Electric Guitar

The electric guitar is a type of guitar fitted with a body, usually full ( solid body ), which produces sound through the microphones capturing and converting the string vibrations into an electrical signal. This signal can then be modified by a variety of accessories such as effects pedals before being amplified and converted into sound signal by a guitar amplifier .
Unlike most stringed instruments , electric guitar is not only its sound characteristics of violin – even though they remain important to the overall quality of the stamp. With microphones this electromechanical instrument , developed a new art of lutherie guitar leading forms of original and even eccentric.
The electric guitar is used in a variety of musical styles, the most representative being the rock , the heavy metal , the blues and jazz .

Origins

The first known example dates from 1924, a prototype made ​​by Lloyd Loar (in) , then Engineer Gibson Guitar Corporation . According to André Duchossoir, which includes a photograph in his book Gibson Electrics 1 , this would be an electroacoustic guitar amplified. It was not approved by management at the time, which, in retrospect, shows a lack of flair to the Director General at the time, Guy Hart.
The first electric guitars (sold) are the work of disparate teams, including luthiers , electronics enthusiasts, and instrument manufacturers. There are make t shirts models from the years 1920 to charlene Ginsburg , guitars equipped with microphones in tungsten . The development of the electric guitar training coincides with the big band , jazz bands where the guitar could not compete in terms of noise level with the multitude of other instruments, brass included. Basically, the guitars were simply electrified: an Archtop guitar to sound box was equipped with transducers electro. But the real commercial launch coincides with the appearance at Gibson in 1937 (504 copies shipped) of the ES-150 , known for “Charlie Christian model.”
From the second half of the xx th century, much of the electric guitars have a solid body. They are called “solid body” as opposed to the guitar “hollow body” whose body has a cavity (often, but incorrectly, known by the name of “sounding”). One of the first solid body was designed by guitarist and inventor Les Paul in the early 1940s , while working as a host, the plant of Epiphone Guitar . His guitar was called the log (the “log” in English) because it was rectangular in shape, just with a handle and a head. But extensive research has revealed Chrome Wire Shelving that other electric guitars solid body had already been made ​​before. This was the prototype makers, some models have even been sold in small quantities, as in Audiovox and Rickenbacker to 1935 .
The firm Gibson offered a well-equipped semi-acoustic guitar microphone, but by the electrician and amplifier maker Leo Fender , the first model solid body is made ​​of successful 1950 , the Fender Telecaster Plastic Storage Bins , followed in 1954 electric guitar by the most widespread and copied since then: the Stratocaster . In 1952 comes the Gibson Les Paul , still an instrument of luxury. Fender invented also the low modern power, who came to replace the previous prototypes and basses used before.
In the xxi th century, Les Paul and Stratocaster remain the two dominant types of electric guitars, [ref. needed] forms repeatedly copied. The first Fender introduced on the market ziPhone the idea of wedding rings the handle screw and manufactured separately from the body.
Invented in the United States , the electric guitar has quickly established itself around the planet, manufacture as well. Italian instrument making, already developed in the 1950s , took hold of the new instrument include Eko, Davoli, Crucianelli, Meazza, Galanti and others. In Germany too, where were stationed a number of American soldiers, beautiful instruments were produced, Hofner, Hoyer … Also include Hagström in Sweden .
In France the first singers of the electric guitar in 1956 the brothers were Jacobacci followed in 1978 by Christophe Leduc in 1980 by Patrice Vigier , and in 1982 by Lag . Numerous Relevant Life Policy artisans settled there then, contributing to international fame in the French violin include Franck Cheval, Patrice Blanc, Maurice Dupont and Frédéric Pons Alexandre Littée. French instrument makers made ​​some interesting innovations, such as floating table (Leduc), the handle 90/10 Chicago Criminal Defense Lawyer (90% wood, 10% carbon) or vibrato with needle bearings (Vigier).
Principle and operation

Types
An electric guitar has the most six string metal . Three of them, the low – even for four guitars of jazz – are spun, that is to say provided with a sheath. The agreement is traditional vacuum, the lowest note to the most acute: E, A, D, G, and E (EADGBE in English notation). There are also seven-string electric guitars (the extra string is often more severe if a) popularized by Steve Vai , and other twelve-string paired to a powerful and crystalline. There are also guitars with two rounds to couple into a single instrument a six-string guitar and twelve string playing as Jimmy Page , or one acoustic and one electric.
Several types of electric guitars are:
solid body guitars called solid body , very popular in rock and pop , are very versatile. Include among the dui lawyer chicago most representative models Gibson SG , Fender Telecaster , Fender Stratocaster and Gibson Les Paul ;
the guitars half boxes or quarter cash say semi-hollow , with or without central beam, have a more “hot” and are preferred in the rock’n'roll and blues. The Gibson ES-335 or Gretsch are the best free grants known examples.
the guitars body called hollow , which includes the archtop guitar , and used mainly in jazz, as they offer a more “round”. The Gibson ES-175 and Gretsch 6120 are well-known examples.
Some electric guitars have a bridge accepting a vibrato (tremolo or whammy bar in English) to make bends and vibrato . The Floyd Rose is a type of bridge that solves the problem of detuning due to the rapid use of vibrato.
Among the most recognized brands include the presence of ESP, Fender, Gibson, Hagstrom, Ibanez, Jackson, PRS, and Yamaha 2 .
Type microphones
Main article: Micro (guitar) .
Body electric guitar ( Stratocaster ) with three single coil microphone, the volume control and the floating bridge to two anchor points
Unlike conventional microphones that convert sound into hcg diet plan audible noise voltage variable, here, the steel strings modulate the magnetic field produced by the microphone, turning their vibrations into variations of voltage, this signal is transmitted to a device for amplification .
Microphone type Humbucker
The two most common forms for electric guitars are single coil microphones and double coil:
The single coil microphones (typical of early brand Fender ) have a pure, transparent, but capture the ambient electromagnetic interference (the “hum” produced by processors, video monitors, neon lights, phones …).
Double coil microphones were set up to eliminate hum (“hums” in English) picked up by microphones single coil, they have two parallel coils whose magnetic field is reversed to cancel external electromagnetic interference. These microphones called humbuckers are characterized by a less bright sound and an output level generally higher than on single coil pickups (the output level of a microphone varies between 100mV and 1V rms ).
The microphones can be adjusted in height, more or less near the ropes with two screws at their ends:
close to the strings, the output level is higher but the magnetization of the microphone can affect the vibration of the string.
further away, the level will be lower, cleaner sound.
Namely that the manufacturers of microphones offer values ​​up to their microphones, supposedly optimal level of output / sustain.
Control buttons ( knobs / inverters ) placed on the body of the guitar can change the sound. Jewish Wedding Gifts These controls can usually change the volume, select the microphone (with tone varies their distance from the tailpiece) or adjust the tone of the instrument ( low-pass filter ).
The nut and the bridge
Easel standard six anchor points of an electric guitar
The plucked strings to resonate between the empty saddle and bridge . The nut, which is located at the top of guitar, near the lifts, a bar is placed perpendicular to the strings, with six slots to let them. The bridge is attached to the body of the guitar, it can be fixed or articulation. The latter is sometimes accompanied by a metal rod at a time designed to rotate the bridge (and create a bend simultaneously for all the strings, see vibrato ) and interfere with the magnetic field microphones.
A rack cutter classic, the “Pink Floyd”
The bridge is used to adjust the strings in two ways:
the axis parallel to the strings via the adjustment screws that hold the harmonic bridges, which can make the rope rings true, regardless of where the fingers are positioned. Indeed, for physical reasons and the accuracy of the distance between the bridge and the 12 th fret should be the same between the twelfth fret and the nut, but this is only theoretical. It must indeed take into account the increased tension of the string when it is deformed to clamp down on the guitar. This is where the compensation setting.
the axis perpendicular to the body of the guitar via the trigger guard screws, which are used to position the cord at the level immediately:
too low, they whole life insurance quotes frieze (by vibrating against the frets, producing a sound parasite),
too high, they are more difficult to fret, the accuracy is also reduced.
Compensation
The compensation is to adjust the length of the vibrating string so that the instrument sounds right on its entire range. In an ideal model, the hoop 12 is located exactly half the length of the string, produces the exact note of the string, but an octave higher (length divided by two, frequency doubled). But, in fact, when you pinch the rope on the handle, vps hosting its length is not exactly divided by two, but a little more because of the vertical displacement, but also its voltage is increased. This means that the note produced is more acute than the octave you want. To correct this, it extends backwards on the rope bridge saddle a little beyond the theoretical length of the pitch of the instrument. This distance is adjusted so that the fretted note in block 12 produces the same note as the harmonic of the same block 12. This provides a tool to ensure the accuracy acceptable denver accident lawyer to the ear over the entire run. The importance of this compensation depends on the length of the string, its mass, its diameter, and height of the bridge. So when you change the strings to play much harder or softer, you must make the adjustment of compensation. It only takes a few minutes. Classical guitar and folk guitar not receive these settings from their easels are bonded and therefore the accuracy of the instruments risky especially if you climb a rope pulling is not recommended by the manufacturer.
Sound processing

Own an electric guitar is to produce an Denver Divorce Attorney electrical signal directly liable to alterations. The variety of effects possible with an electric guitar makes it a very versatile instrument.
Effects
Effects Pedal (compressor)
Multi-effects pedal
The electric guitar allows effects not possible with an acoustic instrument. If the weight loss pills guitar playing techniques can create some interesting sound effects, the term “effects” the wide range of alteration of its continuous based on processing the electrical signal provided by the microphones. External effects can be transplanted at will, through effects pedals or rack .
These effects include:
the saturation , improperly called distortion is locksmith initially the result of an amp pushed beyond the limits of its “clear”, this is also available as a pedal-which can be obtained without going deaf. Widely used in heavy metal and hard rock , (example: Guns N ‘Roses , Saxon , Metallica , AC / DC , Black Sabbath , Korn , System of a Down ) and blues to crunch early saturation (minimum gain) and some models for the power of the grave on single coils (voodoo bass), etc.).
overdrive produces a saturation of the amplifier by boosting the signal, the gain is calculated for just that.
the fuzz , powerful and typical saturation, the gain is very important and fully open the sustain is therefore (used by Jimi Hendrix ( Fuzz Face ) and number of groups called psychedelic rock ), now also popular in hard rock.
the reverb , echo, more or less distant from the original sound simulating the effect that can produce the emission of sound in a large room enclosed or semi-open and is a base effect more or less sophisticated.
the delay or echo chamber, a copy of his guitar with a time delay set by the duration between each repetition and variation of the volume of repetitions over time (eg the introduction of Another Brick In The Wall part 1 of Pink Floyd or Smells Like Teen Spirit by Nirvana ;
The chorus adds to the sound of the guitar slight perturbations in time and frequency of the original sound, giving the impression that many guitarists play the same score, the delays are fixed around 30 ms (eg introduction of ‘ve Come You Are Nirvana);
the flanger , operation derived from the chorus the original signal is mixed with a signal delayed by 1 to 10 ms (eg introduction of Nothing Else Matters by Metallica , Bridge Are You Gonna Go My Way by Lenny Kravitz or Brianstorm of Arctic Monkeys );
the phasing , feedback signal with phase variation. the original signal will end up mixed with a delayed signal but filtered according to several frequencies and a low frequency modulator creates a sine wave modulation. (Example: The introduction and the solo Is not Talkin ” Bout Love by electric cigarette Van Halen );
the wah-wah , band-pass filter with variable center frequency by a pedal known expression: if it is lowered, the highs are favored, if it is raised, it is serious. The alternation gives a characteristic effect of squealing (eg the introduction of Voodoo Child (Slight Return) to Jimi Hendrix ) Used in reverse, it allows the effect of “Seagull”, used by David Gilmour in the title ” echoes “of Pink Floyd ;
The noise gate which cuts the sound automatically when the instrument is played to avoid the blast produced by electrical devices involved in the production of sound. Some noise gates are also used to produce a “plop” feature at the beginning of each riff , giving character to the piece.
the trebble booster is a booster (amplifier voltage level) against limiting the Bass ( high-pass filter ) which allows an amplifier to saturate strongly hcg drops that this is not intended to be invaded without serious that make saturation “messy” (used by Brian May , Rory Gallagher and integral to their sound, they say, but there is no evidence, by Eric Clapton );
the feedback , which is the consequence ( a priori side) of the re-injection loop of the already amplified, via (s) microphone (s) of the instrument connected to the amplifier. It arises when a shrill sound, whose amplitude increases until saturation. Some know that still use acoustic coupling with musicality, like Jimi Hendrix , Phen375 Reviews who was still live on the edge of feedback and used it often in a very musical, and Carlos Santana (who explores the scene at the scales to see where he is likely to have the best feedback once live) in Samba-pa-ti or Joe Satriani (who became a specialist in this art) Flying in a Blue Dream ;
the compressor allows, as its name suggests to limit the dynamic range of the guitar. It promotes the sustain and feedback.
the octaver adds a doubling of the signal to one or more octaves above or below that played;
the tremolo , which allows to vary the intensity of the note and the volume of the signal (eg introduction of Boulevard of Broken Dreams by Green Day );
vibrato, which is to vary the pitch around the frequency.
the Univibe is essentially a modified Phaser pedal to emulate in the effect of bulky Leslie speakers.
Leslie on his turn, initially done mechanically by two speakers facing up which turned on a cover with an output of a large aperture distribution for the serious and a smaller one for the treble, with three speeds. It has become electronic ground effects or cabins
the harmonizer to add one or more channels in harmony {third straight ..)
the Whammy, Octaver effect of foot controlled, also includes a chorus and a small hamoniseur controlled by the pedal
the multi effects are a combination of several effects in a single pedal or module;
There are guitar effects as software . For example, include Guitar Rig 3 is a set of effects, amp simulator running in standalone mode or in a host software.
Amplification
Main article: Electric guitar amplifier .
The amplifier amplifies the signal received by the guitar input, and outputs the sound through a speaker or headphones. Modern models for guitar and bass amplify the sound twice. There are two “tiers”, each with a distinct role-based and electronic components called transistors and / or lamps , depending on the technology chosen by the manufacturer. The differences between these two amplification techniques are:
Cost: tube technology is much more expensive to purchase since they were replaced by electric instruments in the transistors several years ago (manufacture of lights down because they are reserved exclusively for amplification, thus price increase);
Sound quality: the tube amplifiers have made a sound much more friendly, clean and powerful (whether in clean or distortion) compared to the transistors.
The first amplifier stage is the pre-amplifier or preamp that combines the functions of equalization or tone and gain controls. This stage is of paramount importance for guitarists and bassists. Indeed, it may present a nonlinear behavior to cause effects in the most sought-amplified instruments: when the input sensitivity (“gain”) is pushed up, a phenomenon of sound distortion is observed. The sinusoidal sound produced by the guitar are flattened at their ends due to the nonlinearity of electronic components over-solicited by the input gain is too high. A sinusoidal signal therefore becomes notched, producing a characteristic that is sought after by guitarists of rock and blues. In the solar panels 1960′s , guitarists like Jimi Hendrix popularized this type of sound, combining the distortion of free ipad the preamp or dedicated equipment with that of the power amplifier.
The output signal of the preamplifier stage is injected into the amplifier , said power, which is responsible for increasing the signal to a level for supplying one or more speakers . This floor is also likely scrabble word finder to produce a distorted sound if it is mounted at its maximum level. The nature of this distortion is dependent on the technology of electronic component used: transistors , tubes or lamps , etc..
Some “couples” guitar / amplifier have been popularized by various artists
Fender Stratocaster / Marshall tube body double: Jimi Hendrix ;
Gibson Les Paul / Marshall: Jimmy Page ;
Gibson SG / Marshall: Angus Young
Fender Telecaster / Roland Jazz Chorus JC-120: Andy Summers ;
ESP (EMG) / Mesa Boogie: Kirk Hammett and James Hetfield ;
Fender Stratocaster / Fender Twin Reverb: Stevie Ray Vaughan
Fender ” Stratocaster “/ Hiwatt : David Gilmour
Lutherie

The solid-body electric guitar is very diverse in its forms and construction techniques, because if the wood species, quality, the weight of the guitar, the type of assembly of the neck (glued / screwed / crossing), the Violin (section frets and material, shape and materials of the bridge) has selected a significant influence on the sound, form against by none or very marginal. Classical forms were taken, others have emerged, but there are a multitude of original guitars, especially in the metal ( Flying V and Explorer , for example).
Main types
Main types of electric guitars [ref. required] :
The French equivalent of the word ” body “is” body “, not” credit “that drives the inappropriate” full body “,” full case “,” half box “or” quarter body “. The terms are less San Diego Homes For Rent ambiguous:
” hollow body “(for” acoustic guitar hollow body “)
” solid body “(for” full body guitar “) or
” semi-hollow body “(for” minimized acoustic guitar body “)
that characterize specific types of electric guitars.
At Gibson, there is also a particular type of hollow body , the ES type (for Electric genetics ), the first example was the ES-150 (nicknamed “Charlie Christian model”). These models often from copies sweetened and electrified models purely acoustic. There are for example:
the ES-150, cosmetically derived from L-50,
ES-5, cosmetically derived from the L-5.
It is also possible to evoke a typology based on the table, which can be curved ( arch top ), flat ( flat top ), massive, laminated ( plywood ), formed when hot, sculpted ( carved ), etc.. May also be considered and each variant of each element of an electric guitar.
However, the terms discussed below, are only trademarks, and not the types strict sense :
Fender ( Telecaster , Stratocaster , Start, Showmaster , Fender Jaguar , Fender Mustang , Fender Jazzmaster );
Gibson ( ES , Explorer , Flying V , Firebird , Les Paul , SG );
Rickenbacker 300 Series.

Fender Stratocaster

Fender Mustang

Gibson ES-335

Les Paul

Ibanez S Series 540
Great luthiers
The word luthier , more or less hackneyed, does apply to:
Orville Gibson , Archtop guitar designer and founder of the brand Gibson ;
Paul Reed Smith , creator of the brand of guitars PRS ;
Jacobacci , the brothers create at least 10,000 instruments in France.
But the following should be described to the best of DIY genius, the worst of manufacturers:
Leo Fender , inventor of the first series of guitars, founder of the brand Fender , Music Man and G & L and designer of Cell Phone Accessories a line of electric guitars have become “standards”, also invented the electric bass guitar;
Les Paul , participated in the design of the guitar with his name and produced by Gibson;
Seth Lover , guitarist and inventor of the microphone double coil or humbucker ;
Hugh Manson , creator of Manson guitars;

Specific characteristics

The differentiating characteristics of an amplifier for electric guitar vis-à-vis an audio amplifier are standard:
Reduced bandwidth frequency of the instrument (as opposed to a HIFI amplifier whose purpose is to cover the broadest spectrum of audible frequencies from 20 Hz to 20 kHz ).
High dynamics and an ability to restore the pulse signal directly from the guitar, so unlike the uncompressed signal recording ( Mastering ).
Built-in effects (such as reverb, vibrato, and chorus, for example).
A shock resistant casing, usually made of wood covered with a coating vinil and equipped with reinforced corners.
The guitar amplifiers commonly come in two forms:
Electronics and speaker (s) separated in two distinct cases: the terminology “amp head” referring to the electronics, ” baffle ” designating the party speaker (s), together referred as a “stack” .
Electronics and speaker (s) grouped within a single enclosure, referred to as the terminology “combo” and adopting in most cases a design cabinet open.
Operation

 

Rear view of an amplifier Trace Elliot “Bonneville”
The operation of a guitar amplifier can be described briefly by analyzing the operation of its four components / stages the most important:
The preamplifier ,
The power amplifier ,
The effects
The Speaker .
Preamplifier
The stage preamp adjusts the signal from the guitar to attack the floor called “power”. The signal from the guitar has an amplitude of several hundred millivolts in an impedance high, it is necessary to adapt.
Control of main setting of the preamplifier is its “gain” to adjust the amplification factor applied to the signal from the guitar.
High gain applied to the input signal can, if the preamplifier is designed for that purpose, to get a distorted sound, or ” overdrive “. The design quality of the preamplifier plays an important role in the musicality of the resulting overdrive 1 . Indeed, the distortion of an cash advance loans audio signal introduces harmonics in the signal. The distortion is considered more or less pleasing to the ear depending on the parity harmonics it generates. The even harmonics are considered more pleasing to the ear because of the frequency ratios introduced and their relationship to the octave 2 . The circuit used to generate the distortion affects the harmonics generated parity: the rate of even harmonics will be higher if the circuit is asymmetrical, lower if the circuit is symmetrical type 3 . In its “clear”, the total harmonic distortion added by the amplifier is very low or negligible depending on the type of circuit and electronic components used 4 .
The preamplifier stage of a guitar amplifier incorporates a systematic section of EQ with a variable number of controls based models and brands of amplifiers. In its most common configuration, the equalizer amplifier for electric guitar has three control buttons (3 “bands”):
Low ( 150-200 Hz )
Medium ( 1 to 1.2 kHz )
Acute ( 4-5 kHz ).
The equalization circuit “classic” described above is supplemented or replaced by a circuit parametric or semiparametric on some amplifiers (This is commonly true of guitar amps electric bass ).
In the EQ section, is sometimes added on some models one or more specific tone control guitar amplification, for example:
Control “Presence”, affecting the high frequencies of the guitar spectrum ( 8-10 kHz ),
Switch “Bright”, affecting the high frequencies of the guitar spectrum ( 8-10 kHz ) and intended to add sizzle to the sound,
Control “Contour”, affecting the mid frequencies of the spectrum of the guitar, and to reduce them, giving a more “dug” or increase, giving a more medium ( 1 to 1.2 kHz ).
Guitar amplifiers that are designed to be versatile, have several floors of preamp independent, called “channels”. The channels are selectable in-game via a pedal. This allows you to change the color, the level of distortion, EQ, and noise levels, depending on the built-in controls for each channel.
The most common configuration in the market has two channels:
Canal “low gain” to obtain sounds clear or slightly distorted,
Canal “high gain” to obtain a strong distortion.
The concept of “channel” is not to be confused with the concept of “gain level”. Indeed, some single-channel amplifiers have several levels of gain switchable via a pedal, but remain single-channel amplifiers for the same circuit and the same equalizer used by the different levels of gain. This is the case for the Fender Hot Rod Deluxe, which is a single channel amplifier with multiple switchable gain levels.
Some manufacturers of amplifiers offer a version of their preamp in “separate element.” This type of amplifier should typically be connected to a power amplifier, or at the door “line” a guitar amplifier. Other configurations are possible, such as connecting via the input “instrument” of the amplifier, thus making him the possibility of additional settings 5 .
Power amplifier
The stage power amplifier converts the signal from the preamplifier into a signal of sufficient amplitude to power the speakers.
The power stage does not automatically gain control of a contrast to the preamplifier. When present, the gain control of the power stage is called “Master.” The control output level of the amplifier was introduced in 1975 by Marshall on his 2203 and 2204 models 6 in order to obtain a high distortion at low noise levels (during rehearsals for example). Indeed, before the introduction of the “Master Volume”, it was necessary to “push” the power of the amplifier via the single gain control available, that of the preamplifier stage, to obtain a high level of distortion. A secondary benefit of the “Master Volume” is to push the power stage in saturated regardless of the gain of the preamplifier stage. In this case: only the output stage distortion product.
A possible classification of the stages of power amplifiers for electric guitar from the type of circuit used, or class of operation :
Amplifiers Class A : This unbalanced circuit operation provides better STD Testing linearity in the “clear” that the class B (no crossover distortion ), and introduces a level of even harmonics higher in saturated mode. The disadvantage of the Class A circuit is its low performance, reserving to the low power amplifiers. Class A amplifiers can use a single power component, or function in push-pull asymmetrical. Several circuits of this type can be used in parallel in order to deal more power, so engagement ring it is possible to meet Class A amplifiers with 4 power components 7 .
Amplifiers Class B (usually Class A / B in practice): the circuit operation is symmetric by design less linear than the Class A circuit and introduces a slight distortion (odd harmonics) in its “clear,” said ” crossover distortion . ” The advantage of this class of operation is its performance to achieve higher power 100 day loans than Class A. Electronics developed reduces crossover distortion to a negligible level and get a practice close to linearity Class 8 . Class B amplifiers use at least two power components operating in push-pull symmetric. Several circuits of this type can be used in parallel in order to deal more power, so it is possible to meet Class B amplifiers with 4 power components, or more.
A large majority of guitar amplifiers use a class B circuit (usually Class A / B in practice) to achieve the powers necessary for the sound stage. Class A amplifiers are intended for use in the recording studio and small scenes or to be taken via a microphone placed in front of the speaker connected to a high-powered sound system for use in concert.
Class A / B, very frequently used instead of the class B (and most often likened to a class B) is a function close to the Class A low power, and gradual shift in class B high power.
Class A amplifier can be associated with a high-performance speaker, to compensate for the lack of electrical power (see explanation on the power of guitar amplifiers, below).
Effects
Many models of electric guitar amplifiers incorporate effects . The most commonly built into the guitar amp is the Reverb , which Bankruptcy simulates the phenomenon of sound reflection on the walls of a room. It is often performed by means of a “delay line spring.”
Distortion, when it is produced by the preamplifier stage of the amplifier, similar to an effect.
To preserve the integrity of the signal produced by external effects ( pedals , multi-effects ) type modulation / delay / reverb , distortion must take place “before” these effects in the chain between the guitar at the power stage. For example: the distortion “blend” the echoes of a subsequent delay (delay, echo) when it is placed “after”, producing a sound imprecise 9 .
If the preamp produces distortion effects modulation / delay / reverb will be inserted payday loan between the preamp and power stage. To this end, some guitar amplifiers feature an “insert effect”, presented in the form of a double connector for connecting external effects modules to the right place in the chain.
Before the introduction of the insertion effect (70-80 years), effects ( analog at that time) were connected between guitar and amplifier and then suffered alteration induced by the distortion of the preamplifier stage , producing a ” vintage “feature. Some guitarists always proceed in this way, not using the insertion of sound effects to find the rock / blues of that era.
Speaker
The speaker is the last link in the chain of restitution. Its role is to transform the electrical signal coming from the power stage with an acoustic signal audible.
Or the speaker (s) of an electric guitar amp are always mounted in a cabinet , the most common auctions online configuration ” open baffle “emphasizing the dynamic performance at the expense of low-frequency acoustic and 10 . Amplifiers for bass guitar used more frequently a closed cabinet , most likely the return of low frequencies.
The speakers used in guitar amplification are casino of the “broadband”: only one speaker is sufficient to cover the spectrum of the electric guitar 11 . This also applies with respect to the electric bass guitar.
The speaker helps the color of the sound in guitar amplification. chiropractic marketing For this reason: when recording or when it comes to connecting the amplifier to a more powerful sound system, the use is not to use the output of the preamplifier stage. The signal is received / transmitted via a microphone placed in front of the speaker to maintain the coloration introduced by the speaker 12 . A microphone designed for voice is well suited to miking guitar. The microphone is usually placed at 10 cm from the center of the main speaker, a position to restore naturally the sound of the amplifier. The microphone can be placed closer to the speaker to enhance the low frequencies and reduce outside noise.
Note: a speaker simulator 13 can overcome the use of microphones best web hosting to connect the output of the preamplifier stage with a PA system or recording system. The speaker simulators are generally integrated into a direct box, or DBOX , and some preamplifiers 14 .
The sensitivity of the speaker payday loan has a significant influence on the sound power restored by the amplifier ( see below the section of the power amplifiers for guitar ).
History

1930 …
The guitarist George Beauchamp (practicing the Hawaiian guitar ) after founding in the wow gold early 1930s with Adolph Rickenbacker ‘s Electro String Instrument Corporation, obtained a patent for the first micro guitar team in the first electric guitars of the brand: the Rickenbacker ” Frying Pan ” .
These guitars are sold together with the departure of an amplifier designed and built by a manufacturer of radios called Van Nest in his shop in Los Angeles.
1940 …
Fender Champ of 1953
Electro String Instrument Corporation hired an engineer Ralph Robertson to work on a range electronic cigarette review of 4 amps. Amplifiers Rickenbacker influence among other Leo Fender, who in the early 1940s was a maintenance activity amplifiers in his shop in the suburb of Fullerton, California 15 . The first Rickenbacker guitar amplifiers exhibit a power of approximately 10 watts, and using radio technology: electronic tubes and small speakers. Leo Fender produced his first amplifier Woody Deluxe in 1946, followed by several other models, including the field 800, an output of 3W in 1948.
1950 …
Vox AC 30 amplifier
The popularity of the electric guitar involves a demand for more powerful amplifiers. In 1949, Leo Fender helped his engineer Don Randall, starts production model “Super Amp” displaying a power of 50 Watt, Twin Amp appears in 1952, amended in 1958 to increase its power 80 Watt 16 .
The Fender Bassman , marketed from 1952, is designed specifically for sound with the Precision Bass Fender but will be subsequently used by many guitarists. The Fender Bassman, displaying a power of 50W, is starting with a single speaker. A Bassman with 4 speakers Jensen 10-inch is produced from 1954.
Tom Jennings Univox founded the company in 1951 and started production in 1957 VOX AC30, 30W amplifier with 2 speakers, used by the Shadows from 1960 17
1960 …
Stack Marshall Major, 1971
In 1962, Jim Marshall, at the request of artists such as Pete Townshend and John Entwistle for more powerful amplifiers, starts production of Marshall JTM45, modeled on the Fender Bassman to 4 speakers. The JTM45 has an output of 50W. Jim Marshall chose to separate the baffle 4 speakers Celestion 12 inch electronics, appearing in turn in the form of “head” of amplifier 18 .
JTM model 100, a power of 100 Watt and marketed in 1965, is the first to use a guitar amplifier stage rectifier transistor. Jimi Hendrix adopts the Marshall amplifiers since 1966.
In 1967, appeared in the series Marshall JMP, including the head of JMP Super Lead amplifier, 100W of power tubes equipped KT66 and EL34 tubes in 1970 from 19 .
In 1967, Robert Galen (who founded the company later Gallien-Krueger) is developing one of the first transistor guitar amplifiers. He managed to develop the “GMT 226A”, 220 Watt amplifier that is immediately used by Carlos Santana , including recording his first album and on stage at the Woodstock Festival 20
At the request of some Jazzmen, and bass players, the company Ampeg specializes in the 1960s (unlike Marshall), the amplifier can produce a sound “clear” at high volume (low distortion). In 1969, Ampeg has the NAMM show in Chicago SVT head with six 6146 power tubes, and displaying a power of 300 W 21
In 1967, Randall Smith (founder of Mesa-Boogie) produces modifications Fender Princeton for added gain and power. These amplifiers are favored customized by their users, including Carlos Santana , who uses them to record his album Abraxas in 1970).
1970 …
Mesa Boogie “Mark IV”
From 1971, Randall Smith sells its first model under the brand Mesa Boogie , the Mark I, available in 60 Watt or 100 Watt and fitted with a 12 inch speaker JBL and 2 channels. the Mark I Mark II is followed by introducing the channel switching via footswitch. Series Mesa Boogie “Mark” will then be continuously expanded and modernized (Mark III, Mark IV, …) 22 .
The company Laney was founded in 1967, produced from the early 1970s one of the first amplifiers’ high-gain “for the heavy metal : the stack of 100 Watt LA100BL is adopted among others by Tony Iommi , guitarist of Black Sabbath . Laney then diversify its production, including most versatile amplifiers 23 .
In 1974, Musicman , a company founded by Leo Fender sells early versions of the amplifier “Sixty Five”, built around a solid state preamplifier stage and Sylvania 6CA7 power tubes, followed by a 130 watt model in 1979. Musicman amplifiers will be used among others by Mark Knopfler 24 .
In 1975, Marshall adds a “Master Volume” in his model “JMP 2203 Master Volume Lead”, allowing guitarists to push the saturation of the preamplifier stage independently of the volume.
Also in 1975 the Japanese company is marketing the Roland “JC-120 Jazz Chorus Guitar Amplifier”, an amplifier stereo solid state of 2 x 60 watts with 2 channels (not switchable) and 2 speakers 12-inch high efficiency allowing for get clean sounds at high volume. The Jazz Chorus is the first amplifier equipped with a chorus “natural”, obtained by mixing acoustic sounds of two out of phase produced by two independent amplifiers. The Jazz Chorus will be used by many guitarists, including Wes Borland , Andy Summers , Robert Fripp , Adrian Belew , Robert Smith , James Hetfield , and many jazz musicians …
1980 …
In 1980, Tom Scholz , guitarist co-founder of Boston , founded the company Scholz Research & Development, Inc.. . The first product of SR & D is the free auto insurance quotes “Power Soak”, a power attenuator which, placed between the amplifier and the speaker can push the master of the amplifier while maintaining a low volume. In 1982, SR & D sells the “Rockman” mini stereo headphone amplifier for reproducing the original Plastic Containers sounds and realistic. Many guitarists use it in the recording studio in the 80′s ( ZZ Top , Def Leppard , …). SR & D eventually produce a series of enclosures rack effects and a stereo amplifier. SR & D will be bought by Dunlop in 1995 25
In 1989, Andrew Barta designed the “Sansamp” a box simulator amplifier / speaker simulator, and founded at the same time the company Tech 21 . The Sansamp preamplifier is a fully analog MOSFET technology to obtain an overdrive sound quality. It is used by many guitarists as ” direct box “in the recording studio or on stage. The safety defensive driving company will market 21 Tech then a range of amplifiers, used among others by Les Paul and Alex Skolnick 14 , 26
to be finalized September 30, 2011 at 20:07 (CEST)
1990 …

In 1994, Fender sells his model Blues Deluxe would become one of the most used amplifiers in the world. The Blues Deluxe is a 40W combo amplifier tube very versatile, with 2 6L6 power tubes producing a clear sound or light overdrive. The preamplifier stage is single-channel with 2 spa covers gain levels switchable via a footswitch. From 1996, Fender offers a more modern version of this amplifier under the name Hot Rod Deluxe with 3 switchable gain levels.
to be finalized September 28, 2011 at 14:50 (CEST)
Tubes and Transistors

 

Chassis of a tube amplifier Marshall Master Lead 50W
The first guitar amplifiers were designed based on electron tubes (often referred to as ” lamps “), the first electronic component (historically) for amplifying an audio signal. Tube amplifiers are still commonly used in guitar amplification due to the coloration to the sound made ​​by this technology.
The main characteristic of the amplifier tube is its behavior during the gradual transition from the linear regime (the “clear”) car transport in saturated regime, unlike the transistor, which passes abruptly in saturated. Mainly for this reason, the sound of a tube amplifier is generally described as “hot” as a residual distortion is present, including clear sound – the passage of the operating area “without distortion” in the area of operation ” ppi reclaim with distortion “is wider than that of a transistor amplifier. A transistor amplifier of electronic cigarette good quality will have a low harmonic distortion clean sound (better linearity), but clips the signal more abrupt in saturated 27 .
How the circuit clips the martial arts denver signal in saturated to influence the harmonics generated. In saturated, transistors naturally introduce a higher rate of high harmonic (high frequency) that the tubes, which has the effect of producing a shrill sound and music usually considered low. Tube amplifiers with the defect’s rare.
Some solid state amplifiers implement a circuit called ” soft-clipping “allowing transistors to behave similarly to tubes in saturated 28 .
The rate of even harmonics, more “musical” (see the section on the preamp ) is influenced by the type of circuit used: an asymmetric circuit (such as Class A) generates a higher rate even harmonics that a symmetrical circuit (such as class B). Technology (tube or transistor) does not determine the rate of even harmonics 29 , 30 , 31 .
The transistor guitar amplifiers are well suited for sound “clear”, so “transparent” to sound to a signal having affiliate marketing been prepared by an external preamp or a chain of effects, so as not to alter, or for very high power ( 400 W or more, usually followed by amplification for bass guitar). Indeed the components used to build a tube amplifier is heavy (processors), expensive (tubes) and bulky (12 6L6 tubes to produce ( 300 W ).
Guitar tube amplifiers are best suited for light saturation of the signal by the power stage, sensitive guitar game (sound called “crunch”). Note, however, that the saturation produced by the power stage of the amplifier degrades the quality of some effects present in the channel preamp such as delays and modulations. For this reason: the saturation is often produced using effects pedals placed before the effects of modulation, the power stage is not pushed in saturated. The three main disadvantages of the technology are its relative fragility tube (shock), the wear of the tubes, the high cost of some components necessary for the realization of the amplifier tubes – the tubes and output transformer in particular, the weight and clutter.
It should be noted that the high-end guitar amplifier transistor, relatively rare on the market, are sold at prices close to those of tube amps, due to costs associated with the components needed to achieve them, transformers and speakers , for example.
Power amplifiers for guitar

 

Stereo Guitar Amplifier 2x60W powerful Roland “Jazz Chorus”
The electrical power RMS 32 “displayed” an amplifier for electric guitar is not the only factor to ppi reclaim determine the volume produced by the amp. The quality and design of the components used have an important role in the resulting sound power level. The sensitivity of the speaker is the parameter having the greatest impact on the volume. Indeed, a doubling of the electrical output of the amplifier corresponds to a variation of only 3 dB of the sensitivity of the loudspeaker 33 .
Thus, an amplifier of 100 W equipped with a loudspeaker measured an average of 94 db, will be much less powerful in terms of its acoustic reproduction of an amplifier with a 30W speaker measured average 100 db 33 . The quality of design and sizing of the power supply also play a significant role in the power output by an amplifier (including the design of transformers and capacitors) and specifically this will impact on the dynamics: that is to ie the ability of the amplifier to provide timely, on impulse, a great power for a short time. These considerations of quality and design of the amplifier components comprise both transistor amplifiers as amplifiers lamp.
With few exceptions 34 , 35 , guitar amplifiers transistor technology occupy mostly the low end market, tube amplifiers for their occupying the high end. For this reason, it is common to find that tube amplifiers exhibit better performance in Watt, and therefore a higher sound power transistor amplifiers for the same electrical power displayed. This apparent difference in power is mainly due to the design of components and in particular performance or speakers.
More progressive distortion of a tube amplifier can push his power stage beyond its linear operating range without causing an unpleasant distortion. The power stage of a transistor amplifier in most cases, if uncomfortable distortion is pushed beyond its linear range. So: to get a sound power equivalent clear sound, electrical power (Watts) amplifier transistor must be greater than that of a tube amplifier ( headroom ).
For various reasons discussed above: it is commonly found that a tube amplifier power of 30 Watts will produce sound power equivalent to the clear sound of an amplifier transistor 60 Watts of power (see 100 Watts in the case a transistor amplifier design low-end).
Modeling amplifiers

In a modeling guitar amplifier, the analog signal from the instrument is converted to digital, which allows to treat in-depth and completely reshape its timbre and texture to mimic the characteristics of famous guitar amps. The treatment produced similar to that achieved by a computer with word processing software Digital sound ( DSP ).
Modeling amplifiers are used by musicians who need to have several suspension lift kits different amplifiers sound quality (which would require to have more conventional amplifiers), and for whom the “authenticity” of its purely analog n is not the priority 36 .