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Parker sold his company in 2004. A few years later, he started designing archtop guitars. 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 ...
These kits were near-complete production guitars that only needed finishing and final assembly before being sent to retailers. Production in Corona was short-lived, however, as Fender acquired the assets of Washington-based Tacoma Guitar Company in 2004, and moved all American Guild acoustic guitar production to Tacoma, Washington and ...
An archtop guitar is a hollow acoustic or semi-acoustic guitar with a full body and a distinctive arched top, whose sound is particularly popular with jazz, blues, and rockabilly players. Typically, an archtop guitar has: Six strings; An arched top and back, not a flat top and back; A hollow body; Moveable adjustable bridge
The L-4 was first introduced in 1911 as an acoustic rhythm guitar with an oval sound hole and 12 frets to the neck; [1] it was used by Eddie Lang, who also played an L-5. In 1928, Gibson redesigned the guitar, swapping out the oval soundhole for a round one, extending the neck to 14 frets and cantilevering the end of the fretboard over the top ...
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This article states that Gibson himself invented archtop guitars, and that Gibson had been making archtop mandolins for a while, whereas the article on Lloyd Loar states that Loar invented at least the archtop mandolin, and possibly the archtop guitar: "Loar worked for Gibson from 1919 to 1924. His contributions include building the instrument ...
Smallman combines this with heavier, laminated back and sides with a frame. Smallman's guitars are used by John Williams. Smallman's design was inspired by research by Torres who made a guitar with a papier mâché back and sides to show that the soundboard was the most important factor in guitar sound projection. Smallman also uses two 45 ...
Before the advent of amplification, the Selmer guitar appealed to European players the way archtop guitars did in America: it was loud enough to hear over other instruments in a band. The "petite bouche" model has an especially loud and cutting voice, and remains the design preferred by lead players in Django-style bands, while the accompanying ...
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