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Harold "Harry" DeArmond (January 28, 1906 – October 12, 1999) was an industrial designer of electrical components. His younger brother John was a budding guitarist at age 10 but wanted to make his guitar louder and better-sounding, and in 1935 created a magnetic pickup using components from the ignition coil of a Ford Model A.
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 ...
The pickups on almost all electric guitars and basses that Harmony produced were manufactured by Rowe Industries Inc. (later known as H.N. Rowe & Company, Rowe DeArmond Inc., and DeArmond Inc.) of Toledo, Ohio. Many of the instrument amplifiers badged with the Harmony name were manufactured by "Sound Projects Company" of Cicero, Illinois. [3]
DeArmond pickups (found on various '50s and '60s guitars by various manufacturers including Gretsch, Guild, Epiphone, Martin, Kustom, Harmony, Regal, Premier, Silvertone, and others; the trade name is now owned by Fender; single coil models including the 200 aka Dynasonic, [9] 2K, and 2000, "mustache", various "gold foil" types, and many clip ...
Rickenbacker serial numbers for solid body guitars made between September 1959 and October 1960 did not contain date code information. Following the completion of a final few Combo 450 guitars in 1958, 400-series production would not resume until circa serial number 4C100, which is ascribed to September 1959. [6]
The sound holes of cellos and other instruments of the violin family are known as F-holes and are located on opposing sides of the bridge. A sound hole is an opening in the body of a stringed musical instrument, usually the upper sound board. Sound holes have different shapes: Round in flat-top guitars and traditional bowl-back mandolins;
Rickenbacker guitars sold in Europe had traditional f-shaped sound holes until the 1980s. This was at the request of European instrument dealers, who were afraid that buyer response to the non-traditional "slash" sound holes would be poor. An example is the 1996, a (now discontinued) reissue of the export version of the 325.
ES-260 (1982–1983) Resembling ES-125T/ES-225T (thinline, florentine cutaway), but semi-hollow with center block, stop tailpiece, and humbuckers instead of P90 pickups. ES-275 (2016-2019) Slimmed down L5 hollowbody shape with a 15" upper bout, 2.25" depth, and a Venetian cutaway
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