guitars.
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Electric versions of the L-4 (known as L-4 CES) with a carved top and a florentine cutaway, were released in limited runs throughout the 1950s. In the late 1980s, Gibson reintroduced the L-4 CES, which has been in production ever since. The current version features two humbucking pickups, a solid carved spruce top, and solid mahogany back and sides. Other differences with the ES-175 include gold hardware, a fancier tailpiece, a different pickguard, and the rhythm pickup mounted closer to the neck.
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At the bottom of the body is a tailpiece (縛弦) to anchor the strings.The Construction of Ruan ) , 中國民樂網, accessed October 26, 2009 For reference, see: The Construction of Ruan , 中國民樂網 Note that the frets on all Chinese lutes are high so that the fingers never touch the actual body—distinctively different from western fretted instruments. This allows for a greater control over timbre and intonation than their western counterparts, but makes chordal playing more difficult.
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Guitar maker A. H. Merrill, for example, patented in 1896 a very modern looking instrument "of the guitar and mandolin type . . . with egg-shaped hoop or sides and a graduated convex back and top." The instrument featured a metal tailpiece and teardrop shaped "f-holes," and strongly resembled the archtop guitars of the 1930s. James S. Back obtained patent #508,858 in 1893 for a guitar (which also mentions applicability to mandolins) that among other features included an arched top, which were produced under the Howe Orme name.
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Anomalocaris canadensis possessed 14 segments (podomeres) on each frontal appendage, almost each one tipped with two barb-like ventral spines (endites). The ventral spines themselves were both equipped with 2 smaller auxiliary spines, which branches off from the main spine at the center of its length. The tail was large and fan-shaped, composed of three pairs of large, lateral fin-shaped lobes and one terminal lobe-like tailpiece. Along with undulations of the lobes, it was probably used to propel the creature through Cambrian waters.
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Yet another type of multi-part bridge is common on instruments with a curved sound plate, such as an arch-top guitar or mandolin. Such instruments often have a bridge with a base and separate saddle that can be adjusted for height. On classical and flat-top guitars the bridge is glued to the top. A bridge held on to the top by string tension, as in banjos and archtop jazz guitars, is called a floating bridge, and requires a separate tailpiece to anchor the strings.
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Epiphone-made bolt-on neck models still use a 16th fret neck joint. Note: although 22nd fret joint is seen on early models (1961-1966) and current models (1986-), historically 17th, 18th, and 19th fret joint models were manufactured during 1967-1985. The SG's set neck is shallower than the Gibson Les Paul's. The SG features the traditional Gibson combination of two or three humbucker pickups or P90 pickups and a Tune-o-matic bridge assembly, wraparound bridge, or vibrato tailpiece, depending on the model.
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Stetsbar with Vintage Arm mounted on Gibson ES137 The Stetsbar Tremolo system is a vibrato bridge system for the electric guitar. Eric Stets developed the device in the late ‘80s, and patented it in 1995. He originally designed the device to provide a stable vibrato system that could retrofit to “stop-tail” (fixed tailpiece) guitars such as the Gibson Les Paul with no permanent modifications to the instrument. Gibson ES137 with Stetsbar mounted The manufacturer now provides mounts to accommodate a variety of guitars.
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As of 2012, Epiphone also produces the ES-335 PRO, ES-339 PRO, ES-345 Stereo, ES-355, and the Lucille. The ES-335 Pro and ES-339 both feature coil-tapped humbuckers, activated by pull-push volume knobs; the ES-355, gold hardware and a Bigsby tremolo, while the ES-345 Stereo has a Bigsby and VariTone control. The Lucille meanwhile, also features a VariTone control and, in keeping with BB King's Gibson signature model, no f-holes and a fine tuning stop bar tailpiece.
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The Bich had a conventional six-string headstock for the six principal strings. The four additional strings are tuned by machine heads positioned in the body, past the tailpiece, with a large angled notch allowing access to the tuners. This radical body shape also countered the common tendency of coursed electric guitars to be head-heavy due to the weight of the extra machine heads. The design was moderately successful, but many players bought it for the body shape alone, and removed the extra strings.
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For side-mount chinrests, the clamp is placed on the bass side of the instrument; center- mount rests are placed so that the chinrest straddles the tailpiece. The latter may be considered a safer installation, as the clamps get support from the bottom block, and there is less chance that overtightening will cause damage. A special pin wrench may be used for easy adjustment of the clamp tension without damaging the rib of the violin. The clamps of some modern chinrests are adjusted with a Torx or small Phillips screwdriver, or with a hex key.
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The chinrest should be placed so it does not touch or buzz against the tailpiece or belly of the instrument. Pressure from the chinrest against the player's skin can result in a common irritation known as "fiddler's neck" or "plague". It can also be caused by bacteria or fungus living on the wood or by an allergic reaction to the metals used in the chinrest. Some players prefer to use a cloth, such as a handkerchief, to cover the chinrest, to avoid this irritation and make playing more comfortable.
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Scroll and pegbox, correctly strung Violins are tuned by turning the pegs in the pegbox under the scroll, or by turning the fine tuner screws at the tailpiece. A violin always has pegs, but fine tuners (also called fine adjusters) are optional to have only one. Fine tuners permit the string tension to be adjusted in very small amounts much more easily than by using the pegs. Most fine tuners work by turning a small metal screw, which moves a lever that is attached to the end of the string.
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Fig. B The Hennessey model bends a string both up and downAnother type of B-Bender is activated by the picking hand, like the Bigsby vibrato tailpiece. Unlike the Parsons/White model, this type does not require any structural modifications to the guitar body and is simply installed with a few screws. Examples are the Bigsby Palm Pedal, the Bowden B Bender (non-defacing to guitar - inventor, Richard Bowden), the Hipshot Palm Lever, and the Duesenberg Guitars Multibender. Each of these can bend multiple strings using different levers.
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The versions with a master tone knob are equipped with DeArmond Dynasonic pickups, which are extremely popular for a classic full-bodied, low frequency tone. Most associated with the sound of guitarist Duane Eddy, Dynasonics are single coil pickups, and have been used on certain Gretsch models since the 1950s. Most models of the guitar come equipped with a Bigsby vibrato tailpiece in conjunction with a rocker bridge. The most famous example of this Duo Jet was played by George Harrison during The Beatles' early days in Hamburg, and on their first few albums.
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Andrew Stockdale briefly dropped the Wolfmother moniker in 2013, before returning to using it later in the year. Stockdale plays Gibson guitars, primarily a 1974 SG standard with a Bigsby vibrato tailpiece in vintage sunburst. He has also been seen using a 1961 Reissue Gibson SG. Other times he uses a Gibson Dot Studio ES-335, a white Gibson Flying V and an alpine white Gibson EDS-1275 with golden hardware. For the recording of the Wolfmother album he used a borrowed Gibson ES-355 through a 1960s Marshall.
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In 1954, the Les Paul Junior debuted, targeted the beginning or student guitarist. The Junior is characterized by its flat-top "slab" mahogany body, finished in sunburst. It had a single P-90 pickup, simple volume and tone controls, an unbound rosewood fingerboard with plain dot-shape position markers, and a combination bridge/tailpiece unit similar to the Goldtop. In 1955, Gibson launched the Les Paul TV model, which was identical to the Junior except for the name and a fashionable contemporary "limed oak" style finish, later more accurately named "limed mahogany".
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Gibson used hundreds of photographs of the late blues guitarist's instrument to produce the limited-edition Bloomfield signature. The company produced one hundred Bloomfield models with custom-aged finishes and two hundred more with the company's VOS finishing in 2009. They reproduced the tailpiece crack on the aged version, plus the mismatched volume and tone control knobs and the "Les Paul"-engraved truss rod cover on both versions, while including a toggle switch cover. The headstock was characterized by the kidney-shaped Grover tuning keys installed on the guitar before Bloomfield traded for it.
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Classical guitar headstock A headstock or peghead is part of a guitar or similar stringed instrument such as a lute, mandolin, banjo, ukulele and others of the lute lineage. The main function of a headstock is to house the pegs or mechanism that holds the strings at the "head" of the instrument. At the "tail" of the instrument the strings are usually held by a tailpiece or bridge. Machine heads on the headstock are commonly used to tune the instrument by adjusting the tension of strings and, consequentially, the pitch of sound they produce.
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Another transitional design is the parlor guitar fitted with a floating bridge and tailpiece. These inexpensive instruments, manufactured by companies such as Stella and Harmony, are associated with early blues musicians. The earliest Gibson designs (L1 to L3) introduced the arched top and increasing body sizes, but still had round or oval sound holes. In 1922, Lloyd Loar was hired by the Gibson Company to redesign their instrument line in an effort to counter flagging sales, and in that same year the Gibson L5 was released to his design.
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While Alligator was in the shop in the summer of 1972, he briefly reverted to the sunburst Stratocaster; this can be seen in Sunshine Daydream. In late 1972, Garcia purchased the first guitar (Eagle) made by Alembic luthier Doug Irwin for $850 (). Enamored of Irwin's talents, he immediately commissioned his own custom instrument. This guitar, nicknamed Wolf for a memorable sticker Garcia added below the tailpiece, was delivered in May 1973 and replaced Alligator on stage in September. It cost $1,500 (), an extremely high price for the era.
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Some jazz guitars have a "floating bridge" which the player can reposition themself for different sounds and tones. In addition to supporting the strings and transmitting their vibrations, the bridge also controls the spacing between strings with shallow grooves cut in the bridge or its saddle. The strings sit in those grooves, thus are held in their proper lateral position. The nut, at the opposite end of the instrument from the bridge or tailpiece (typically where the head holding the tuning pegs joins the fingerboard), serves a similar string-spacing function.
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Some mutes attached to the bridge can be engaged or removed quickly, which is called for in certain modern orchestral works. For example, the popular Tourte and Finissima mutes can be slid along the strings on and off the bridge.: "There are now types of 'attached' mute (attached to the bridge)... where the mute may need to be applied or removed within the short space of a bar's rest." The Bech magnetic mute system, with a magnet to secure the mute to the tailpiece when not in use to prevent rattling, is another such mute.
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There are also wire mutes that can press the strings on the tailpiece side of the bridge, leading to a lessened muting effect. Practice mutes can be used to heavily dampen stringed instruments to make practicing them in hotels or apartments less intrusive. Metal practice mutes, which are often coated in rubber, have a larger effect than rubber mutes. A practice mute limits the player's ability to hear the effect of the techniques they are working on, so players are advised to spend some practice time without the mute.
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The Yamaha SA503 TVL is the signature guitar of Troy Van Leeuwen the former guitarist of A Perfect Circle and current guitarist and multi- instrumentalist of Queens of the Stone Age. The SA503 TVL features a semi- hollow maple body and neck.A vinatge feel on a classic design - SA503 TVL specification The guitar is fitted with a Bigsby vibrato tailpiece and three P-90 pickups controlled by two three-way switches. The neck and bridge pickups are controlled by the rear selector, similar to how the switching system of a Gibson Les Paul.
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Crighton has further-developed his own machine, designated CR700P,CR700P Tbe Bike Retrieved 6 November 2015 with engine chambers enlarged to 700 cc, and using a sealed, pressurised-gas cooling system powered by an external, belt-driven pump circulating the gas through an intercooler mounted in the seat-tailpiece. This allows the engine, designated Rotron RT700,RT700 Rotron engine Retrieved 6 November 2015 echoing the earlier 1990s era when he also used the term Rotron for his semi-works Norton rotary, to produce 200 bhp and remain within safe working temperatures.
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Some players of American styles of folk fiddling (such as bluegrass or old-time) have their bridge's top edge cut to a slightly flatter curve, making techniques such as a "double shuffle" less taxing on the bow arm, as it reduces the range of motion needed for alternating between double stops on different string pairs. Fiddlers who use solid steel core strings may prefer to use a tailpiece with fine tuners on all four strings, instead of the single fine tuner on the E string used by many classical players.
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Devices called "fine-tuners" are sometimes used to assist in the tuning of the instrument; they may either be affixed to the tailpiece or built into its design. Most modern violinists, regardless of what other strings they use, play an E with a solid steel core, which may be overly touchy to tune with the traditional tuning pegs. For convenience in tuning, the added mass of a single fine tuner is a tolerable trade-off. Four fine tuners are advantageous when tuning a set of metal-core strings.
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As was the case with the original Coronet, the hardware and style of the Coronet varied through this short run. Some had six- on-a-side batwing-shaped headstocks, while others had more classic 3-on-a-side Gibson-style headstocks. The short-lived USA Coronet of 1990 had a similar pickup layout and matching electronics except for the addition of a two-octave rosewood fingerboard with rectangular block markers and a reverse droopy Explorer-style headstock. The USA Coronets came with the choice of gold hardware with stop tailpiece or black hardware with licensed Floyd Rose locking tremolo.
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Instead, Bigsby came up with a completely new design to replace it, which evolved into the Bigsby tailpiece that became a world-wide standard for electric guitar vibrato arms. Travis later came up with a rough design for a guitar with a unique headstock that had all of its tuning pegs on one side. Bigsby hand-built the guitar for him, and based on its success, started a small workshop next to his house in Downey, California to build electric guitars. Besides solid-body electric guitars, he also custom-manufactured steel guitars, both lap steel and pedal steel varieties.
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Subsequent studies using recombinant DNA expression systems indicated that hexamer is a major form of mouse IgM, when the IgM is produced under conditions where the incorporation of J chain is prevented, either by producing IgM in cells that lack J chain or by producing IgM with a µ heavy chain that lacks the cysteine in the tailpiece. In summary, hexameric IgM never contains J chain; pentameric IgM can be formed so as to include or not include J chain. An important difference between the µ and γ heavy chains is the availability of cysteines for forming disulfide bonds between heavy chains.
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Indira Gandhi's party was totally routed at the polls. The new Government formed by the Janata Party withdrew the case against the accused who were then set free. There is a tailpiece: after Indira Gandhi returned to power in 1980, reportedly at the instance of her son Sanjay Gandhi, an attempt was made to revive prosecution of the persons accused in the Baroda dynamite case. Viren Shah's Special Assistant at the time (Krishnan Nair, a lawyer) remembers Shah, grim-faced and with cold anger showing, poring over volumes on the Criminal Procedure Code and seeking his help in researching its provisions.
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The SG Special was between the Junior and Standard model and was introduced concurrent with the Junior. It featured two P-90 pickups with either a stoptail bridge or an optional Vibrola. On this mid-level SG model, Gibson kept the neck binding but used dot inlays in place of the trapezoid position markers of the standard model and did not use the crown inlay on the headstock. With various minor changes (bridge and tailpiece replacing the stoptail in 1972, mini humbucker pickups between 1972 and 1976 and full sized open-coil humbuckers thereafter) the model has remained in continuous production.
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Gibson L5S The Gibson L5S is a solid-body electric guitar model produced by the Gibson Guitar Corporation. Introduced in 1972, the Gibson L5S was essentially a smaller, thinner solid-body version of the popular Gibson L-5 hollowbody. Like the L-5, it featured multiple binding on the single-cutaway body, neck, and headstock, and also featured an ebony fingerboard with block inlays. The headstock featured a flower-pot inlay similar to the L-5 archtop and most L5S models featured the L-5 trapeze tailpiece (though some had stop- bar or TP-6 fine-tuning tailpieces).
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The traditional Les Paul Custom was discontinued in 1961 and its name transferred to the custom version of the then-new Gibson SG. In 1968, Gibson reintroduced the Les Paul Custom as a two-pickup-only model. The headstock angle was changed from 17 degrees to 14, and a wider headstock and a maple top (in lieu of the original 1953-1961 mahogany top construction) were added. White and two sunburst finish options were added to the color palette in 1974. Also new in 1974 was the optional TP-6 fine-tuner tailpiece, allowing for micro-adjustment of string tuning from the bridge.
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A single sharp cutaway Les Paul-style walnut body, set walnut neck, 22-fret ebony fingerboard with pearl dot inlays, walnut headstock overlay with gold Gibson logo (1978-1981) or Gibson logo branded into the headstock (Firebrand, 1981-1982), three-per-side tuners, tune-o-matic bridge, stop tailpiece, two exposed humbucker pickups, four knobs (two volume, two tone), three-way pickup switch, chrome hardware, available in Natural Walnut finish, 24.75 in. scale, 1.6875 in. nut width, mfg. 1978-1982. It included such high end items as the Grover tuning keys and the Tune-O-Matic bridge.
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A Baroque violin is a violin set up in the manner of the baroque period of music. The term includes original instruments which have survived unmodified since the Baroque period, as well as later instruments adjusted to the baroque setup, and modern replicas. Baroque violins have become relatively common in recent decades thanks to historically informed performance, with violinists returning to older models of instrument to achieve an authentic sound. Baroque mounted Jacob Stainer violin from 1658 The differences between a Baroque violin and a modern instrument include the size and nature of the neck, fingerboard, bridge, bass bar, and tailpiece.
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The Hardingfele is used for dancing, accompanied by rhythmic loud foot stomping. It was also traditional for the fiddler to lead the bridal procession to the church. The instrument is often highly decorated, with a carved animal (usually a dragon or the Lion of Norway) or a carved woman's head as part of the scroll at the top of the pegbox, extensive mother of pearl inlay on the tailpiece and fingerboard, and black ink decorations called 'rosing' on the body of the instrument. Sometimes pieces of bone are used to decorate the pegs and the edges of the instrument.
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It is less costly and somewhat less fragile (at least regarding its back) than a fully carved bass. The soundpost and bass bar are components of the internal construction. All the parts of a double bass are glued together, except the soundpost, bridge, and tailpiece, which are held in place by string tension (although the soundpost usually remains in place when the instrument's strings are loosened or removed, as long as the bass is kept on its back. Some luthiers recommend changing only one string at a time to reduce the risk of the soundpost falling).
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The cylinder-back is a style of mandolin manufactured by the Vega Company of Boston, MA between 1913 and roughly 1925. The design patent (US patent number D44838) for the instrument was issued on November 4, 1913 to David L. Day, who was director and chief acoustical engineer for the stringed instrument division of the Vega Company. The unique design feature of the cylinder-back instruments (originally referred to as mando-lutes by their manufacturer) is a cylindrical bulge running longitudinally along the back plate, from the tailpiece to the neck heel. This bulge increases the internal volume of the instrument.
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1\. Headstock 1.1 machine heads 1.2 truss rod cover 1.3 string guide 1.4 nut 2\. Neck 2.1 fretboard 2.2 inlay fret markers 2.3 frets 2.4 neck joint 3\. Body 3.1 "neck" pickup 3.2 "bridge" pickup 3.3 saddles 3.4 bridge 3.5 fine tuners and tailpiece assembly 3.6 whammy bar (vibrato arm) 3.7 pickup selector switch 3.8 volume and tone control knobs 3.9 output connector (output jack)(TS) 3.10 strap buttons 4\. Strings 4.1 bass strings 4.2 treble strings Electric guitar design and construction vary greatly in the shape of the body and the configuration of the neck, bridge, and pickups.
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Others works included his ingenious Satire on False Perspective (1754);Paulson, Hogarth's Graphic Works, 3rd edition, no. 232. his satire on canvassing in his Election series (1755–1758; now in Sir John Soane's Museum);Einberg, William Hogarth: A Complete Catalogue of the Paintings, nos. 214–217. his ridicule of the English passion for cockfighting in The Cockpit (1759); his attack on Methodism in Credulity, Superstition, and Fanaticism (1762); his political anti-war satire in The Times, plate I (1762); and his pessimistic view of all things in Tailpiece, or The Bathos (1764).Paulson, Hogarth's Graphic Works, 3rd edition, nos.
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Unusual for Fender at the time, the Coronado's pickups were made by DeArmond; a company whose pickups were more usually found on Gretsch guitars, and the bridge was a free-floating, non anchored, 'tune-o-matic' style bridge, with a suspended tailpiece. Tremolo tailpieces were also available at extra cost from 1966 until the ceasing of the Coronado's production. The wiring harness used in the Fender Coronado line was manufactured by Rowe Industries of Toledo, Ohio and delivered as a completely pre-assembled set. The Coronados all came in cases made by the Victoria Luggage Co, and were made in the USA.
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The construction of a violin Violin and bow. A violin generally consists of a spruce top (the soundboard, also known as the top plate, table, or belly), maple ribs and back, two endblocks, a neck, a bridge, a soundpost, four strings, and various fittings, optionally including a chinrest, which may attach directly over, or to the left of, the tailpiece. A distinctive feature of a violin body is its hourglass-like shape and the arching of its top and back. The hourglass shape comprises two upper bouts, two lower bouts, and two concave C-bouts at the waist, providing clearance for the bow.
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In the finalized version, the drone strings are positioned outside the Bazantar's lowest melody string on a bass bridge, which has been modified to support this configuration. The sympathetic strings are held in a modular graphite housing that is positioned between the feet of the main bridge and mounted at the bottom of the tailpiece and at the base of the neck, underneath the fingerboard. The torque these strings create is contained within this housing. Because none of this torque is transferred to the instrument's body, the stress to its structure is greatly decreased, allowing for increased flexibility throughout the entire design.
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Originally a vignette was a design of vine-leaves and tendrils (vignette = small vine). The term was also used for a small embellishment without border, in what otherwise would have been a blank space, such as that found on a title-page, a headpiece or tailpiece. The use in modern graphic design is derived from book publishing techniques dating back to the Middle Ages Analytical Bibliography (ca. 1450 to 1800) when a vignette referred to an engraved design printed using a copper- plate press, on a page that has already been printed on using a letter press (Printing press).
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Vignettes are sometimes distinguished from other in-text illustrations printed on a copper-plate press by the fact that they do not have a border; such designs usually appear on title-pages only. Woodcuts, which are printed on a letterpress and are also used to separate sections or chapters are identified as a headpiece, tailpiece or printer's ornament, depending on shape and position. Cellphone, Picasa, Photoshop, and other modern software apps and devices possess photo-manipulating functions which have the capability of editing images to create vignettes of varying styles and degrees of size and color.
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The four-line version has four lines each of five syllables with a two- to four-syllable tailpiece, and usually a rhyme from the end syllable of the first line to a mid syllable in the second and third lines, and another from the end syllable of the second line to a mid syllable in the fourth line. Several variants dictate a pattern of tones on certain syllables. The two- and three-line versions are similar. The choice of form for each passage has no obvious guiding principle, except that rai is often used for narrative and khlong for dialogue, but this not a strict division.
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In September 2013 Fender reissued the Starcaster in continuation of its 2011 "Modern Player" series. The new version, offered in black, natural or aged cherryburst, closely resembles the original guitar but lacks some key features including the master volume control, string-through-body bridge, string tree for four strings, bullet truss rod adjuster and three-bolt neck attachment. Unlike the original from the 1970s, the new guitar features a tune-o-matic bridge with a stop tailpiece and bound f-holes. Fender has also released a bass version of the Starcaster, an instrument that was never released, although at least three prototypes were created in the mid 1970s.
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Lead Belly styled himself "King of the Twelve-String Guitar," and despite his use of other instruments like the accordion, the most enduring image of Lead Belly as a performer is wielding his unusually large Stella twelve-string. This guitar had a slightly longer scale length than a standard guitar, increasing the tension on the instrument, which, given the added tension of the six extra strings, meant that a trapeze-style tailpiece helped resist bridge lifting. It had slotted tuners and ladder bracing. Lead Belly played with finger picks much of the time, using a thumb pick to provide walking bass lines described as "tricky" and "inventive" and occasionally to strum.
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The ES-225 was originally introduced in 1955 as the ES-225T, a thinline hollowbody guitar featuring a Florentine cutaway, the Les Paul combined bridge and tailpiece (also used on the Les Paul from 1952–1953 and on the ES-295), a laminated pickguard, and a single P-90 pickup mounted in an unusual position midway between the bridge and the end of the fingerboard. From 1956 the ES-225TD, a twin pickup model with conventional pickup positioning, was also available. Both models had a tobacco sunburst finish, with more expensive natural finish models (ES225TN and ES-225TDN) also available from 1956.Duchossoir A R (1998).
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They were stretched between the yoke and bridge, or to a tailpiece below the bridge. There were two ways of tuning: one was to fasten the strings to pegs that might be turned, while the other was to change the placement of the string on the crossbar; it is likely that both expedients were used simultaneously. Lyre with tortoiseshell body (rhyton, ) Pothos (Desire), restored as Apollo Citharoedus during the Roman era (1st or 2nd century AD, based on a Greek work ); the cithara strings are not extant. According to ancient Greek mythology, the young god Hermes stole a herd of sacred cows from Apollo.
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The 6120 was the first in the line of "Chet Atkins" signature Gretsch Guitars. The prototype for the 6120 was first presented to Chet Atkins in 1954 and was labeled as a Streamliner Special with the serial number 13753. A second prototype was made, adding a vibrato tailpiece and a metal nut. Both prototypes had an unbound headstock, which didn't carry over to the production models of the 6120 when it debuted in 1955. Originally priced at $385, the 6120 was quite expensive compared to models from other companies, such as Gibson's Les Paul Goldtop which retailed at $225 or Fender's Telecaster at $189.50.
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On graduating from the Academy of Music in Kraków in 1958, Penderecki took up a teaching post at the Academy. His early works show the influence of Anton Webern and Pierre Boulez (Penderecki was also influenced by Igor Stravinsky). Penderecki's international recognition began in 1959 at the Warsaw Autumn with the premieres of the works Strophen, Psalms of David, and Emanations, but the piece that truly brought him to international attention was Threnody to the Victims of Hiroshima (see threnody and atomic bombing of Hiroshima), written in 1960 for 52 string instruments. In it, he makes use of extended instrumental techniques (for example, playing behind the bridge, bowing on the tailpiece).
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The Nighthawk's scale length (the distance from the nut to the bridge) is Fender's standard 25½" rather than Gibson's usual 24¾". This important difference, which requires greater tension for a given gauge of strings, makes the guitar feel more like a Fender from a playing perspective and adds to the tonal similarities. The Nighthawk's body is closer in mass to a Fender guitar than a typical Gibson Les Paul, and the string-through-body bridge is similar to that of the Telecaster. Some Nighthawk Customs use a Floyd Rose locking vibrato unit instead of the Gibson Vibrola or Bigsby vibrato tailpiece more commonly found on Gibson guitars.
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When the body is complete, the neck, which is carved out of a separate piece of wood (usually maple), is set in its mortise to complete the basic structure of the instrument, after which it is varnished. Violin taken down, with upright soundpost visible through the sound hole. Vital to the sound and playability of the instrument is setup, which includes adjusting the neck angle if needed, fitting the pegs so they turn smoothly and hold firmly, dressing the fingerboard to the proper scooped shape, fitting the soundpost and bridge, adjusting the tailgut and installing the tailpiece, and stringing up. A removable chinrest may be put on at this time.
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The tailpiece may be wood, metal, carbon fiber, or plastic, and anchors the strings to the lower bout of the violin by means of the tailgut, nowadays most often a loop of stout nylon monofilament that rides over the saddle (a block of ebony set into the edge of the top) and goes around the endpin. The endpin fits into a tapered hole in the bottom block. Most often the material of the endpin is chosen to match the other fittings, for example, ebony, rosewood or boxwood. Very often the E string will have a fine tuning lever worked by a small screw turned by the fingers.
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Fine tuners may also be applied to the other strings and are sometimes built into the tailpiece. Fine tuners are usually used with solid metal or composite strings that may be difficult to tune with pegs alone; they are not used with gut strings, which have greater flexibility and don't respond adequately to the very small changes in tension of fine tuners. Some violinists, particularly beginners or those who favor metal strings, use fine tuners on all four strings. Using a fine tuner on the E string or built-in fine tuners limits the extent to which their added mass affects the sound of the instrument.
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Coiled strings, used and new Violins have four strings, usually tuned to G, D, A, and E. The strings run from a tailpiece attached to the base, across a wooden bridge, continue towards the neck of the instrument running parallel to the fingerboard, and connect to the pegbox located at the very top of the violin. They are wound around four tuning pegs that are mounted sideways through holes in the pegbox. The bridge helps to hold the strings in place, while the pegs maintain the tension necessary to produce vibration. Strings were first made of sheep's intestines (called "catgut"), stretched, dried and twisted.
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They are also much less sensitive to changes in humidity than gut strings, and less sensitive to changes in temperature than all-metal strings. Solid-core metal strings are stiff when newly replaced and tend to go out of tune quickly. While some gut strings still use a knot to secure the tail end in the slot of the tailpiece, most modern strings use a "ball", a small bead often made of bronze. A frequent exception is the E string, which may be had with either a ball or loop end, since the smallest E-string fine tuners hold the tail of the string on a single small hook.
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Sales must have been good because in 1997 yet another PS was offered in the catalog - this was sold as the PS10-CL (or Classic). The biggest difference between them is that the PS10-II was made in Korean factories and the LTD and Classic were Japanese made and also had all the same features of the original 1978 model (like the Gibraltar bridge and Quick Change tailpiece). Although the catalog shows the PS10-II with "Paul Stanley" inlaid at the 21 fret, most were not produced this way. Apparently there was a problem with the inserts at the Korean factory and it was decided not to use them.
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It also had a standard glued-in ("set") neck rather than neck-through construction, as well as other, less noticeable changes in design and build. Pickup and tailpiece configuration for the V and VII were the same as the earlier "reverse" models, although the I- and III-models were now shipped with two or three P-90 pickups and plain vibratos. After a few years of disappointing sales, the "non- reverse" line was dropped. "Reverse" body Firebirds were first reissued in 1972, with a commemorative "Bicentennial" model released in 1976 which was made available in a variety of finishes including black, vintage white, natural, and the traditional sunburst.
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This unusual stringing was said to obtain the brightness of the twelve-string guitar, while allowing higher levels of distortion before the sound became muddy. The Bich had a conventional six-string headstock for the principal strings, with the four extra strings tuned by machine heads positioned in the body, past the tailpiece, with a large angled notch allowing access to the tuners. This radical body shape also countered the common tendency of coursed electric guitars to be head-heavy due to the weight of the extra machine heads. The design was moderately successful, but many players bought it for the body shape alone, and removed the extra strings.
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Non-locking (or vintage) tremolos are the bridges found on guitars manufactured prior to the advent of the Floyd Rose locking tremolo in the late 1970s and many (typically cheaper) guitars manufactured thereafter. For many playing styles, vintage tremolos are a good choice because they are easy to use and maintain and have very few parts. Some people feel that they can also provide a better degree of sound transfer, especially with tailpiece type tremolos such as the Bigsby lever used on vintage instruments. However, the "Synchronized Tremolo" type found on the Fender Stratocaster is balanced against a set of screws in much the same manner as a locking tremolo.
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Variations of Melody Maker: Double Cutaway (×2), 1965 Epiphone Olympic Special (asymmetrical small body, with short vibrola, and Double Cutaway (symmetrical small body with pointed horns, two pickups) The Gibson Melody Maker was first launched in 1959 and discontinued in 1971. It had a thin slab-style mahogany body and a one- piece mahogany neck. All the electronics, from the small single-coil pickups to the cable jack, were assembled on the pickguard and installed in a rout in the front of the body. The strings ran from a straight-sided simplification of the traditional Gibson headstock at one end to a wraparound bridge/tailpiece unit at the other.
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Gibson re-introduced the Ripper in 2009 as the "Ripper II", with slightly different specs from the initial 1973–1983 run. The reissue features a brass nut, unlike the original which was a composite material, it features a wrap-around tailpiece as opposed to a string-through-body design, and the Super Humbuckers were wired differently. The 2009 Rippers feature two volume knobs, and one master tone, and a six-position selector switch for choosing between different pickup configurations . Original Rippers had one master volume, a mid-range notch filter (captor/inductor), and a treble roll-off knob, and a 4-position selector switch.
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The Rickenbacker 360 is an electric, semi-acoustic guitar made by Rickenbacker, and part of the Rickenbacker 300 Series. The instrument incorporates many features standard on Rickenbacker guitars, including a three-ply maple/walnut neck, shallow headstock angle, a thick rosewood fretboard finished with clear conversion varnish, and double truss rods. The 360 also features stereo or mono output, a body with Rickenbacker's "crescent moon" cutaway shape and rounded top edge and bound back, and an "R"-shaped trapeze tailpiece. A twelve-string version of the 360 (Rickenbacker 360/12) is available. A three-pickup version of this model is also available, the 370.
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As the company's new high-end guitar, Gretsch marketed it as "the finest guitar we know how to make - and what a beauty!" The White Falcon originally cost $600 (about $4,100, adjusted for inflation); this price was second only to the $690 price of Gibson's Super 400CESN. Throughout the 1950s and 1960s, Gretsch tweaked the Falcon. The block inlays on the ebony fretboard were replaced with half-moon shaped inlays in 1957, the original single-coil DeArmond Dynasonic pickups were replaced with Filter'Tron humbuckers in 1958, and that same year the Melita bridge was replaced with a Space Control bridge -- the Bigsby vibrato tailpiece was standard starting in 1962.
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As with the violins of the period, many of these examples feature fretted fingerboard. The smaller 14-inch tenor violins were of an unusual wide bodied shape and fitted with a very short tail piece to increase the string length sufficiently, thereby dropping the pitch down by an octave. Sometimes no tailpiece was fitted at all but the strings attached to a brass plate fastened to the front ribs. Improvements in string technology in the 18th century led to greater focus of sound coming from the viola and cello ranges leading to a diminished role for tenor violins and violin makers constructed fewer of these instruments.
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Brown uses a Hamm-tone Rail-car electric guitar, built from an old C.P. Rail car floor board and a neck from black walnut that was struck down by lightning in 1978, it is equipped with Filtertron pickups and a proprietary secondary pickup which can double as a bass guitar. He also uses frankenstein telecaster he fashioned together himself using choice parts, a Taylor acoustic guitar and a Hofner hollowbody electric. One other guitar he uses is a personal signature edition of the "Legend" solid-body electric guitar by Vanquish Guitars. The guitar features two P90 Humbucker-sized pickups and a combination of Tune-o-matic bridge and Stop-Tailpiece.
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The instrument incorporates many features standard on Rickenbacker guitars, including a three-ply maple/walnut neck, a shallow headstock angle, and a thick rosewood fretboard finished with clear conversion varnish. The 330 also features a body with Rickenbacker's "crescent moon" double-cutaway shape with sharp, unbound edges, and an "R"-shaped trapeze tailpiece. One idiosyncrasy of the guitar is its dual truss rods, which allow for the correction of problematic and unwanted twists, as well as curvature, of the guitar's neck. The 330 is equipped with a monaural jack plate, lacking the Rick-O-Sound stereo functionality of other Rickenbacker models such as the Rickenbacker 360.
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Pure Energy and Neurotic Man (1940) In her continuing quest to do more with photography, Morgan “began to feel the pervasive, vibratory character of light energy as a partner of the physical and spiritual energy of the dance, and as the prime mover of the photographic process. “Suddenly, I decided to pay my respects to light, and create a rhythmical light design for the book tailpiece.”Morgan (1964), 25 She created gestural light drawings with an open shuttered camera in her darkened studio. Although photomontage was enthusiastically practiced in Europe and Latin America in the 1930s and 40s, it was still alien to American photography and widely disparaged.
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The Epiphone Goth Thunderbird is similar to the Epiphone Thunderbird IV. However, it has a mahogany body, a Celtic Cross symbol on the pickguard, and is finished in a 'Pitch Black' non-gloss flat finish. The Epiphone Nikki Sixx Blackbird is similar to the Epiphone Goth Thunderbird in build and appearance. However, in addition to the mahogany body, it has a slim profile mahogany neck, the fretboard is inlaid with white Iron Cross fret markers, the Thunderbird logo is overlaid on an Iron Cross for the symbol on the pickguard. It also features "Deep Sixx Humbucker Pickups", an "Opti-Grab™" handle on the tailpiece and an on/off switch instead of traditional volume/tone controls.
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The Höfner 500 is a hollow-body instrument, though lacking soundholes, and is as such commonly referred to as a semi-hollow guitar. It is built using a fairly traditional style, similar to that of an acoustic guitar. It commonly features a thin maple body, a spruce top and a maple neck. The fretboard is traditionally made of rosewood, though more contemporary models have utilized other, similar tonewoods. The Höfner 500 features a two-piece bridge system, consisting of an adjustable ebony bridge, and a metal tailpiece. The Höfner 500 is also notable for its distinctive control layout, featuring two rotary knobs, as well as three sliding knobs, controlling tone and pickup selection.
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The new Les Paul guitar was to be an expensive, well-made instrument in accordance with Gibson's reputation at the time, and distinct from growing rival guitar manufacturer Fender's models. McCarty approached Les Paul for the right to imprint the musician's name on the headstock with the intention of increasing sales; in 1951, Gibson presented Paul a nearly finished instrument for approval. McCarty stated that design discussions with Les Paul were limited to the tailpiece and the fitting of a maple cap over the mahogany body for increased density and sustain, which Les Paul had requested reversed. However, this reversal would have caused the guitar to become too heavy, and Paul's request was refused.
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The 1952 Les Paul featured a mahogany body with a one-inch-thick maple cap, a mahogany neck with a rosewood fretboard, two P-90 single coil pickups, and a one-piece, 'trapeze'-style bridge/tailpiece with strings fitted under (instead of over) a steel stop-bar.In the summer of 1952, Gibson Les Paul Goldtop was priced at US$209. The guitar made its public debut when Paul used it onstage in June 1952 at the Paramount theatre in New York. On July 24, 1952, at a special musicians clinic at the Waldorf-Astoria hotel, it was previewed by prominent guitarists such as Tiger Haynes, George Barnes, Mundell Lowe, Tony Mottola, and Billy Mure.
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That same year, Alvino Rey worked with a machinist to design pedals to change the pitch of strings but was without success. The Harlan Brothers of Indianapolis created the "Multi-Kord" with a universal pedal that could fairly easily be configured to adjust the pitch of any or all strings, but was extremely hard to push when tensioning all strings at once. Gibson Guitar Company introduced the "Electraharp" in 1940, which featured pedals radially oriented from a single axis at the instrument's left rear leg.Bigsby steel The most successful pedal system from the various contenders was designed about 1948 by Paul Bigsby, a motorcycle shop foreman and racer who also invented the commercially successful Spanish guitar vibrato tailpiece.
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On a cello, the strings are attached to the tailpiece and are held above the soundboard by the bridge. A bridge is a device that supports the strings on a stringed musical instrument and transmits the vibration of those strings to another structural component of the instrument—typically a soundboard, such as the top of a guitar or violin—which transfers the sound to the surrounding air. Depending on the instrument, the bridge may be made of carved wood (violin family instruments, acoustic guitars and some jazz guitars), metal (electric guitars such as the Fender Telecaster) or other materials. The bridge supports the strings and holds them over the body of the instrument under tension.
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The proximal causes of fiddler's neck are friction and pressure, but both repetitive shearing stress and occlusion with consequent trapping of sweat give rise to progressive damage. This damage along with poor hygiene predisposes the area to local infection, and such infection can progress to scarring and other long-term effects. Hot weather is reported to exacerbate fiddler's neck, as are tiredness, playing emotional music, and playing in smaller groups where individual stress is higher. Type I hypersensitivity reactions may also be involved, particularly to rosewood and ebony in the chinrest and tailpiece, as well as to varnish of the instrument body when chinrests are not used and to rosin deposits on the instrument and on chin cloths.
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The Gibson Reverse Flying V was first released as part of Gibson's Guitar of the Week promotion in 2007. It was released as Guitar of the week (week 29) with a Limited run of only 400. To achieve the "reverse" style, the body of the guitar is rotated 180 degrees relative to the original Flying V. It features a single color, a vivid Trans Amber finish with gold-plated hardware, and a string-through tailpiece. The guitar features a solid Mahogany body and neck, rosewood fretboard, a pair of hand-wound '57 Classic pickups, and a single volume knob. The headstock was borrowed from the 1958 Gibson Futura/Explorer patent dated January 7, 1958.
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Throughout the 1980s Morse was using a custom "frankentele" guitar, made up of a Tele body with a Strat neck, a Gibson trapeze-style tailpiece (coming from a twelve string guitar) and four pickups in HSSH configuration. At one time, the guitar had a fifth pickup, a hexaphonic pickup with a separate output for each string; it provided the signal to drive a 360 Systems Spectre guitar synthesizer. Morse worked with Music Man Guitars to create two signature models: a modernized version of Morse's first "Frankenstein Telecaster" guitar (Steve Morse Signature), and the Steve Morse SM Y-2D, is an updated version with quilted maple top. Steve Morse playing with Flying Colors, 013, Tilburg, Netherlands (2012).
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The Guild models of the early 1990s featured three major configurations. Of the three, the "Signature" model was closest to May's guitar, although it was made of mahogany (body and neck) and ebony (fingerboard) and sported Trisonic-styled "Brian May" pick-ups made by Seymour Duncan and hardware (including the unique bridge) from Schaller. The "Special" model featured a stop-tailpiece rather than a vibrato, the middle pick-up was moved back next to the bridge pick-up for a humbucking look, and the back of the guitar had no binding. The "Standard" model featured a more common Strat- style 5-way pick-up selector switch, a longer scale neck, and a deeper headstock angle.
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184 Chevalier identifies that this poem had two further suppressed stanzas, perhaps indicating that Welch harboured even bigger ambitions for it, already exceeding in length as it does any of his other surviving poetry. A final, incomplete stanza reads: > (And) I was left forever to watch the stones > To feel the turning of the bones > Under [...] > Oh all was wasted, all was gone.Welch (1976), p.56n42 Dumb Instrument is illustrated with a number of Welch's 'decorations' taken from his poetry notebooks, including the cover from the notebook dated 1943 (frontispiece) and an unidentified full-page illustration as a tailpiece bearing the legend 'The End' surrounded by familiar, if bleakly rendered, Welch motifs (shells, shrouded figures, mythical beasts).
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Other models based on the 335 include the ES-333, the ES-340 (the toggle switch has settings of the pickups in-phase, pickups out-of-phase and standby), the ES-347 (includes a coil tap, block markers on an ebony fretboard, fine tuning tailpiece and, on earlier models, a brass nut, and a greater sustain block), the ES-339, essentially a 335 with the body reduced to Les Paul size; and the Gibson Les Paul signature bass. Although the ES-330 resembles the 335, it is actually fully hollow (as opposed to semi-hollow) and features two P-90 pickups (as opposed to 2 humbucking pickups), and it was designed as the successor to the Gibson ES-225.
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Model numbers were similar to the amplifiers of the time, with the K-200 being a semi-hollow body instrument with a cats-eye sound hole giving it a somewhat Rickenbacker-style look. It was equipped with two single coil DeArmond pickups, a bound neck, a steel nut, and a rosewood fretboard with multiple dot inlays beginning with four for each position marker below the 12th fret. The guitars came in different colors including natural, white, blue, wineburst aka watermelon burst, cherry-orange sunburst, natural ash, black ash and white ash, and were produced with or without a Bigsby tailpiece. According to Doyle at the 1967 NAMM show in Chicago orders came flooding in which made it hard to meet the demand.
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R. Eskenazi, A. Tomboulis (Athens, 1930) Its pear-shaped body, elliptical pegbox and neck are fashioned from a single piece of wood. Its sound-board has two D-shaped soundholes of some 4x3 cm, approximately 25 mm apart, the rounded side facing outwards. The bridge is placed between, one side resting on the face of the instrument and the other on the sound post. A small hole 3–4 mm in diameter is bored in the back, directly below the bridge, and a ‘back channel’ (‘sırt oluğu’) begins from a triangular raised area (‘mihrap’) which is an extension of the neck, widens in the middle, and ends in a point near the tailpiece (“kuyruk takozu”) to which the gut or metal strings are attached.
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Most famously, in 1948 he built the custom, triple-neck four- pedal model played by Speedy West, one of the first such pedal steel guitars to be used in country music. Bigsby hand-built all of his own instruments, down to hand-wiring his own pickups, though the demand for his custom guitars as well as his popular vibrato tailpiece often meant that there was a waiting list in excess of two years for his guitars. In declining health, and unable to meet demand, he sold the company to Ted McCarty in 1966.Company history on Bigsby website Bigsby kept very poor records of his work, so the company's output of custom guitars under Paul Bigsby's ownership is mostly speculation.
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Modern cellos have an endpin at the bottom to support the instrument (and transmit some of the sound through the floor), while Baroque cellos are held only by the calves of the player. Modern bows curve in and are held at the frog; Baroque bows curve out and are held closer to the bow's point of balance. Modern strings normally have a metal core, although some use a synthetic core; Baroque strings are made of gut, with the G and C strings wire-wound. Modern cellos often have fine-tuners connecting the strings to the tailpiece, which make it much easier to tune the instrument, but such pins are rendered ineffective by the flexibility of the gut strings used on Baroque cellos.
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Crocker later sold out to a company named Borg Warner. Al Crocker died in 1961. Designer of many of the components, Paul Bigsby, went on to fame as a designer of guitars and particularly of the Bigsby vibrato tailpiece. Crockers are among the most expensive motorcycles. At the MidAmerica Auctions motorcycle auction in January 2007 in Las Vegas, a 1941 Crocker big tank motorcycle sold for $230,000. At the Gooding & Co. auction in 2006 in Chandler, a 1931 Crocker 61 sold for $236,500. At the Bonhams & Butterfield 2006 auction in New York, a 1937 Crocker "Hemi-head" V-Twin brought $276,500. At the 2006 auction of Bator International in California, a 1939 Crocker 61 cubic-inch side valve model sold for $200,000.
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The free end of the dog (called the hammer) rests on the soundboard of the hurdy-gurdy and is more or less free to vibrate. When the wheel is turned regularly and not too fast the pressure on the string (called the trompette on French instruments) holds the bridge in place, sounding a drone. When the crank is struck, the hammer lifts up suddenly and vibrates against the soundboard, producing a characteristic rhythmic buzz that is used as an articulation or to provide percussive effect, especially in dance pieces. On French-style instruments, the sensitivity of the buzzing bridge can be altered by turning a peg called a tirant in the tailpiece of the instrument that is connected by a wire or thread to the trompette.
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The original Robot guitar also featured headstock and neck binding which are not standard on any current Les Paul Robot as well as a chrome truss rod cover with "Robot Guitar" engraved. The production version featured 22-fret rosewood-bound (standard finishes) or white-bound (metallic finishes) ebony fingerboard with figured acrylic trapezoid inlays, white-bound headstock with MOP Gibson logo and flowerpot inlay (metallic finishes) or unbound headstock with screened logo (standard finishes), three-per-side robotic Powerhead Locking tuners, tune-o-matic Powertune bridge, Powertune stop tailpiece, two chrome covered humbucker pickups (490R, 498T), four knobs (three normal, and one Master Control Knob that controls the robotic actions of the guitar), three-way pickup switch, Neutrik jack on side of guitar, chrome hardware.
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The very un-Fender like instrument was designed by Roger Rossmeisl, who had previously also designed instruments for Rickenbacker, but who went on to create numerous models for Fender, in an attempt to capitalize on the increasing popularity of semi-acoustic guitars following the high-profile use of hollow-bodied instruments, such as the Epiphone Casino by bands such as The Beatles. During Rossmeisl's time designing for Fender, he also designed the Fender Montego, a "jazz box" style guitar which shares the Coronado's fixed F tailpiece, and the 1967 Fender Wildwood which shares the Stratocaster headstock. Three versions of the Coronado guitar were produced from 1966 through 1972. The Fender Coronado I, discontinued in 1970, was the original single pickup design.
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Some models (ES 347,ES 369) feature a coil split switch, which allows the humbuckers to produce a "single- coil" sound. The ES-335 Pro, ES-335TD CRS and CRR models were equipped with Gibson "Dirty Fingers" humbuckers, which had a significantly higher output than the standard pickups. The company has produced a number of signature guitars as well, such as Trini Lopez-inspired model (1964–1970) with narrow diamond-shaped soundholes replacing the f-holes, a Firebird-style headstock with all the tuners on one side, and slashed-diamond inlays. In September 2007, Gibson introduced the DG-335, designed in collaboration with Dave Grohl, a variation on the Trini Lopez Gibson; the Grohl model has a stopbar tailpiece and Gibson's new Burstbucker humbuckers.
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The Paul Standard had a single sharp cutaway Les Paul-style walnut body, set walnut neck, 22-fret ebony fingerboard with pearl dot inlays, walnut headstock with gold Gibson logo (1978-1981), three-per-side tuners, tune-o-matic bridge, stop tailpiece, two exposed humbucker pickups, four knobs (two volume, two tone), three-way pickup switch, chrome hardware, available in Natural Walnut finish, 24.75 in. scale, 1.6875 in. nut width, mfg. 1978-1982. It included such high end items as the Grover tuning keys and the Tune-O-Matic bridge. The Paul Deluxe (Firebrand) is similar to The Paul Standard, except it has a mahogany body and three-piece mahogany neck, available in Antique Natural, Ebony (1985–86), Natural Mahogany, or Wine Red (1985–86) finish, mfg. 1980-86.
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Turning the key in one direction tightens the string (thus raising its pitch); turning the key the opposite direction reduces the tension on the string (thus lowering its pitch). While this development makes fine tuners on the tailpiece (important for violin, viola and cello players, as their instruments use friction pegs for major pitch adjustments) unnecessary, a very small number of bassists use them nevertheless. One rationale for using fine tuners on bass is that for instruments with the low C extension, the pulley system for the long string may not effectively transfer turns of the key into changes of string tension/pitch. At the base of the double bass is a metal rod with a spiked or rubberized end called the endpin, which rests on the floor.
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John Birch added Di Marzio Super Distortion Humbuckers, an out-of-phase switch, Gibson TP-6 fine tuning tailpiece, a flash metal scratch plate and refinished it to a dark sunburst colour. This guitar appears on Nazareth's albums Playin' the Game (1976) and Expect No Mercy (1977) and can be heard on the recordings of "Kentucky Fried Blues", "Down Home Girl" and "Flying". It was used on many Nazareth tours in the late 1970s and was in Manny Charlton's possession until April 2015, when it was sold to a private collector. John Birch also customised another Gibson guitar that Manny Charlton used to favour in the 1970s. This was a Gibson Les Paul that started out life as a '50s Gold Top before Manny bought in the states around 75-76.
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Closeup of a violin tailpiece, with a fleur-de-lis Front and back views of violin bridge Sound post seen through f-hole The bridge is a precisely cut piece of maple that forms the lower anchor point of the vibrating length of the strings and transmits the vibration of the strings to the body of the instrument. Its top curve holds the strings at the proper height from the fingerboard in an arc, allowing each to be sounded separately by the bow. The sound post, or soul post, fits precisely inside the instrument between the back and top, at a carefully chosen spot near the treble foot of the bridge, which it helps support. It also influences the modes of vibration of the top and the back of the instrument.
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Those specialists maintain that the zither is distinguished by strings spread across all or most of its soundboard, or the top surface of its sound-chest, also called soundbox or resonator, as opposed to the lyre, whose strings emanate from a more or less common point off the soundboard, such as a tailpiece. Examples of that difference include a piano (a keyed zither) and a violin (referred to by some as a species of fingerboard lyre). Some specialists even argue that instruments such as the violin and guitar belong to a class apart from the lyre because they have no yokes or uprights surmounting their resonators as "true" lyres have. This group they usually refer to as the lute class, after the instrument of that name, and include within it the guitar, the violin, the banjo, and similar stringed instruments with fingerboards.
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His right hand playing technique is based on a flat pick in conjunction with fingerpicks on his middle and ring fingers, using his little finger to work the vibrato bar. In his short time as lead guitarist in Blue Caps he played a 1954 (Vintage Guitar Magazine June 2017) Gretsch 6128 (Duo-Jet) probably fitted up with two DeArmond dynasonic single coil pick-ups, an aluminum bridge, not a Melita bridge as previously thought, and a Bigsby vibrato tailpiece. For amplifiers he used a Standel 25L15 (26-Watts tube amp with a single 15-inch speaker) for studio works and a Fender tweed for the remainder. According to one source, Gallup's trademark sound was produced by echo units he constructed himself from old tape recorder parts, but according to another source it was created in the studio by Nelson.
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After finishing the first CSN&Y; LP, and due to constant issues with hum from the (notorious) DeArmond single coil, Neil pulled it and left it at a guitar repair shop to hopefully resolve the grounding issue while substituting a Gretsch Filter-tron for a short time. The guitar shop folded and the DeArmond disappeared with the owner. By 1972-73 he had switched to a '62 Firebird pickup, exchanged the Grover tuners for Schaller M6 tuners, the B-3 tailpiece for a B-7 and installed a mini-circuit switch to by-pass the on-board electronics. Eventually he had additional work done necessitating the addition of another aluminum back mounted cover plate and a maple inlay was added to the back of the neck running all the way to the end of the body.
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There were other German violin makers of the same period as Johann Heinl who continued to produce old German baroque instruments for the musician who especially wanted a traditional German violin. One interesting type of old German pattern made by Grunwald has the body similar in size to the modern violin but with the fingerboard an inch and a half longer than today's standard. This change in fingerboard length allowing for the instrument to be strung as a violin with the strings tuning to GDAE or as a viola causing the strings to tune to CGDA or a shorter tailpiece would be fitted to enable tuning to GDAE in the cello octave and be played as a medium size tenor violin. Frets were often fitted and could be easily removed and refitted according to the preference of the player.
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Old six-string zither banjo The six-string banjo began as a British innovation by William Temlet, one of England's earliest banjo makers. He opened a shop in London in 1846, and sold banjos which he marketed as "zither" banjos from his 1869 patent. A zither banjo usually has a closed back and sides with the drum body and skin tensioning system suspended inside the wooden rim, the neck and string tailpiece mounted on the outside of the rim, and the drone string led through a tube in the neck so that the tuning peg can be mounted on the head. They were often made by builders who used guitar tuners that came in banks of three, so five-stringed instruments had a redundant tuner; these banjos could be somewhat easily converted over to a six-string banjo.
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The Dot has a semi-hollow body made of laminated maple. Two hollow "wings" with f-holesEpiphone Dot review , Which Electric Guitar, retrieved 16 July 2015 sit on either side of a solid block of mahoganyThe Epiphone Dot and Sheraton-II, Epiphone, 10 January 2013 or mapleEpiphone Dot - Ebony , Gig Gear, retrieved 16 July 2015 on which the pickups, bridge and tailpiece are mounted, which makes it less prone to feedback than a fully hollow-bodied guitar. It has a glued-in neck of mahoganyArt Thompson, Epiphone Dot Guitar, Guitar Player magazine, February 2000 (before 2008, maple) and a rosewood fingerboard.Epiphone Dot Archtop Review: A Player’s Take on a Vintage Axe, Guitar Adventures, retrieved 16 July 2015 The name "Dot" is in reference to its fretboard markers, which are simple dots, unlike other Epiphone archtop guitars such as the Casino or the Sheraton, which have more elaborate block inlays.
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Chinrest on a violin A chinrest is a shaped piece of wood (or plastic) attached to the body of a violin or a viola to aid in the positioning of the player's jaw or chin on the instrument. The chinrest may be made of ebony, rosewood, boxwood, or plastic. It was invented by Louis Spohr in the early 19th century, about 1820; historically, this has been explained as a response to increasingly difficult repertoire which demanded freer left hand techniques than had previously been used; however, Spohr intended his small block attached to the bout to protect the tailpiece, which he reportedly broke with his vigorous playing. However, after being promoted by prominent violinists of the day, such as Pierre Baillot and Giovanni Battista Viotti, it gained quick acceptance among most violists & violinists and is today considered a standard part of the viola and violin.
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A 19th century kissar in the Kunsthistorisches Museum in Vienna Man playing kissar in Egypt The kissar (also spelled kissir), Tanbour or Gytarah barbaryeh, the ancient Nubian lyre, still in use in Egypt, Sudan and Abyssinia. It consists of a body having instead of the traditional tortoise- shell back, a shallow, round bowl of wood, covered with a soundboard of sheepskin, in which are three small round sound-holes. The arms, set through the soundboard at points distant about the third of the diameter from the circumference, have the familiar fan shape. Five gut strings, knotted round the bar and raised from the soundboard by means of a bridge tailpiece similar to that in use on the modern guitar, are plucked by means of a plectrum by the right hand for the melody, while the left hand sometimes twangs some of the strings as a soft drone accompaniment.
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1968, Clapton gave the guitar to George Harrison, who subsequently 'loaned' it to British singer Jackie Lomax. In 1972, after meeting at a recording session, Lomax sold the guitar to Rundgren for $500 with an option to buy it back, which he never took up. Rundgren played it extensively during the early years of Utopia before retiring the instrument for a short time in the mid to late 1970s, which in that time he had the guitar restored having a lacquer finish applied to protect the paint and replaced the tailpiece and bridge to stabilize tuning, bringing the guitar back out on tour during the 1980 Deface the Music tour and using it on and off throughout the 1980s until 1993 when he permanently retired the guitar, eventually auctioning it off in 1999; he now uses a reproduction given to him in 1988 by a Japanese fan.
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The Robot Les Paul Studio Limited was an upgraded studio with Powertune auto- tuning system. A Limited Edition finish Blue Silverburst was initially released in late 2007 with chrome truss rod cover with "Robot Guitar" engraved (late 2007 only). The production version (v2, 2008-2011) featured a chambered mahogany body, maple top, set mahogany neck, 22-fret rosewood-bound (standard finishes) or white-bound (metallic finishes) ebony fingerboard with figured acrylic trapezoid inlays, white-bound headstock with MOP Gibson logo and flowerpot inlay (metallic finishes) or unbound headstock with screened logo (standard finishes), three-per-side robotic Powerhead Locking tuners, tune-o- matic Powertune bridge, Powertune stop tailpiece, two chrome covered humbucker pickups (490R, 498T), four knobs (three normal, and one Master Control Knob that controls the robotic actions of the guitar), three-way pickup switch, Neutrik jack on side of guitar, chrome hardware. It was available in standard finishes: Ebony, Desertburst, Fireburst, Manhattan Midnight, Wine Red, and metallic finishes: Green Metallic, Purple Metallic, Red Metallic.
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Bigsby B50 Tremolo Hardware The Bigsby vibrato tailpiece (or Bigsby for short) is a type of mechanical vibrato device for electric guitar designed by Paul Bigsby and produced by the Bigsby Electric Guitar Company (currently an independently operated subsidiary of Fender Musical Instruments Corporation). The device allows musicians to bend the pitch of notes or entire chords with their pick hand for various effects. The Bigsby was the first successful design of what is now called a whammy bar, vibrato bar, or tremolo arm, the latter a misnomer since vibrato is the technically correct term for the musical effect it produces (tremolo is a rapid fluctuation of the volume of a note, while vibrato is a fluctuation in pitch). The origin of this nonstandard usage of the term by electric guitarists is attributed to Leo Fender, who also used the term "tremolo" to refer to what is really a vibrato effect (see vibrato unit).
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Old Black has also been fitted with a range of hardware over the years including; Chromed brass truss cover, pickguard, Grover C-102 machines, Schaller M6 machines, a Bigsby B-3 and B-7, a 'shaved' Gibson ABR-1 'tune-o-matic' bridge, mini-toggle by-pass switch in the front of the guitar dead center of the original control knobs. (allowing bypass of the on-board controls, sending the signal directly into the amp.) and a non-1953 issue stop bar tailpiece that was removed with the installation of the B-3. Additional modifications: the addition of a Firebird pickup in the bridge position replacing (in order of succession; the original factory P-90, Rowe DeArmond M5-A and Gretsch Filter-tron), a chromed brass truss rod cover, a pair of strap-lock knobs. Old Black is rarely seen without Young's famous Ace cloth guitar strap which has also seen repair, maintenance and modifications over the years.
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For the 1974 model only, casting limitations mandated left and right bumper covers with a vertical center seam. The anti-theft alarm key activator was moved from the rear panel to the front left fender. Tailpipes were now turned down as the new bumper cover eliminated the tailpipe extensions. Car and Driver magazine said: "...We think the front and rear together produce a 'molded' shape that speaks of function rather than decor." Chevrolet commented on the new tailpiece in the '74 Corvette sales brochure: “Take the styling. We wouldn’t just change it for the sake of change. But when we made the rear bumper stronger, we made Corvette’s rear styling look different. And, we think better...”1974 Chevrolet Corvette sales brochure A 1974 Stingray equipped with the L48 small-block was capable of 0-60 mph in 6.8 seconds; comparable to the 6.5 second time of the 1968 small-block rated at ; proof the 1972-74 Corvette engines had ample power regardless of reduced horsepower and net (bhp) ratings.
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Equipped with double coils, the new pickup boasted greater output and less hum, although with less high end response. This new pickup, occasionally named PAF, very quickly took over as the preferred choice for all Gibson models, relegating the P-90 to budget models such as the ES-330, the Les Paul Junior and Special, and the SG Junior and Special, such as those used by Pete Townshend and Carlos Santana. This trend continued throughout the 1960s and particularly in the early 1970s, where the P-90 all but disappeared from the entire Gibson range. By the 1970s, smaller single-coil pickups, mini-humbucking pickups, and uncovered humbucking pickups began replacing the P-90 pickups on Gibson's budget and lower-end models. In 1968, Gibson reissued the original, single-cutaway Les Paul, one version being a Goldtop with P-90 pickups. In 1972, they produced Limited Edition reissues, called the "58 Reissue" though actually based on the 54 Goldtop Les Paul, with a stopbar tailpiece; and the 54 Custom, the "Black Beauty," equipped with a P-90 in the bridge and an Alnico 5 pickup at the neck.
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This layering was known at Gibson as the "Sandwich" and the sculpted body gave the layering a 3D effect. Knobs were moved off the pickguard, and a Pearl Gibson logo was inlaid into the black headstock, along with gold Gibson Tuners. Two solid brass 5/8 studs known as the "Sustain Sisters" were fitted into the body to anchor the "Tune-o-matic" Bridge along with a brass nut and brass "V" shaped tailpiece. Gibson felt this would provide the sustain and brilliance they wanted for the new V2. The 1979 through 1981 models used the "boomerang" humbucker pickups that were designed to sound like single coils with lower noise. Beginning in 1982, the pickups were changed to the "Dirty finger" pickups that were available on only a few models in the early 1980s, including the Explorer, ES-347, ES-335S and the Flying V. The V2 with case retailed for US$1,199 in 1979, Gibson's 3rd most expensive guitar. Only 157 V2's were shipped in 1979. Besides the high price, some players complained about the non-traditional sounding humbucker pickups and the weight of the guitar.
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