cheap strings are about 40-50$ expensive are maby 100 or 80$
Walmart is now selling GHS brand strings for around $5.00, so if you have a low income they are more readily available.
All under $25
d'addario (standard) $6-12
d'addario smooth jazz $18-$22
Dean Markley (standard $12-16
Elixir (standard) $14-20
... but if you are ridiculously cheap, you can buy store brand strings, which you get what you pay for, horrible tone, short life.
Mainly, the electric guitar was invented when the need for a louder sound came into play due to the increasing size of orchestras in which the guitar and brass drowned each other out in sound.
I would venture to say that almost all electrical codes would prohibit you from doing this, though technically possible. A cord-connected lamp is designed to be portable and typical lamp cord is not permitted to be used for a permanent connection. Removal of a cord-plug "disconnecting means" could also void the safety certification of the lamp (if any), making it more difficult to collect on fire insurance.
Instead you should have an electrician add a switched outlet and plug the lamp cord into it. Not only is this up to electrical code, but is more versatile in the long run should you or someone else need to change out the lamp. Be aware that code now requires certain locations to have a GFCI for an outlet and most GFCI-integral outlets cannot be installed on a switch, so it would have to be a GFCI breaker on the circuit.
Alternatively, your electrician can find a similar light fixture designed for permanent installation and wire that to the switch, with or without the switched outlet, possibly using "surface raceway". Without the outlet, no GFCI is required.
Addressing some concerns it is capable to switch a GFCI outlet if the correct type is used and more of a concern than adding a GFCI is adding a combination arc-fault circuit breaker especially for use with lamp cords. If you decide on the second route of a surface raceway to a switch it is still recommended to add either a AFCI breaker or a GFCI breaker depending on conditions of installation. the most recent code changes to the NEC require that almost every outlet circuit (lighting or receptacle) be protected by either an AFCI or GFCI.
when the guitar is smashed thats the impact
Try smaller stores, personal/family owned stores, because sometimes big chains will put it on loan, but not very often...
I recommend putting the babe on layaway, its better to own than to rent.
You may want to try GuitarPaintGuys
They have painted 3 guitars for me, and are great folks to work with, and do a really good job.
Pretty in-expensive too. Their regular refinish is only $170, and they even do some abstract and replica guitars too.
i'd advise aginst putting any cereal on your weapon
The frequency of the generated voltage depends on the speed of your engine. I assume it's a gasoline engine. It's probably spinning at about 3600 rpm. You need to get a mechanic to fiddle with the govenor and drop it down to 3000 rpm. 50HZ is 83 percent of 60Hz so you need 83 percent of whatever speed you are currently running. My question is, why bother?
it depends on the strings
lesser quality ones cost anywhere from 3 to 10 dollars
Higher quality strings can cost up to about 20 dollars. theres no set price however. you pay as much as you want to Strings and Beyond is a great site for buying strings and D'addario are a great make of strings. I use D'addario XL .010 - .046 strings and they sound great. They are electric guitar strings though. Elixir strings are also good but for an acoustic guitar instead. For acoustic guitar, a good pair will cost 15-20 bucks. Elixer's are really the best sounding acoustic string you can buy, and they last the longest. After playing Elixer's, everything else will sound dull.
The answer is 100% opinion. It's best to go to a local dealer with a large range to choose from and have the staff plug some in for you to have a play with. Try several to see which one you think works best for you. If necessary, stake out several shops to find your favourite guitar. Also, you can find an ideal guitar by checking out some of the online reviews by professional sites to see what's getting the 5 stars.
Whatever guitar you pick (geddit?), make sure it's your opinion, not someone else's.AnswerPRS guitars. They're very expensive so they're not all that widespread, but they sound and play great. And for a cheap a custom alternative, Carvin matches their quality, with your customization and for half the price. AnswerFor rock: Gibson Les Paul (if you like crappy overpriced guitars) Answerthe two most popular models are:
1. Gibson Les Paul
2. Fender Stratocaster
but... they both suck
The best electric guitar is a matter of choice. Some players like the "rock" sound, using Gibson, Fender, and several other top named rock style, and sounding guitars. With a more mellow type music, such as country, one might choose a different style of Gibson, or Fender, or Gretch. There are many brands, and styles to choose from, however, one of the most popular is the American made, Fender Strat. If you are looking for the best electric guitar, look at the signature series of any company. These are the best players, and their choices of guitars.
They say The reverends are good.AnswerWell-known brands are good - but you also pay through the nose. Many little-known companies make some awesome guitar for an absolute fraction of the cost. Consider Cort and Washburn, for example. Guitar choice is very personal. AnswerThere's no such thing as "best electric guitar". It's very subjective. However, different guitars do have different reputations and perceived strengths in playing different musical styles.
FENDER TELECASTER It has been said in many music publications that "Leo Fender got it right the first time" in regards to the Fender Broadcaster, the forerunner to the Fender Telecaster, the first "production" electric guitar. It set the mold for "solid-body electrics", which have no hollow sound chambers inside the body and no sound holes. Telecasters are known for having a very steely, piercing sound (because of its single-coil pickups, and the bridge pickup which is attached to a metal "ashtray"), and is considered a good, versatile instrument especially strong in country, blues, and for rhythm guitar. Notable players include James Burton, Keith Richards, Eddie Vedder and Chrissie Hynde.
FENDER STRATOCASTER Possibly the most popular and most imitated electric guitar, the Stratocaster is known for its versatility (three single-coil pickups with "phase" options) as well as being one of the first "double-cutaway" guitars, where the body of the guitar is "scooped" on both sides where the neck joins the body, to allow for easier access to upper frets. The Strat usually has a clear, cutting, "hi-fi" sound and have a reputation for being able to handle any type of music. Famous players include Jimi Hendrix, David Gilmour, Eric Clapton and Jeff Beck.
GIBSON LES PAUL In response to the success of Fender's Broadcaster and the concept of "solid-body" guitars, Gibson -- a company which vastly pre-dates Fender -- teamed up with Les Paul to produce his signature model. The Gibson Les Paul's distinctive features include a maple cap combined with a mahogany body, resulting in a sound that is thick (because of the dark tonal qualities of mahogany) but with a good degree of cut (because of the bright maple top). Les Pauls are most used in high-gain rock and roll that requires great volume and thickness in the sound, as well as jazz and blues. It has a shorter scale (24.75") than Fenders (standard Fenders are 25.5"), and the resulting shorter strings tend to be easier for players to bend strings. The Les Paul's combination of a "tune-o-matic" bridge and a "stop tailpiece" (later improvements which were not on the first Les Paul model) also give notes a longer sustain than Fenders, which make the Les Paul a popular choice for players who like to play long, wailing notes. Famous Les Paul players include Jimmy Page, Slash, Joe Perry, Billy Gibbons and Bob Marley.
GIBSON SG The SG was a successor of sorts to the Les Paul. Some players have complained that the Les Paul is too heavy, and upper-fret access is not as easy as on double-cutaway guitars such as the Stratocaster. The result was the SG (which stands for Solid Guitar), a much thinner all-mahogany guitar with "devil horn" double cutaways, bevelled body edges, and greatly reduced weight. The SG is notorious for being "neck-heavy" with a weak neck-body joint and headstock, because the body is so much lighter, so the center of gravity makes the guitar tilt towards the neck and endanger the much more fragile headstock. However, despite this weakness, the SG is known for being a versatile, comfortable guitar, with superb upper-fret access that is especially convenient for slide guitar, and its light weight has made it popular among many female guitarists as well as smaller-bodied men. The most famous SG players are probably Angus Young and Tony Iommi, and Frank Zappa, Robby Krieger and Nina Gordon also relied mainly on an SG. Buck Dharma, Pete Townshend, George Harrison, The Edge, Eric Clapton and Allison Robertson played SGs periodically, and Duane Allman used an SG for his celebrated slide playing.
GIBSON ES-335 A pioneering guitar, the ES-335 and its many variants (such as the ES-345, the ES-355, and the Epiphone Sheraton) are known for combining elements of older, hollowbody jazz guitars with features from solidbody guitars such as the Les Paul. The ES-335 has a solid maple block running down its center, but also has hollow "wings" on the sides of the body to give more resonance, complete with F-shaped sound holes. The result is an instrument that has a more "airy" sound associated with hollowbodies, which promote more "openness" in clean sounds, but also good sustain and resistant to feedback thanks to the solid center block. The ES-335 is popular in rock and roll as well as blues, jazz and rockabilly. Famous players of the ES-335 family of guitars include The Beatles (who played Epiphone Casinos, a variant of the ES-335), B.B. King (who plays "Lucille", an ES-345 with no soundholes), Chuck Berry (ES-355), John Lee Hooker (Epiphone Sheraton), Larry Carlton and Alex Lifeson.
GIBSON FLYING V Gibson's "modernistic" series -- the Flying V, the Explorer and the originally unproduced prototype Moderne) gave birth to the wilder guitar shapes that would become truly popular in the '80s. The Flying V is the most famous of these. With a mahogany or korina body and double humbuckers, the Flying V's sound is aimed towards high-gain rock and metal. The body is complete clear of the neck, which means unrivalled access to the uppermost frets. However, the V shape of the body means that the Flying V (and its later progeny like the King V, Rhoads V and the Dean ML) is nearly impossible to play in a conventional posture when sitting down. The Flying V also has the quirk of almost being able to "stand on its own" when propped against the wall or an amp. While Flying Vs are usually popular with metal players, blues legends Albert King and Lonnie Mack also played one. Kirk Hammett and James Hetfield played Gibson Flying Vs early in Metallica's career. Rudolf and Michael Schenker of The Scorpions and UFO play Flying Vs exclusively; Lenny Kravitz, Marc Bolan and Jimi Hendrix have played Flying Vs frequently, and Dave Mustaine played a "King V" model which, over the years, has been produced by Jackson, ESP and now Dean.
GRETSCH 6120 Gretsch, one of the few companies that can rival Gibson for longevity, is most associated with rockabilly and classic rock. The most famous Gretsch guitar is the 6120, a model developed in association with Chet Atkins, known as one of the best guitar players of all time. The most famous Gretsch guitars are hollow, and feature "Dynasonic" (also known as "DeArmond") single-coil pickups or "FilterTron" humbuckers. Both pickups have a clear, trebly sound, the classic sound associated with rockabilly music. Famous Gretsch players include Duane Eddy, Bo Diddley, Brian Setzer and Neil Young (who used a Gretsch White Falcon early in his career before switching to a Gibson Les Paul).
RICKENBACKER 330 and 360 Rickenbacker's history goes back far and the company may lay claim to producing the first electric guitar, the "Frying Pan", created in 1931. Rickenbacker's heyday was the '60s, when The Beatles' John Lennon and George Harrison both played Rickenbackers early in the band's career, which led The Byrds' Roger McGuinn to play a 12-string electric Rickenbacker 360, an instrument of which McGuinn is considered the master. Rickenbackers have a unique, compressed, midrange-heavy sound with great presence, which produces equally good overdriven and clean tones. The look of the guitar is also unique, with a fingerboard elevated higher than the guitar's hollow body, and distinct soundholes that are unlike the F-holes of the classic American hollowbody guitar. Rickenbackers are especially popular with pop music as well as "jangle" pop, alternative, and "college" rock. Other famous Rickenbacker players include Tom Petty, Peter Buck, Carrie Brownstein, Susanna Hoffs and Per Gessle.
"SUPERSTRATS" The "superstrat" had its genesis in the late '70s and early '80s with the advent of Eddie Van Halen and his fast, technically complex approach towards rock guitar (which had its roots in earlier '70s players such as Ritchie Blackmore and Uli Jon Roth). The very fast playing techniques of this style required a guitar that had a thinner neck and flatter fretboard, low action, and a vibrato bar ("tremolo bar" in Fender terminology) that can handle dramatic changes in pitch without losing tuning. The result is the "superstrat", guitars with a shape loosely based on the Fender Stratocaster, and equipped with Floyd Rose vibratos, locking nuts and a variety of pickup combinations -- high-gain pickups such as DiMarzio and EMG pickups are popular. Mostly associated with heavy metal, the superstrat tends to be coupled with heavy use of effects (such as flanger, phaser, wah and usually much distortion), aiming for a heavily processed, saturated sound rather than more organic, amp-based "vintage" sounds. Later on, the features were extended beyond the superstrat shape to include shapes like the Jackson Rhoads V (named after Ozzy Osbourne guitarist Randy Rhoads), the Ibanez Destroyer, the B.C. Rich Mockingbird and the Dean ML. In the '90s, seven-string versions of the superstrat became popular with the "nu-metal" bands. Notable players of this kind of guitar include Eddie Van Halen, Kirk Hammett, Joe Satriani, Steve Vai, Dimebag Darrell, Chris DeGarmo and Phil Collen. Yngwie Malmsteen, and Richie Sambora played heavily modified Fender Stratocasters in the same vein. Popular modern versions of this kind of guitar include the ESP M series, the Ibanez R series and S series, and the Music Man Axis (which was Eddie Van Halen's signature model at one time).
PAUL REED SMITH (PRS) In the '80s luthier Paul Reed Smith began to make a guitar that incorporated features from both Fender and Gibson guitars. PRS guitars feature a 25" scale length (in between Gibson's 24.75" and Fender's 25.5"), double cutaways, vibrato bridge and body contouring (as on Fender's Stratocaster), and mostly used double humbucker pickups and mahogany or korina woods, sometimes with a maple cap (traits of Gibson guitars). The resulting guitars became possibly the most popular new guitar brand since Fender and Gibson. PRS guitars tend to be expensive (though it has a more affordable foreign-manufactured "SE" line) and feature beautiful woods and elaborate decorations such as "bird" fretboard inlays, and have a stature akin to Gibson's Les Paul in terms of price, desirability, collectibility, and craftsmanship. Famous PRS players include Carlos Santana, Mark Tremonti and Dave Navarro.My answerEither a fender Strat or an ESP Kirk Hammet limited edition or an ibanez S series. My answerThe Epiphone Les Paul custom or Gibson Les Paul custom My AnswerIn my opinion, it's a Fender Stratocaster......best guitar most famously played by the best guitarist (Jimi Hendrix)
Now do not listen to everyone that said fender or Gibson... unless you intend to play country, blues or strictly chord rock.
if you want to take guitar seriously and end up somewhere, in today's world, a fast, clean player is needed, fenders strings are tooooooooo close together and make it difficult to play fast, Gibson has a fat, uncomfortable neck, which limits your playing.
Companies like Carvin, Ibanez, ESP, PRS will get you somewhere.
Carvin- my personal favourite, has a comfortable neck and an awesome sound, and looks great, and they offer quality and customization at a low price, in this case you get more than what you pay for. rock, metal, alternative, blues, funk...
Ibanez- awesome look, awesome sound, and most of all, awesome neck, amazingly thin and easy to play. used for metal, rock, alternative
ESP- the same description as ibanez. used for metal, rock, alternative
PRS- the same description as Carvin. used for rock, metal, alternative, blues, funk...
(but at MUCH higher price than Carvin)
in conclusion, my fav- Carvin, is cheap, custom, good quality, great sound, and extremely versatile.
Electric guitars can cost any thing from £50 to thousands of pounds.
Yes you do need an amp
It is recommended that you physically go into a shop and look at guitars rather than order one over the net.Things to look out for:
Guitars that are in your price range
You feel comfortable playing it
The strings aren't too high off the fretboard (The actionisn't too high)
It sounds pleasing when ran through an amp that is also within your price range
The notes play clearly at every point on the fretboard
You will probably want an overdrive setting on the amp
Play the guitar loud, if it doesn't sound good loud then it's not worth the money, also if the shop owner is uncomfortable with you thrashing the guitar then they know nothing about guitars and you should politely take your money elsewhere
You like its finish (paint job)
It comes with a connection lead, if not you will need to buy one
Build quality is satisfactory
Whammy bars, Floyd roses, Chaos Pads and other pretty add ons are not essential, it is better to buy a cheap basic guitar with a good build quality and sound than a cheap guitar with all the bells and whistles but a rubbish soundRecommendedSchecter Diamond Series Solo-6 Custom (Roughly £350)
Ashland by Crafter (Acoustic)Not Recommended
Fender Frontman 15R (Amp) (Roughly £80)RememberNo two guitars will sound the same (even the same brand and make) and the same guitar will sound different for when played by different guitarists, so don't take anyone's word for it or just watch the shop owner play guitars. Always have a go and find one you like the feel and sound of.
a lil around 700
I have never seen one go for $700 in the 38 years I have been in the music industry.
Depending on the condition of the instrument, whether or not all parts on the instrument are original, the particular model, and the playability of the guitar will determine the market value.
If you do a completed listings search on ebay, you will see what the market will bear on a 60's Decca. Here is a completed listings link as of 07-01-12
the only way that these guitars get up over $500 is if someone famous has played that particular guitar and it comes with COA (Certificate of Authenticity) that is signed and notarized.
hope that helps.
1) you can install a new processor if a) your motherboard will support it b) it is the right type of socket or slot
2)you do not need to re-install anything for a new processor.. the only time you need to re-install is when changing hard drives
3)a faster CPU may help, depending on to what type it is, and sometimes more ram does the trick also..
Yes, it may give you a message when you boot into Windows after the installation of the new hardware saying, "Change in Hardware, please reactivate Windows," and all you have to do is give Microsoft a call and they'll activate it for you.
all guitars are fender
They allow the bridge to flex in order to use the whammy bar to bend the notes.
most stores only charge you for the strings, however if they do charge it will be no more than 5 U.S. dollars, but restringing is fairly easy, so if you want to refrain from paying to have some one else do it just do it yourself the strings are made long on purpose so if what your afraid of is cutting them too short, you have nothing to worry about
If your Lyon electric has the patch cord jack on the bottom side of the body, not the top like s fender strat, and the over all condition is like new or mint - I would estimate the value between $90.00 - $110.00. Reality will probably set the price $20.00 below the price stated.
They are made in China. Mitchell is Guitar Centers House Brand just like Rogue is Musicians Friends house brand. Mitchell is a better quality guitar than most guitars in it's price range and the low action makes playability much easier.
I have a Mitchell MD-100S in front of me (btw, by far the all around nicest entry-level priced guitar I have ever seen) which states on the inside label "This instrument was designed and engineered in California, and has been [built - sic!] to exacting specifications by Javanese Craftsmen in Indonesia." The logo is WFM. They must be sold more widely than only Guitar Center, as I got mine brand new through Musician's Friend. ------- Guitar Center owns Musician's Friend.
dingy dingy you make em singy
Today we pretty much take it for granted that if you want an inexpensive guitar, you're going to buy one made in Korea, Taiwan, Mexico, Indonesia, China, maybe even India. And you have to admit that, for the price, what we get is pretty darned good. In fact, these days, where a product is made is almost irrelevant to the consumer. We're in a global economy; McLuhan's global village instantaneously connected with e-mail.
Now, youngsters, take note. This wasn't always the case. Indeed, from the middle of the 19th Century until the 1960s, inexpensive guitars were the province of American mass manufacturers with names such as Haynes, Lyon & Healy, Regal, Stewart, Oscar Schmidt, Harmony, Stromberg-Voisinet, Kay, Valco, and the United Guitar Company. How did we arrive at our current state of affairs, and who is responsible?
"How" is a long, interesting discussion that covers most of the last century or two and that we'll have some other time. "Who" is a little easier. While there may have been a handful of intrepid pioneers who began developing international guitar manufacturing, it's no exaggeration to say that no one has had a bigger impact on the globalization of guitars than Mr. Jack Westheimer - one of the pioneers of global guitarmaking. Among the brands associated with his activities are Kingston, Teisco, Teisco Del Rey, Silvertone, Emperador, Cortez, and Cort, not to mention a host of other monikers that have graced guitars coming from the Cort factory. Even if you haven't played one of these guitars, there's a good chance that if you've ever played a decent-quality beginner import, you've played a guitar associated with Westheimer.
In fact, Westheimer was one of the earliest (and most influential) importers to cultivate Japanese manufacturing in the years surrounding 1960. And it was Westheimer who, along with folks like Jerry Freed and Tommy Moore, brought Korea to the point where today more than half of all guitars made in the world come from that Asian peninsula.
VG recently had the pleasure of a number of long conversations with Westheimer, and we'd like to share some of what we learned, and use the opportunity to document the brand he's currently most associated with - Cort. Some of what you are about to read will correct previous misinformation that has been perpetuated here and by other sources.
Westheimer didn't set out to get into the music business. It was kind of an accident. He went to college in the early 1950s and upon graduation went to work for World Wide Sporting Goods, Chicago, a company involved in the import/export trade. Shortly thereafter, Uncle Sam came knocking, and Westheimer was drafted into the Navy, where he served from 1955 to '57. Following his hitch, he returned to the gig at World Wide. However, this career path was not to be. In 1958 the firm was sold to Lionel, the electric train outfit, and Jack was given his walking papers.
About a month and a half later, his old boss, Bill Barnet, was also given the boot, and he contacted Jack about going into business. That sounded fine to Jack, and they became partners in what would soon become Westheimer Sales Company. The only problem was they hadn't really figured out what business to go into. It was about that time that Harry Belafonte and Caribbean music were coming on strong, so in a way you can say that Belafonte was indirectly responsible for the avalanche of Japanese guitars that was about to begin... Belafonte, whose most memorable tune was probably "Day-O," was tangentially associated with the burgeoning folk revival gaining an audience in the late '50s. The popularity of Belafonte, coupled, no doubt, with the somewhat related "beatnik" craze (poetry, dark sunglasses, coffee houses, and guitars), caused a surge in demand for bongo drums. Jack and his former boss decided to start a business importing hand-tunable bongos made by Pearl in Japan.
The budding bongo boom quickly expanded into importing drum kits made by Pearl. This, of course, put Jack in the right place at the right time. It became immediately apparent that a guitar boom was looming, and he had excellent connections in Japan. The problem was that Japanese guitars were fairly primitive at the time (remember Aria?). Recall that Shiro Arai brought over some higher-quality Japanese acoustics in the early '60s, only to have them explode when subjected to winter heating systems due to inadequate seasoning of the timbers.
In any case, around 1959 Westheimer began to see enough improvement in Japanese guitar quality he thought the time right to begin importing. To assure quality, he took an approach that would later be used successfully by some other importers. He offered the guitarmakers more money if they'd improve the quality. Westheimer imposed what's known as the 80/80 quality test, a litmus test based on Sears-Roebuck quality standards. This meant that guitars had to survive 80 percent humidity at 80o Fahrenheit for three to four days. Westheimer introduced the concept of a truss rod to Japanese guitarmakers. And ca. 1959, Westheimer Sales began importing Kingston acoustic guitars (made by the Terada Trading Company) from Japan.
Westheimer was not the first to import guitars from Japan, but was certainly the first significant player in this new enterprise. Westheimer recalls that some of the earliest Japanese guitars were imported by a Mr. Rose, who specialized in selling to pawn shops. Also, the St. George brand had begun before his Kingston brand. Marco Polo is another brand that got going at about this same time, certainly importing Japanese-made guitars by 1960, if not earlier. Buegeleisen and Jacobson, the big New York distributor had opened its Kent subsidiary in early 1960, but at first its focus was on microphones and guitar accessories, coming to guitars a year or so later.
Most early Kingston acoustics were humble beginner guitars, which was their intent. Few reference materials are currently available regarding these early Kingstons, so no detailed accounting is possible at this time. Westheimer recalls that they were very similar to Harmony's Stella line, with which, of course, they were competing.
A sneak peek is provided by an undated (probably '64) Imperial catalog. Imperial was a Chicago-area accordion manufacturer that got into guitars in ca. '63, first selling Italian-made guitars, but quickly adding Japanese models to its rather eclectic line. Shown in this catalog (along with a Galanti Grand Prix, an Italian guitar imported by Frank Galanti, another Chicago accordion manufacturer) was a Teisco SD-4L (Imperial SW4), obtained from Westheimer, plus a guitar, mandolin, and two ukes with the Kingston brand. The guitar was the 3/4-sized Model S503 Student Guitar, clearly inspired by a Stella. This had a mahogany-shaded finish with fake flame "graining," white pickguard, simple adjustable bridge, and stamped trapeze tailipiece. The mandolin was a flat-backed pear shape. The Model No. 16 Ukulele was made of hardwood, stained brown (with the fake flame), and a plastic fingerboard. The Model B6 Baritone Uke actually bore the Exotica brand name, but was also a Kingston and was similar to the No. 16.
One innovation Westheimer introduced to his Japanese makers was the use of a steel T-bar for reinforcing necks. In the past there was a lingering perception that many Japanese acoustics from the '60s had bolt-on necks. In reality, most had glued-in necks. It was, as far as we know, the American Kay company that began employing bolt-on necks for some of its acoustic models in the early 1960s (so did Valco, but they were never a major factor in acoustics). In any case, the Kingstons were successful from the beginning, fuelling the growing demand for acoustic guitars as the folk revival gained steam amongst maturing babyboomers.
Westheimer and the SG
One of the more amusing anecdotes Westheimer relates is his connection to the Gibson SG. As he tells the story, there was a Gibson employee named Walter DeMarr who retired in around 1960, at age 70 or so, and moved from Kalamazoo to Chicago. Westheimer met DeMarr and hired him to do some consulting work. Westheimer was looking for a new shape for electric guitars. DeMarr, as it turns out, was in possession of a prototype for a new Gibson guitar with double cutaways, pointed horns, and a bolt-on neck. Gibson, never a bolt-neck kind of company, didn't know how to produce the guitar. DeMarr used the basic shape of the prototype to sketch out a new design for Westheimer with more rounded horns. Jack took this design to Kawai whose Hanshu plant proceeded to produce the Kingston A2 or S2 (two pickups) and A1 or S1 (one pickup) guitars and the AB1 shortscale bass which were introduced in 1960. These were produced in both a three-and-three or a six-in-line headstock versions. They had mahogany bodies and a metal pickguard that held the pickups under the strings. Pickups were the chunky chrome-covered single-coil kind with angled corners. There was an adjustable bridge (not compensated) and a covered stop-tailpiece. The Kingston S1 was featured in the previously mentioned Imperial catalog, as was a three-pickup version of same.
In very late 1960, Gibson's first SG-shaped Les Pauls were introduced, glued neck versions of the DeMarr prototype. So in a funny kind of way, the SG was more or less simultaneously launched in both Gibson and Kingston versions!
In late '59 or early '60, Westheimer also began to import Teisco electric guitars made by Teisco in Japan. These earliest Teiscos were plain Teisco-brand (not Teisco del Rey). Teisco was founded in '46 by Hawaiian and Spanish guitarist Atswo Kaneko and electrical engineer Doryu Matsuda. Teisco was the brand name put on domestic instruments and the company was called Aoi Onpa Kenkyujo (roughly translated: Hollyhock Soundwave or Electricity Laboratories). Early Teiscos included Spanish guitars, lapsteels, and amps, the guitars frequently reflecting the influence of Gibson. In '56, the company changed its name to Nippon Onpa Kogyo Co., Ltd., although instruments continued to be called Teisco.
By the end of the '50s Teisco had clearly become interested in exporting guitars to the U.S. They apparently sold some to the aforementioned Mr. Rose. In any case, through his connections with Pearl and the Japanese music industry Westheimer hooked up with them and began to bring in Teiscos. By this time Teisco had begun to make the transition from its Gibson influences to a more Fender-esque styling, approaching the Jazzmaster shape. Westheimer's Teisco imports also met with success, and were soon outstripping acoustics in sales.
Westheimer Sales invested a lot of engineering expertise into the development of Teisco guitars and by the mid '60s their quality had grown by leaps and bounds. A number of key events converged in '64. For one thing, the company that made Teiscos changed its name again to Teisco Co., Ltd. Also, Westheimer changed the name of the Teisco guitars he was importing to Teisco del Rey, the brand most commonly seen. And finally, the Beatles arrived and the mad rush from acoustic guitars to solidbody electrics got underway. Thus began the golden age of Teisco de Rey guitars. But not necessarily for Jack Westheimer...
Weiss Musical Instruments (W.M.I.)
The primary area of confusion surrounding the Teisco story and Jack Westheimer comes at this point and involves the complication of W.M.I., best known as the importer of Teisco del Rey guitars. The confusion is easy to understand because you have guitars coming from the Teisco factory carrying both the Teisco and Teisco de Rey brand names, and because the two importing companies involved are Westheimer Sales and W.M.I., which many of us have assumed stood for "Westheimer Musical Instruments." Not so. Let's sort this thing out, once and for all.
As we've discussed, Westheimer Sales did, indeed, pioneer the importing of Teisco guitars made by the Teisco factory in Japan. And Westheimer did, indeed, coin the Teisco del Rey name ca. '64. However, in '65 events transpired that separated Westheimer from the Teisco connection.
First of all, the success of Beatlemania and the British Invasion, plus the American folk rock response, collided with the first babyboomers pouring into their teen years to create a huge demand for guitars. All sorts of companies saw gold in them thar' hills, and started snarfing up guitar-related companies. CBS bought Fender. Baldwin bought Burns, then Gretsch. Seeburg bought Kay, then Valco bought Kay. Norlin bought Gibson. Even Westheimer's new competitor, Strum & Drum, was begun by the Sackheim family, which had cashed out of a nuts-and-bolts business and went into guitars.
In fact, even Westheimer Sales was caught in the acquisition web. Barnet, Westheimer's partner, was interested in leaving the Chicago area for his hometown down near St. Louis and an opportunity arose for him to purchase a Volkswagen agency. As Westheimer recalls, Volkswagen franchises were goldmines in those days, requiring a minimal sales force because people were putting down deposits and waiting for their cars to arrive. Westheimer Sales had caught the eye of one of the big trading stamp companies, King Korn. This was that long-lost era when you got trading stamps at the grocery store or when you bought gas, you pasted them into little books, and when the books were full you could redeem them for stupid merchandise (S&H Green Stamps was probably best-known). Anyhow, King Korn purchased Westheimer Sales, with Westheimer installed as president and Barnet off to southern Illinois to sell VW bugs.
Another pair of fellows who also set their sights on selling guitars at this time were Sil Weindling and Barry Hornstein. Both had been involved with Hornstein Photo, a large Chicago-area multi-location wholesale and retail photography business owned by Hornstein's father, Al. In any case, Hornstein Photo was purchased by another company and Weindling and Barry Hornstein found themselves flush with cash and looking for a new business venture. Weindling and Hornstein hooked up with an employee of Jack Westheimer's named Sid Weiss. Weiss' specialty was importing cellos from Germany, but he convinced Weindling and Hornstein that he had the Japanese connections to mount a guitar-importing operation. He was recruited as the front man, and in '65, Weiss Musical Instruments (W.M.I.) was born.
Immediately thereafter, W.M.I. began importing Teisco del Rey guitars purchased from Teisco. Westheimer could have objected to the use of his brand name, but the advent of W.M.I. coincided with increasing supply problems with Teisco; i.e., Teisco was unable to supply sufficient quantities for Westheimer's needs. Westheimer basically let the Teisco del Rey brand name go, allowing W.M.I. to market them.
According to Westheimer in an interview conducted with Dan Forte (a.k.a. Teisco Del Rey, just to keep you on your toes) in Guitar Player magazine, Westheimer and company's concern were working on improving the quality of the instruments. The forte of W.M.I. was flash design and marketing. The fancier Teiscos with the striped metal pickguards and colorful finishes generally date from the later 1960s and were done in conjunction with W.M.I., not Westheimer.
Back at W.M.I. it quickly became apparent to Weindling and Hornstein that Weiss' expertise was, alas, in German cellos, not Japanese electric guitars, and he was in over his head. Not long after W.M.I. was formed, Weiss left the company, leaving Weindling and Hornstein in control of the business until they sold it in 1980.
Weindling and Hornstein continued to import and market Teisco del Rey guitars until around '72. But in '68 the guitar boom came crashing down, and demand was finally satisfied. A number of Japanese companies went out of business. In the U.S., Valco-Kay went belly up, marking the end of America's dominance of budget guitar manufacturing. In August '69, the Valco/Kay assets were auctioned off and W.M.I. purchased the rights to the Kay brand name. W.M.I. began to slowly transition Teisco del Rey guitars to the Kay brand name, which gave them greater credibility with dealers. This change was completed by around '73 and the Teisco del Rey name then disappeared. This explains why you will occasionally see a Teisco guitar with a Kay logo.
Be that as it may, this should now clear up the confusion that has hitherto surrounded Westheimer Sales Corporation, W.M.I., and the Teisco and Teisco del Rey brand names.
Several years ago Westheimer regained the rights to the Teisco del Rey name, though it is currently not in use.
After the handoff of the Teisco del Rey brand to W.M.I., Westheimer refocused his energies on the Kingston brand name, which he began to apply to acoustics and electrics in '65. Again, few reference materials are available, so any detailed accounting of Kingston guitars is impossible, but the majority of the electric Kingstons were probably sourced from Kawai, a piano company that began making guitars around '56, getting into solidbody electrics in the early '60s, like everyone else.
By '65, when Westheimer began working with them and not Teisco, Kawai was using distinctive, fairly large, chunky single-coil pickups on its electrics. Some early units were chrome-covered with angled corners. Others had chrome sides, a black plastic insert, and round, flat polepieces. The Kingston logo came in a number of forms, including as stenciled block letters, a small oval decal parallel to the nut, in a molded plastic piece of script, and sometimes molded plastic script superimposed over a kind of crown-and-shield design. Not enough is known to draw any dating conclusions from these logos.
It's not known how much of the Kawai electric line came here as Kingstons, but both small-bodied Jazzmaster-style and inwardly pointing Burns-style double-cutaway solidbodies have been sighted. All were Kawais.
The small Fender-style guitars had an extended upper horn with the lower cutaway sloping backward, sort of like a Fender Jazzmaster. This was probably a version of the Kawai S-160. All we sighted had the sort of truncated Strat-style headstock featured on Kawais (and Kingstons) at the time. The fingerboards were bound with dot inlays. Several Kawai configurations exist, including versions with chrome control housings above and below the strings and with a matte-finished aluminum pickguard, both with a pair the chrome pickups with angled corners. One Kingston version, probably from around '65, had on/off rocker switches and a covered stop-tailpiece. Another has been seen with sliding on/off switches on the treble side and a typical Japanese Jazzmaster-style vibrato. Kawai also made three and four-pickup models; you may find Kingston versions of these, as well.
Other Burns-style Kingston models have been seen, also with direct Kawai analogs. These were basically Kawai's SD series, with inward-turning pointed offset double cutaways, bolt-on necks, bound fingerboards, plastic mini-block (really elongated oval) inlays, and covered vibratos. One Kingston model was a version of a '65 Kawai SD-4W with four of the chrome-with-angles pickups mounted on a matte aluminum pickguard. On/off switches were paired rockers above the strings. The headstock was a deeply hooked Fender-style with a little scalloped piece of metal under the tuner collars. A little chrome plate sat under the strings. Controls were four volumes and a master tone. Two other models have been seen, these probably from slightly later, with the truncated headstock design, tortoise pickguards and sliding on/off switches (versus rockers). One model had three pickups, evenly spaced, like a Kawai SD-3W, while another featured one at the bridge and two side-by-side up near the neck. Many of these were in a black-to-red two-tone sunburst, but others have been seen in white, and other colors were undoubtedly employed.
Kingston thinline hollowbodies from the '60s have also been sighted, also clearly the same as sold by Kawai, with the same chunky chrome-and-black single-coils. Westheimer does not recall that hollowbodies were actually made by Kawai, although they had a small factory that may have produced hollowbodies; otherwise they were probably sourced from the same Japanese factory that supplied Kawai. One model had equal pointed double cutaways, two f-holes, elevated pickguard, adjustable bridge, and trapeze vibrato tailpiece. Controls were on a triangular metal plate on the lower bout, typical of both Kawai and Teisco guitars of the late '60s.
Ca. '68, Kingston offered a violin-shaped hollowbody that was almost identical to a guitar marketed by Kawai as their model VS-180, a design borrowed from the successful Italian EKO company. The model in hand was finished in white, with a three-and-three head with an extended point on the bass side, bound rosewood fingerboard, little plastic mini-block inlays, two of the chunky Kawai pickups, three-way select, f-holes, a pickguard that followed the edge contours of the waist, and a trapeze vibrato, all features typical of other Kawai models of the time, reinforcing the notion that Kawai was the main source for Kingston electrics.
At least one Kingston violin bass model was available by '68, again a Kawai. This was pretty much the companion to the guitar, with the same bass-side peak to the head. Except for having a three-tone sunburst finish, a covered stop bridge/tailpiece assembly, and controls mounted on a squiggly tortoise plate on the lower bout, this was virtually the same as the guitar.
Another Kingston violin bass has also been sighted, sticking a little closer to the Höfner original, with two Höfner-style "staple" pickups. This had a brown sunburst finish, with a bolt-on mahogany neck, a French curve on the head, and a 22-fret rosewood fingerboard with dots. This bass did not have f-holes. Controls were mounted on a rectangular plate on the lower bout, with volume, tone, and three sliding switches, function unsure. This could be a Kawai product (Kawai was one of the few major Japanese makers to use the little sliding switches, versus either rockers or three-ways), but it also smacks of Aria. Aria was using the "staple" pickups by the late '60s, though most Arias employed three-way toggles. So who knows?
There were also Kingston amplifiers, all typical of late-'60s Japanese solidstate amps; small and lightweight, with top-mounted controls. Some, at least, were covered in black tolex with black-and-silver grillcloths, metal Kingston logo and vinyl strap handle. These were built specifically for Westheimer by a small electronics factory in Japan.
By the late '60s/early '70s, Kingston acoustics had come a long way from the smallbodied guitars of a decade earlier. Again, few reference materials are available, however, as can be seen by the example shown here, there were now dreadnoughts inspired by Gibson, at least. This particular guitar (called a V-4 in later versions) has a solid spruce top, glued-in neck, kind of a Gibson headstock (decal logo and design), tuners with fancy plastic buttons, gold hardware, and actually a complete finetune bridge set into a massive mustache bridge, similar to late-'60s Harmony Sovereigns. The pickguard has a groovy mockingbird design, suggesting a Dove. The rosewood fingerboard (rounded end, typical of Japanese guitars before '73) is bound with double arrowhead inlays. However, the coolest feature of this particular instrument is the body, which is a laminate of flamed maple, finished in that ugly red/orange that only came on Japanese guitars of this era. Clearly, this guitar reflects considerable, if eccentric, progress.
Another model is a 12-string with a thick dreadnought shape, mini-block plastic inlays, trapeze tail and leopard plastic pickguard. The plastic Kingston logo was superimposed over a shield. More traditional Martin-style dreadnoughts are seen, often with the Gibson-style adjustable metal-and-plastic saddle in the pin bridge. Presumably there was a range of acoustics in all sizes and appointments. Whether these, too, were made by Kawai is likely but unknown.
By the late '60s, Westheimer had become one of the four largest importers of guitars from Japan, in company with other Chicago-area outfits W.M.I. and Strum & Drum (owned by Norman and Ron Sackheim, selling Norma guitars).
The irony mentioned earlier? The irony of Westheimer's Kingstons coming from Kawai, while W.M.I. assumed control of Teisco del Reys, is that in January of '67 Kawai purchased Teisco, so even though Westheimer parted ways with Teisco in '65, he ended up doing business with the company that would consume Teisco.
1974 Kingstons, Plus?
A glimpse of Kingston products can be seen in a 1974 Harris-Teller catalog. Curiously enough, these guitars surrounded a tipped-in Terada catalog. Terada, you'll recall, was the original source of the original Kingstons 15 years earlier. During this period Terada guitars were distributed by Westheimer. No logos are seen on many of the instruments, however, some clearly bear the Kingston logo. Definite Kingstons include the No. U17 Standard Uke (mahogany, plastic fingerboard), No. B7 Professional Baritone Ukulele (mahogany, wooden fingerboard), No. T402 Steel String Acoustic (spruce, mahogany, decal rose, dots) and No. N3 Concert Size Classic (spruce, mahogany, dots). Several other acoustics, including a hummingbird dreadnought and a pear-shaped mandolin, bear no logos but are probably also Kingstons. Several other instruments might also be Kingstons, a couple of banjos, a couple thinlines (EA 300T, EA 500T), and several short-scale Fender-style guitars and basses (A-100, A-200, EB 200, EB 400).
As we shall discuss shortly, manufacturing in Japan became increasingly expensive as the 1970s dawned and Westheimer expanded his operations to include Korea as a source for his guitars. Beginning in around 1975 the economy Kingston models came from Korea, whereas the better models continued to be made in Japan.
1977 Korean Kingstons
A snapshot of the Korean Kingston line is provided in an undated catalog produced ca. '77. Shown are nine solidbody electrics, six solidbody basses, 12 acoustic steel-strings, and three classicals. Interestingly, the guitars don't have logos. Also, some model designations will be recalled when we get to documenting Cort.
Reflecting the "copy era," which was still going full-steam at the time, all but two of the '77 Kingston solidbodies were budget copies of American guitars. All had bolt-on necks and all but one came in plywood bodies with sunburst finishes. Most came with individucal covered tuners. The LP-2YS, as you might guess, was the top of the line, a Les Paul Custom copy with an arched cherry sunburst top, open-book head, bound rosewood fingerboard, plastic blocks, and a pair of chrome-covered humbuckers. The LP-2C was a downscale brother with a slab body, no binding, dots, wrap-around bridge/tailpiece, and controls mounted on a moon-shaped piece of plastic on the lower bout. There were two Strat copies, the Stat 2 (a name that would reappear on Cort guitars) and the Stat22N. The Stat 2 came with a maple fretboard and covered vibrato. The Stat22N was the sole solid wood guitar with a maple body finished in clearcoat. The S-250 was an SG copy, again with an open-book head, no binding, dots, adjustable bridge (no saddles), and faux-Bigsby. Pickups were controlled by two sliding switches. The S-200 was similar but with a "standard" tremolo, probably a simple Japanese-style unit. The S-100 had only one pickup and a stop-tail.
The B-200T was the only "unique" design, with two rounded, slightly offset double cutaways, similar to many other Korean-made guitars of the '70s (Teisco, Kay, Hondo, etc.). The head was an adaptation of a Strat-style on a short-scale neck. The two pickups were, indeed, similar to the DeArmond-style used on Teiscos, sitting on a laminated tortoise guard. This had the adjustable bridge and standard vibrato. The B-100 was similar but with a single pickup and stoptail.
Similarly, all but two of the '77 Kingston basses were modeled on the Fender design, again all plywood with sunburst finishes save two. Fender-style basses included the JB-2, a Jazz Bass with two pickups, rosewood board and plastic block inlays. This came in a blond version with a solid maple body called the JB-21N. The PB-1 was a Precision Bass with one pickup, rosewood board, and dots. The PB-2N was the same, but again in solid maple and blond. The MB-2 and MB-1 were basically bass versions of the B-200T and B-100 guitars, with a Gibson-style two-and-two open book head, and two or one pickups, respectively.
'77 Korean Kingston acoustics consisted of a couple folk guitars and a series of dreadnoughts based on Gibson and/or Martin models. All had Martin-style headstocks. The folk models were the F-75, a grand concert with a maple top and body, hardwood fingerboard, dots, pin bridge with adjustable saddle, and a Martin-style pickguard. The binding was painted on. The V-1 was similar except for having a laminated spruce top, NATO body, celluloid body binding, and rosewood fingerboard and bridge. There were five "mini jumbo" guitars, slightly downsized dreadnoughts. Three models came in all-maple plywood, with rosewood fingerboards and bridges (adjustable saddles), dots and painted trim (except for a celluloid rose). The #745 had bookmatched brown engraved gaudy hummingbird pickguards. The #770 had a Martin-style pickguard. The #745S had twin fancy red painted hummingbird 'guards. The V-3 mini jumbo was spruce and NATO in a red-to-yellow sunburst with celluloid top binding and only one of the fancy red hummingbird pickguards. The #86 was similar to the V-3 except for having a natural finish, Martin-style guard, and triple celluloid top binding.
Full-sized dreadnoughts included the V-4, identical to the V-3 except for having plastic block inlays, the V-2, big brother to the #86, and the V-2-12, a 12-string version of the V-2 (trapeze tail added for stability). The top of the '77 Korean Kingston line were the W-10 and W-11 dreadnoughts. The W-10 had a spruce top and curly maple plywood body, bound maple fingerboard, black dots, bound body, Martin-style guard, and blond finish. The W-11 was similar except for having a laminated rosewood body, with a three-piece rosewood/maple/rosewood back, and a rosewood fingerboard with plastic block inlays.
Three classicals finished the line. These all had steel-reinforced necks, by the way. The C-60 was spruce and maple plywood, with painted trim but an inlaid mosaic rose. The C-70 added a NATO body, a mosaic strip on the head, and gold tuners. The C-120 added rosewood to the C-70.
The Kingston name would continue to be used on a variety of guitars made either in Japan or Korea until around '83. It would resurface again in the very late '80s or early '90s on generic low-end Fender-style guitars of unknown Asian manufacture. One model was a slightly offset double-cutaway bass with pointed horns and an elongated four-in-line headstock, 20-fret rosewood fingerboard with dots, with one split-coil pickup, one volume and tone control, and bridge/tailpiece assembly. By '94, the Kingston was appearing on "high volume, low end, acoustic guitars," probably of Indonesian origin. These included the D40 (OM shape in natural, black, blue, or tobacco sunburst), AG10 dreadnought, and four decreasingly sized slothead folk guitars (number reflecting the length), the DT38N/S (nylon or steel strings), DT36N/S, DT34N/S and DT30N/S.
This is a highly imperfect accounting of Kingstons, but since they do continue to come up at online auctions with considerable frequency, at least now you have a start for understanding their context.
Teisco del Rey and Kingston were not the only brand names associated with Jack Westheimer. Another, which would have added significance today, was Cortez. Cortez would be important because it's from that moniker that today's Cort brand derived, in abbreviated form.
The Cortez brand name dates back to around '60, and the beginning of our tale. The Cortez brand was given (by Westheimer) to a line of good-quality Martin-style dreadnoughts manufactured in Japan by the Hiyashi (or Yashi?) factory. Westheimer dispatched some of his staff to visit the factory and work with them to develop the product, resulting in Cortez acoustic guitars. Remember, guitars were still called Spanish guitars in those days, an appellation that has fallen by the wayside; hence, the "Spanish" names like Cortez and del Rey. According to Westheimer, Hiyashi was one of the top Japanese acoustic factories, and it was responsible for many Cortez and Emperador acoustics. Hiyashi was bought out by Pearl sometime in the early '70s and that marked the end of its glory days.
Again, no reference materials are available to document Cortez guitars in detail.
Westheimer recalls one acoustic/electric model made by Hiyashi carrying his Emperador brand that was actually played by the Everly Brothers. Fewer than 180 of those guitars were imported because they just didn't catch on. One day, the Everly Brothers' manager called Westheimer to see if any more could be obtained because the Everly's guitars had run into repair problems. Westheimer was able to locate several examples in various warehouses and got them to the crooners. He still gets requests for that guitar.
Most Cortez guitars have fallen into a "copy" vein - Strats and Les Pauls. The latter came in both bolt-neck and set-neck versions, many made by Matsumoku, the factory responsible for many of the better Aria guitars, as well as the Electra, Westone, Univox, and Westbury brands. Matsumoku also made sewing machines, and was purchased by Singer in 1987, after which the guitarmaking operation was closed.
There are also some Cortez copies of the Gibson ES-175 that appear to be similar to Japanese-made Venturas of the time.
Cortez guitars were always made in Japan, never in Korea. The Cortez brand remained active at least until '86, although it may have lingered another year or two.
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I currently have my 1996 Nissan Maxima at the dealership (or shall I say "stealership") replacing a faulty speed sensor. Like you, I thought the only speed sensor was attached to the transmission. It turns out there is another behind the dash. Where, exactly, I am not sure, but reportedly they will log a couple of hours in to get to it. Of course, they said the same thing for the knock sensor that was bad, and according to others that takes a skilled mechanic only 15 minutes to replace. Go figure.
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