1.
Headstock
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A headstock or peghead is part of a guitar or similar stringed instrument such as a lute, mandolin, banjo, ukulele and others of the lute lineage. The main function of a headstock is to house the pegs or mechanism that holds the strings at the head of the instrument, at the tail of the instrument the strings are usually held by a tailpiece or bridge. Machine heads on the headstock are commonly used to tune the instrument by adjusting the tension of strings and, consequentially, two traditional layouts of tuners are called 3+3 and 6 in line tuners, though many other combinations are known, especially for bass guitars and non-6-string guitars. When there are no heads, the guitar headstock may be missing completely. The headstock may be carved separately and glued to neck using some sort of joint, there are two major trends in headstock construction, based on how the string will go after passing the nut. The advantages and disadvantages of both trends are very debatable and subjective, so these two variants are used, Straight headstocks form a plane with a flat surface of neck. This makes neck and headstock easier to manufacture, they can be constructed from a piece of wood. Fender usually uses non-angled, straight headstocks, because of the low angle of the string over the nut, string trees may be used to avoid the string coming out of the nut while playing. Angled headstocks form some kind of angle with a surface of neck. The value of magic angle that gives the best tone and stability is also very debatable, but it is usually in a range from 3° to 25°. Fragile construction is cited as a disadvantage of each style too, single-piece necks are more likely to break on occasional hit and are harder to repair, apart from its main function, the headstock is an important decorative detail of a guitar. It is the place where overwhelming majority of guitar manufacturers draw their logo, some guitars without machine heads have a headstock for purely decorative reasons. Most major guitar brands have signature headstock designs that make their guitars or guitar series easily recognizable, on some electric guitars and basses the finish used on the body is also applied to the face of the headstock. Generally, matched-headstock models carry a premium over their plain counterparts due to the extra processes involved in the finishing process. Although Fender no longer offers matched headstocks on production models made in the United States or Mexico, generally, a guitar is only considered to have a matching headstock if the guitar is usually produced without matching body and headstock finishes
2.
Tuning peg
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A tuning peg is used to hold a string in the pegbox of a stringed instrument. It may be made of ebony, rosewood, boxwood or other material, some tuning pegs are ornamented with shell, metal, or plastic inlays, beads or rings. Turning the peg tightens or loosens the string, changing the pitch produced when the string is played, a pegbox is the part of certain stringed musical instruments that houses the tuning pegs. Friction pegs are most often used on violin family instruments They are also used on instruments, such as the Bulgarian gadulka. A properly working peg will turn easily and hold reliably, that is, modern pegs for violin and viola have conical shafts, turned to a 1,30 taper, changing in diameter by 1 mm over a distance of 30 mm. The taper allows the peg to turn more easily pulled out slightly. Peg dope is a used to coat the bearing surfaces of the tuning pegs of string instruments. Manufactured varieties are sold in either a small stick, a block. A commonly used home expedient treatment involves soap and chalk, in varying proportion depending on whether the peg tends to slip or stick, Peg dope serves two different purposes. It both lubricates the peg shaft so it easily in the pegbox and provides friction to keep the pegs from slipping with the force of string tension. Tuning pegs that are fitted and properly doped will both turn smoothly throughout an entire rotation and hold firmly wherever the player wishes. Without the proper amount of friction to hold the peg in place, string instruments with pegs that are slipping can be tuned briefly, but will be out of tune within minutes as soon as the peg slips again. With too much friction, adjusting the tuning at all is impossible, if the pegs or their holes are not perfectly round, or if the bearing surfaces of the pegs are indented from wear, peg dope will not remedy the resulting problems. Pegs for double bass and guitar family instruments are usually geared, machine head Peg shapers and pegbox reamers in various tapers
3.
Double bass
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The double bass, or simply the bass, is the largest and lowest-pitched bowed string instrument in the modern symphony orchestra. It is an instrument and is typically notated one octave higher than sounding to avoid excessive ledger lines below the staff. The double bass is the modern bowed string instrument that is tuned in fourths, rather than fifths, with strings usually tuned to E1, A1, D2. The instruments exact lineage is still a matter of some debate, the double bass is a standard member of the orchestras string section, as well as the concert band, and is featured in concertos, solo and chamber music in Western classical music. The bass is used in a range of genres, such as jazz, 1950s-style blues and rock and roll, rockabilly, psychobilly, traditional country music, bluegrass, tango. The double bass is played either with a bow or by plucking the strings, in orchestral repertoire and tango music, both arco and pizzicato are employed. In jazz, blues, and rockabilly, pizzicato is the norm, Classical music uses just the natural sound produced acoustically by the instrument, so does traditional bluegrass. In jazz, blues, and related genres, the bass is typically amplified with an amplifier and speaker, the double bass stands around 180 cm from scroll to endpin. However, other sizes are available, such as a 1⁄2 or 3⁄4 and these sizes do not reflect the size relative to a full size, or 4⁄4 bass, a 1⁄2 bass is not half the size of a bass but is only slightly smaller. It is typically constructed from several types of wood, including maple for the back, spruce for the top and it is uncertain whether the instrument is a descendant of the viola da gamba or of the violin, but it is traditionally aligned with the violin family. While the double bass is nearly identical in construction to other violin family instruments, like other violin and viol-family string instruments, the double bass is played either with a bow or by plucking the strings. In orchestral repertoire and tango music, both arco and pizzicato are employed, in jazz, blues, and rockabilly, pizzicato is the norm, except for some solos and also occasional written parts in modern jazz that call for bowing. In classical pedagogy, almost all of the focus is on performing with the bow and producing a good bowed tone, some of these articulations can be combined, for example, the combination of sul ponticello and tremolo can produce eerie, ghostly sounds. Classical bass players do play pizzicato parts in orchestra, but these parts generally require simple notes, vibrato is used to add expression to string playing. In general, very loud, low-register passages are played with little or no vibrato, mid- and higher-register melodies are typically played with more vibrato. The speed and intensity of the vibrato is varied by the performer for an emotional and musical effect, in jazz, rockabilly and other related genres, much or all of the focus is on playing pizzicato. In jazz and jump blues, bassists are required to play extremely rapid pizzicato walking basslines for extended periods, as well, jazz and rockabilly bassists develop virtuoso pizzicato techniques that enable them to play rapid solos that incorporate fast-moving triplet and sixteenth note figures. In jazz and related styles, bassists often add semi-percussive ghost notes into basslines, to add to the rhythmic feel and to add fills to a bassline
4.
Pinion
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A pinion is a round gear used in several applications, usually the smaller gear in a gear drive train, although in the first commercially successful steam locomotive, the pinion was rather large. In many cases, such as remote controlled toys, the pinion is also the drive gear, the smaller gear that drives in a 90-degree angle towards a crown gear in a differential drive. The small front sprocket on a chain driven motorcycle, the round gear that engages and drives a rack in a rack and pinion mechanism and against a rack in a rack railway. In the case of radio-controlled cars with an engine this pinion gear can be referred to as a bell when it is paired with a centrifugal clutch
5.
Worm drive
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A worm drive is a gear arrangement in which a worm meshes with a worm gear. The two elements are called the worm screw and worm wheel. The terminology is confused by imprecise use of the term worm gear to refer to the worm. Like other gear arrangements, a drive can reduce rotational speed or transmit higher torque. A worm is an example of a screw, one of the six simple machines, a gearbox designed using a worm and worm-wheel is considerably smaller than one made from plain spur gears, and has its drive axes at 90° to each other. With a single start worm, for each 360° turn of the worm, therefore, regardless of the worms size, the gear ratio is the size of the worm gear - to -1. Given a single start worm, a 20 tooth worm gear reduces the speed by the ratio of 20,1, with spur gears, a gear of 12 teeth must match with a 240 tooth gear to achieve the same 20,1 ratio. There are three different types of gears that can be used in a worm drive, the first are non-throated worm gears. These dont have a throat, or groove, machined around the circumference of either the worm or worm wheel, the second are single-throated worm gears, in which the worm wheel is throated. The final type are double-throated worm gears, which have both gears throated and this type of gearing can support the highest loading. An enveloping worm has one or more teeth and increases in diameter from its middle portion toward both ends, double-enveloping wormgearing comprises enveloping worms mated with fully enveloping wormgears. It is also known as globoidal wormgearing and this can be an advantage when it is desired to eliminate any possibility of the output driving the input. If a multistart worm is used then the ratio reduces accordingly, Worm gear configurations in which the gear cannot drive the worm are called self-locking. Whether a worm and gear is self-locking depends on the angle, the pressure angle. The use of a worm screw reduced this effect, further worm drive development led to recirculating ball bearings to reduce frictional forces, which transmitted some steering force to the wheel. This aids vehicle control and reduces wear that could cause difficulties in steering precisely, Worm drives are a compact means of substantially decreasing speed and increasing torque. Worm drives are used in presses, rolling mills, conveying engineering, mining machines, on rudders. In addition, milling heads and rotary tables are positioned using high-precision duplex worm drives with adjustable backlash, Worm gears are used on many lift/elevator and escalator-drive applications due to their compact size and the non-reversibility of the gear
6.
Banjo
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The banjo is a four-, five- or six-stringed instrument with a thin membrane stretched over a frame or cavity as a resonator, called the head. The membrane, or head, is made of plastic, although animal skin is still occasionally but rarely used. Early forms of the instrument were fashioned by Africans in America, the banjo is frequently associated with country, folk, Irish traditional and bluegrass music. Historically, the banjo occupied a place in African American traditional music. The banjo, with the fiddle, is a mainstay of American old-time music and it is also very frequently used in Traditional Jazz. The modern banjo derives from instruments that had used in the Caribbean since the 17th century by enslaved people taken from West Africa. Written references to the banjo in North America appear in the 18th century, the etymology of the name banjo is uncertain. The word could have come from the Yoruba word Bami jo and it may derive from the Kimbundu word mbanza. A Banza, a five double string courses Portuguese viuhela with two short strings, mbanza is a string African instrument that has been built after the Portuguese Banza. Banza is quite similar to Banjo, various instruments in Africa, chief among them the kora, feature a skin head and gourd body. Banjos with fingerboards and tuning pegs are known from the Caribbean as early as the 17th century, 18th- and early 19th-century writers transcribed the name of these instruments variously as bangie, banza, bonjaw, banjer and banjar. Instruments similar to the banjo have been played in many countries, another likely relative of the banjo is the akonting, a spike folk lute played by the Jola tribe of Senegambia, and the ubaw-akwala of the Igbo. Early, African-influenced banjos were built around a body and a wooden stick neck. These instruments had varying numbers of strings, though often including some form of drone, the five-string banjo was popularized by Joel Walker Sweeney, an American minstrel performer from Appomattox Court House, Virginia. In the 1830s Sweeney became the first white performer to play the banjo on stage and his version of the instrument replaced the gourd with a drum-like sound box and included four full-length strings alongside a short fifth string. This new banjo was at first tuned dGdf♯a, though by the 1890s this had been transposed up to gcgbd, Banjos were introduced in Britain by Sweeneys group, the American Virginia Minstrels, in the 1840s, and became very popular in music halls. In the Antebellum South, many black slaves played the banjo, two techniques closely associated with the five-string banjo are rolls and drones. Rolls are right hand fingering pattern that consist of eight notes that subdivide each measure
7.
Epicyclic gearing
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An epicyclic gear train consists of two gears mounted so that the center of one gear revolves around the center of the other. A carrier connects the centers of the two gears and rotates to carry one gear, called the planet gear, around the other, the planet and sun gears mesh so that their pitch circles roll without slip. A point on the circle of the planet gear traces an epicycloid curve. In this simplified case, the sun gear is fixed and the planetary gear roll around the sun gear. An epicyclic gear train can be assembled so the planet gear rolls on the inside of the circle of a fixed, outer gear ring, or ring gear. In this case, the curve traced by a point on the circle of the planet is a hypocycloid. The combination of gear trains with a planet engaging both a sun gear and a ring gear is called a planetary gear train. In this case, the gear is usually fixed and the sun gear is driven. Epicyclic gears get their name from their earliest application, which was the modeling of the movements of the planets in the heavens. Believing the planets, as everything in the heavens, to be perfect, they could travel in perfect circles. At around 500 BC, the Greeks invented the idea of epicycles, with this theory Claudius Ptolemy in the Almagest in 148 AD was able to predict planetary orbital paths. The Antikythera Mechanism, circa 80 BC, had gearing which was able to approximate the moons path through the heavens. Epicyclic gearing or planetary gearing is a system consisting of one or more outer gears, or planet gears, revolving about a central. Typically, the gears are mounted on a movable arm or carrier. Epicyclic gearing systems also incorporate the use of a ring gear or annulus. Planetary gears are classified as simple or compound planetary gears. Simple planetary gears have one sun, one ring, one carrier, Compound planetary gears involve one or more of the following three types of structures, meshed-planet, stepped-planet, and multi-stage structures. Compared to simple planetary gears, compound planetary gears have the advantages of larger reduction ratio, higher torque-to-weight ratio, and more flexible configurations
8.
Gibson Firebird
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The Gibson Firebird is a solid-body electric guitar manufactured by Gibson from 1963 to the present. The Gibson Guitar Corporation released several new styles during the 1950s to compete with Fenders solid-body instruments, after success with the Les Paul in the 1950s, Gibsons popularity began to wane in the 1960s. Fenders colors, shapes and multiple pickups were endorsed by notable guitarists, Gibsons guitars, most of which were hollow or semi-hollow designs, seemed old-fashioned. Coupled with higher prices, this contributed to a decline in sales, Gibson had made forays into radical body shapes - the Flying V and Explorer in the 1950s - which met limited initial success. The president of Gibson, Ted McCarty, hired car designer Ray Dietrich to design a guitar that would have popular appeal, under Dietrich, the Firebird took on the lines of mid-50s car tailfins. Dietrich took the Explorer design and rounded the edges, the most unusual aspect is that the guitar is backward in that the right-hand horn of the body is longer than the other. Thus, the original Firebirds were unofficially referred to as reverse, the Firebird looks like an Explorer with softer points, or maybe a reverse Fender Jaguar or Jazzmaster. The Firebird is the first Gibson solid-body to use neck-through construction, the neck itself is made up of five plies of mahogany interspersed with four narrow strips of walnut for added strength. Other features were reverse headstock and banjo-style planetary geared tuning keys, there are no screw poles on Firebird pickups. Some Firebirds from 1965 featured Gibsons single-coil P-90 pickup, the Firebird line went on sale in mid-1963 with four models distinguished by pickup and tailpiece configurations. Unlike the Les Paul and SG line, which used the terms Junior, Special, Standard and Custom, Gibsons line of Thunderbird basses is rooted in the design of the Firebird, and uses even Roman numerals to distinguish it. From 1965 to 1969, Gibson introduced non-reverse models after failing to achieve marketing success with the unusual reverse-body design, Gibson had also received complaints from Fender that the Firebird headstock mirrored the Stratocaster and that the body violated Fenders design patents, with Fender threatening a lawsuit. The non-reverse body is a more standard double-cutaway design, with the horn being longer than the treble horn. It also had a standard glued-in neck rather than construction, as well as other, less noticeable changes in design. Pickup and tailpiece configuration for the V and VII were the same as the earlier models, although the I-. After a few years of disappointing sales, the line was dropped. Reverse body Firebirds were first reissued in 1972, with a commemorative Bicentennial modelreleased in 1976, the bicentennial model was distinguished by a red-white-blue logo on the white pickguard. The logo on most other models is red, the reissue Firebirds are usually based on the original reverse body design, however Gibson reintroduced the non-reverse Firebird in 2002 as a Custom Shop guitar
