1.
Fender Precision Bass
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The Precision Bass is a bass guitar manufactured by Fender Musical Instruments Corporation. The Standard P-Bass is sanded, painted and assembled in Ensenada, Baja California, Fender also produces Precision and Precision/Jazz basses in its Squier line of products. The double bass is physically cumbersome and difficult to transport and it was also becoming hard to hear in large bands or those that used amplified instruments and it requires skill to play such that it can not be readily picked up by any guitarist. The Precision Bass overcame these problems, the name Precision came from the use of frets to play in tune more easily than upon the fretless fingerboard of the double bass. The electric bass lacks the distinctive qualities of the double bass, offering a more solid. The bass guitar became more dominant and transformed the beat and rhythm of pop music from blues and swing to rhythm and blues, rock, soul. Acceptance of the bass was helped by the endorsement of Elvis Presleys bass-player Bill Black. Black was beginning to use a Precision Bass during the filming of Jailhouse Rock, Fender also delivered an early Precision to LA session bassist and arranger Shifty Henry. Monk Montgomery became the first jazz player to popularize the Fender Bass while playing with his brother, the original Precision Bass of 1951 shared several of its design features with the six-string Telecaster guitar, the main difference being its double cutaway body. In 1954 the Precision Bass received contoured edges for comfort while otherwise retaining the existing Telecaster-like styling, in 1957 the headstock and pickguard were redesigned to resemble Fenders recently introduced Stratocaster guitar, a rounder neck heel replacing the original square shape. A redesigned pickguard was made of a layer of gold-anodized aluminum with 10 screwholes. Rosewood fingerboards were then made of a veneered, round-laminated piece of wood, in 1960 the aluminum pickguard was replaced with a 13-screw celluloid design having 3 or 4 layers of black, white, mint green, aged white pearloid or brown tortoise-shell). In that same year the newly designed Fender Jazz Bass was released, the original Telecaster-derived design, with a few updates, was reintroduced in 1968 as the Telecaster Bass. Within a few years, however, it had evolved into a distinctly different from the contemporary Precision Bass. Since 1969 the 1-piece maple neck option has been fitted to many Fender basses, some Precision Basses made in the 1970s were also available with an unlined fretless rosewood, ebony or maple fingerboard, popularized by endorsees Sting and Tony Franklin. Fender briefly offered a fretless P Bass in the mid-1990s as a part of the first-generation American Standard line, from 1980 to 1984 the Precision Bass was given new active pickups and a high-mass brass bridge. The Special featured a pickup with white covers, gold hardware, a 2-band EQ. The Elite had one or two humbucking pickups, TBX tone circuit and a Schaller fine-tune bridge later used on the Plus Series models of the early 1990s
2.
Rock and roll
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While elements of rock and roll can be heard in blues records from the 1920s and in country records of the 1930s, the genre did not acquire its name until the 1950s. For the purpose of differentiation, this deals with the first definition. The beat is essentially a blues rhythm with an accentuated backbeat, classic rock and roll is usually played with one or two electric guitars, a double bass or string bass or an electric bass guitar, and a drum kit. Beyond simply a style, rock and roll, as seen in movies and on television, influenced lifestyles, fashion, attitudes. In addition, rock and roll may have contributed to the civil rights movement because both African-American and white American teens enjoyed the music and it went on to spawn various genres, often without the initially characteristic backbeat, that are now more commonly called simply rock music or rock. The term rock and roll now has at least two different meanings, both in common usage, the American Heritage Dictionary and the Merriam-Webster Dictionary both define rock and roll as synonymous with rock music. Encyclopædia Britannica, on the hand, regards it as the music that originated in the mid-1950s. In 1934, the song Rock and Roll by the Boswell Sisters appeared in the film Transatlantic Merry-Go-Round, in 1942, Billboard magazine columnist Maurie Orodenker started to use the term rock-and-roll to describe upbeat recordings such as Rock Me by Sister Rosetta Tharpe. By 1943, the Rock and Roll Inn in South Merchantville, in 1951, Cleveland, Ohio disc jockey Alan Freed began playing this music style while popularizing the phrase to describe it. The origins of rock and roll have been debated by commentators. The migration of former slaves and their descendants to major urban centers such as St. The immediate roots of rock and roll lay in the rhythm and blues, then called race music, particularly significant influences were jazz, blues, gospel, country, and folk. The 1940s saw the use of blaring horns, shouted lyrics. In the same period, particularly on the West Coast and in the Midwest, similarly, country boogie and Chicago electric blues supplied many of the elements that would be seen as characteristic of rock and roll. Rock and roll arrived at a time of technological change, soon after the development of the electric guitar, amplifier and microphone. It was the realization that relatively affluent white teenagers were listening to music that led to the development of what was to be defined as rock. Because the development of rock and roll was a process, no single record can be identified as unambiguously the first rock. Other artists with rock and roll hits included Chuck Berry, Bo Diddley, Little Richard, Jerry Lee Lewis
3.
Surf culture
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Surf culture is the culture that includes the people, language, fashion, and lifestyle surrounding the sport of surfing. The history of surfing began with the ancient Polynesians and that initial culture directly influenced modern surfing, which began to flourish and evolve in the early 20th century, with popularity spiking greatly during the 1950s and 1960s. It continues to progress and spread throughout the world and it has at times affected popular fashion, music, literature, films, art, jargon, and more. The fickle nature of weather and the ocean, plus the desire for the best possible types of waves for surfing. The staff of Surfer Magazine, founded in the 1960s when surfing had gained popularity with teenagers, used to say if they were hard at work. The office would suddenly be empty, also, since surfing has a restricted geographical necessity, the culture of beach life often influenced surfers and vice versa. Localism or territorialism is a part of the development of culture in which individuals or groups of surfers designate certain key surfing spots as their own. Aspects of 1960s surf culture in Southern California, where it was first popularized, include the woodie, bikinis and other beach wear, such as boardshorts or baggies, Surfers developed the skateboard to be able to surf on land, and a number of other boardsports. A non-competitive adventure activity involving riding the biggest waves possible is also popular with some surfers, a practice popularized in the 1990s has seen big wave surfing revolutionized, as surfers use personal watercraft to tow them out to a position where they can catch previously unrideable waves. These waves were previously unrideable due to the speed at which they travel, some waves reach speeds of over 60 km/h, personal watercraft enable surfers to catch up to the speed of the wave, thereby making them rideable. Personal watercraft also allow surfers to survive wipeouts, in many instances surfers would not survive the battering of the sets. Though surfers come from all walks of life, the basis of the beach bum stereotype comes from that great enthusiasm that surfers can have for their sport. Dedication and perfectionism are also qualities that surfers bring to what many have regarded as a commitment to a lifestyle as well as a sport. For specific surf spots, the state of the tide can play a significant role in the quality of waves or hazards of surfing there. Tidal variations vary greatly among the global surfing regions. Locations such as Bali, Panama, and Ireland experience 2-3 meter tide fluctuations, each surf break is different, since the underwater topography of one place is unlike any other. At beach breaks, the sandbanks can change shape from week to week, the saying You should have been here yesterday, became a commonly used phrase for bad conditions. Nowadays, however, surf forecasting is aided by advances in technology, whereby mathematical modeling graphically depicts the size
4.
Electric guitar
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The vibrations of the strings are sensed by a pickup, of which the most common type is the magnetic pickup, which uses the principle of direct electromagnetic induction. The signal generated by a guitar is too weak to drive a loudspeaker, so it is plugged into a guitar amplifier before being sent to a loudspeaker. The output of a guitar is an electric signal. Invented in 1931, the electric guitar was adopted by jazz guitarists. Early proponents of the guitar on record included Les Paul, Lonnie Johnson, Sister Rosetta Tharpe, T-Bone Walker. During the 1950s and 1960s, the guitar became the most important instrument in pop music. It has evolved into an instrument that is capable of a multitude of sounds and styles in genres ranging from pop and rock to country music, blues and jazz. It served as a component in the development of electric blues, rock and roll, rock music, heavy metal music. Electric guitar design and construction vary greatly in the shape of the body and the configuration of the neck, bridge, Guitars may have a fixed bridge or a spring-loaded hinged bridge that lets players bend the pitch of notes or chords up or down or perform vibrato effects. The sound of a guitar can be modified by new playing techniques such as string bending, tapping, hammering on, using audio feedback, in a small group, such as a power trio, one guitarist switches between both roles. In larger rock and metal bands, there is often a rhythm guitarist, many experiments at electrically amplifying the vibrations of a string instrument were made dating back to the early part of the 20th century. Patents from the 1910s show telephone transmitters were adapted and placed inside violins, hobbyists in the 1920s used carbon button microphones attached to the bridge, however, these detected vibration from the bridge on top of the instrument, resulting in a weak signal. With numerous people experimenting with electrical instruments in the 1920s and early 1930s, Electric guitars were originally designed by acoustic guitar makers and instrument manufacturers. Some of the earliest electric guitars adapted hollow-bodied acoustic instruments and used tungsten pickups, the first electrically amplified guitar was designed in 1931 by George Beauchamp, the general manager of the National Guitar Corporation, with Paul Barth, who was vice president. The maple body prototype for the one-piece cast aluminum frying pan was built by Harry Watson, commercial production began in late summer of 1932 by the Ro-Pat-In Corporation, in Los Angeles, a partnership of Beauchamp, Adolph Rickenbacker, and Paul Barth. In 1934, the company was renamed the Rickenbacker Electro Stringed Instrument Company, in that year Beauchamp applied for a United States patent for an Electrical Stringed Musical Instrument and the patent was issued in 1937. The Electro-Spanish Ken Roberts provided players a full 25 scale, with 17 frets free of the fretboard and it is estimated that fewer than 50 Electro-Spanish Ken Roberts were constructed between 1933 and 1937, fewer than 10 are known to survive today. The need for the guitar became apparent during the big band era as orchestras increased in size, particularly when acoustic guitars had to compete with large
5.
Fender Musical Instruments Corporation
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Fender Musical Instruments Corporation, commonly referred to simply as Fender, is an American manufacturer of stringed instruments and amplifiers. It is known for its electric guitars and bass guitars, such as the Stratocaster, Telecaster, Precision Bass. Its headquarters are in Scottsdale, Arizona, the company, previously named the Fender Electric Instrument Manufacturing Company, was founded in Fullerton, California, by Clarence Leonidas Leo Fender in 1946. The company is a privately held corporation with Andy Mooney serving as the Chief Executive Officer, the company filed for an initial public offering in March 2012, but this was withdrawn five months later. In addition to its Scottsdale headquarters, Fender has manufacturing facilities in Corona, California and Ensenada, Baja California. The company also makes and / or distributes acoustic guitars, electric basses, mandolins, banjos, and electric violins, as well as amplifiers, bass amplifiers. Other Fender brands include Squier, Jackson, Charvel, EVH guitars and amplifiers in collaboration with Eddie Van Halen, in 1950, Fender introduced the first mass-produced solid-body Spanish-style electric guitar, the Telecaster. Following its success, Fender created the first mass-produced electric bass, in 1954, Fender unveiled the Stratocaster guitar. With the Telecaster and Precision Bass on the market for some time, the Strats comfortable contoured edges and in-built vibrato system led to its soaring popularity. The solid wood bodies of Fenders instruments allowed for minimal feedback with high-gain amplification, the Fender guitars were popular with musicians in a variety of genres and are now revered for their build quality and tonal excellence. The company began as Fenders Radio Service in late 1938 in Fullerton and it got its name from the surname of its founder Leo Fender. All designs were based on research developed and released to the domain by Western Electric in the 1930s. The business also sidelined in carrying records for sale and the in rental of company-designed PA systems, Leo became intrigued by design flaws in contemporary musical instrument amplifiers and began building amplifiers based on his own designs or modifications to designs. Production began in 1945 with Hawaiian lap steel guitars and amplifiers sold as sets, by the end of the year Fender became convinced that manufacturing was more profitable than repair and he decided to concentrate on that business instead. Kauffman remained, however, unconvinced and he and Fender amicably parted ways by early 1946, at that point Leo renamed the company the Fender Electric Instrument Company. The service shop remained open until 1951, although Leo Fender did not personally supervise it after 1947, a custom lap steel guitar made in 1946 for his friend Noel Boggs was probably the very first product of the new company, already sporting the familiar Big F logo. In the late 1940s, Leo Fender began to experiment with more conventional guitar designs, as early as 1949, the familiar shape of the Telecaster can be made out in some of Fenders prototypes. Early Telecasters were plagued with issues, Leo Fender boasted the strength of the Telecasters one-piece pine neck while early adopters lamented its tendency to bow in humid weather
6.
Saxophone
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The saxophone is a family of woodwind instruments. Saxophones are usually made of brass and played with a single-reed mouthpiece similar to that of the clarinet, the saxophone family was invented by the Belgian instrument maker Adolphe Sax in 1840. He patented the saxophone on June 28,1846, in two groups of seven instruments each, each series consisted of instruments of various sizes in alternating transposition. The series pitched in B♭ and E♭, designed for bands, have proved extremely popular. The saxophone is used in music, military bands, marching bands. The saxophone was developed in 1846 by Adolphe Sax, a Belgian instrument maker, flautist, born in Dinant and originally based in Brussels, he moved to Paris in 1842 to establish his musical instrument business. Prior to his work on the saxophone, he had several improvements to the bass clarinet by improving its keywork and acoustics. Sax was also a maker of the ophicleide, a large conical brass instrument in the bass register with keys similar to a woodwind instrument. His experience with two instruments allowed him to develop the skills and technologies needed to make the first saxophones. As an outgrowth of his work improving the bass clarinet, Sax began developing an instrument with the projection of a brass instrument and he wanted it to overblow at the octave, unlike the clarinet, which rises in pitch by a twelfth when overblown. An instrument that overblows at the octave has identical fingering for both registers, Sax created an instrument with a single-reed mouthpiece like a clarinet, conical brass body like an ophicleide, and some acoustic properties of both the horn and the clarinet. Having constructed saxophones in several sizes in the early 1840s, Sax applied for, and received, the patent encompassed 14 versions of the fundamental design, split into two categories of seven instruments each, and ranging from sopranino to contrabass. Although the instruments transposed at either F or C have been considered orchestral, the C soprano saxophone was the only instrument to sound at concert pitch. Saxs patent expired in 1866, thereafter, numerous saxophonists and instrument manufacturers implemented their own improvements to the design, the first substantial modification was by a French manufacturer who extended the bell slightly and added an extra key to extend the range downwards by one semitone to B♭. It is suspected that Sax himself may have attempted this modification and this extension is now commonplace in almost all modern designs, along with other minor changes such as added keys for alternate fingerings. Using alternate fingerings allows a player to play faster and more easily, a player may also use alternate fingerings to bend the pitch. Some of the alternate fingerings are good for trilling, scales, a substantial advancement in saxophone keywork was the development of a method by which the left thumb operates both tone holes with a single octave key, which is now universal on modern saxophones. This enables a chromatic scale to be played two octaves simply by playing the diatonic scale combined with alternately raising and lowering this one digit
7.
Garage rock
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Garage rock is a raw and energetic style of rock and roll that flourished in the mid-1960s, most notably in the United States and Canada. The term derives from the perception that groups were made up of young amateurs who rehearsed in the family garage. The style, a precursor to rock, is characterized by aggressive and unsophisticated lyrics and delivery. In the US and Canada, surf rock—and later the Beatles, hundreds of acts produced regional hits, and some had national hits. Though largely associated with North America, counterparts were present elsewhere as part of the beat boom of the era. As critics of the period began to prescribe a scope for genre, they used the term punk rock. Garage rock has experienced various revivals in the years and continues to influence acts who prefer a back to basics. In the early- to mid-1980s, several garage revival scenes sprung up featuring acts that consciously attempted to replicate the look, in the 2000s, a wave of garage rock revival acts associated with the post-punk revival emerged, and a handful achieved airplay and commercial success. The term garage rock comes from the perception that its performers were young and amateurish, while numerous bands were made up of middle-class teenagers from the suburbs, others were from rural or urban areas or were composed of professional musicians in their twenties. The term garage band often refers to acts in this genre. Garage bands performed in a variety of venues, less-established groups typically played at parties, school dances, and teen clubs. For acts of legal age, bars, nightclubs, and college fraternity socials also provided regular engagements, occasionally, local groups had the opportunity to open at shows for famous touring acts. Some garage rock bands went on tour, particularly better-known acts, groups often competed in battles of the bands, which gave musicians an opportunity to gain exposure and a chance to win a prize, such as free recording time in a local studio. Battles of the bands were held, locally, regionally and nationally, and two of the most prestigious contests were held annually by the Tea Council of the U. S. A. and the Music Circus. Performances often sounded amateurish, naïve or intentionally raw, with typical themes revolving around the traumas of high school life, instrumentation was characterized by electric guitars often distorted through a fuzzbox, teamed with bass and drums. Guitarists sometimes played using aggressive-sounding bar chord riffs, sometimes referred to as power chords, organs such as the Farfisa were commonly used as well as mouth harmonicas or hand-held percussion such as tambourines. Occasionally, the tempo sped up in certain passages, sometimes referred to as raveups, Garage rock acts were diverse in both musical ability and in style, ranging from crude two- and three-chord music to near-studio musician quality. There were also variations in flourishing scenes, such as in California
8.
Punk rock
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Punk rock is a rock music genre that developed in the early to mid-1970s in the United States, United Kingdom, and Australia. Rooted in 1960s garage rock and other forms of what is now known as proto-punk music, Punk bands typically produced short or fast-paced songs, with hard-edged melodies and singing styles, stripped-down instrumentation, and often political, anti-establishment lyrics. Punk embraces a DIY ethic, many bands self-produce recordings and distribute them through informal channels, the term punk was first used in relation to rock music by some American critics in the early 1970s, to describe garage bands and their devotees. The following year saw punk rock spreading around the world, for the most part, punk took root in local scenes that tended to reject association with the mainstream. An associated punk subculture emerged, expressing youthful rebellion and characterized by distinctive styles of clothing and adornment, by the beginning of the 1980s, faster, more aggressive styles such as hardcore and street punk had become the predominant mode of punk rock. Musicians identifying with or inspired by punk also pursued a range of other variations, giving rise to post-punk. At the end of the 20th century, punk rock had been adopted by the mainstream, as pop punk and punk bands such as Green Day. The first wave of rock was aggressively modern, distancing itself from the bombast. According to Ramones drummer Tommy Ramone, In its initial form, unfortunately, what happens is that people who could not hold a candle to the likes of Hendrix started noodling away. Soon you had endless solos that went nowhere, by 1973, I knew that what was needed was some pure, stripped down, no bullshit rock n roll. In critic Robert Christgaus description, It was also a subculture that rejected the political idealism. Technical accessibility and a DIY spirit are prized in punk rock, in the early days of punk rock, this ethic stood in marked contrast to what those in the scene regarded as the ostentatious musical effects and technological demands of many mainstream rock bands. Musical virtuosity was often looked on with suspicion, according to Holmstrom, punk rock was rock and roll by people who didnt have very many skills as musicians but still felt the need to express themselves through music. In December 1976, the English fanzine Sideburns published an illustration of three chords, captioned This is a chord, this is another, this is a third. The title of a 1980 single by the New York punk band Stimulators, inscribed a catchphrase for punks basic musical approach. The previous year, when the rock revolution began in Great Britain, was to be both a musical and a cultural Year Zero. As a Clash associate describes singer Joe Strummers outlook, Punk rock is meant to be our freedom, were meant to be able to do what we want to do. Scholar Daniel S. Traber argues that attaining authenticity in the identity can be difficult, as the punk scene matured, he observes
9.
Pop punk
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Pop punk is a punk rock music genre and a fusion genre that combines elements of punk rock with elements of pop music. Pop punk typically combines fast punk rock tempos, power chord changes and loud, distorted guitars with pop-influenced melodies. Pop-influenced punk rock emerged in the mid-1970s with a style that was stylistically similar to power pop. By the mid-1980s, several bands merged hardcore punk with pop music to create a new, faster pop punk sound such as Dag Nasty, Pop punk in the United States began to grow in popularity locally in California in the mid-to-late 1980s. Pop punk particularly thrived in California, where independent record labels adopted a do it approach to releasing music. By the mid-1990s, a few pop punk bands had started to sell millions of records and receive radio and television airplay. By 1994, pop punk was quickly growing in mainstream popularity, the late 1990s, exemplified by the 1999 release of Blink-182s Enema of the State, represented the genres mainstream peak, although some pop punk bands scored successful album chartings in the 2000s. In the mid-2000s, emo pop, a genre combining emo and pop punk. By the end of the 2000s, the pop sound of the 1990s had largely waned in mainstream popularity. Pop punk typically merges upbeat pop melodies with catchy hooks, catchy choruses, harmonies, speedy tempos, punk rock power chord changes and loud, distorted electric guitars. About. com has described second-wave pop punk bands as having a radio friendly sheen to their music, club, pop punk often pits sweet harmonies against bratty, rowdy riffs. Lyrical topics that are common in pop punk include love, lust, drunkenness, adolescence, cartoonish violence, some pop punk lyrics focus on jokes and humor. Some pop punk music features elements of rock, power pop. According to Ryan Cooper of About. com, pop punk is a style that more to the Beatles. It is not clear when the pop punk was first used. Protopunk and power pop bands of the late 1960s and early 1970s helped lay the groundwork for the pop punk sound, the Beatles, the Kinks and the Beach Boys all paved the way for pop punk. With their love of the Beach Boys and late 1960s bubblegum pop, the Ramones loud and fast melodic minimalism differentiated them from other bands in New York Citys budding art rock scene, but pop punk was not considered a separate subgenre until later. An early use of the pop punk appeared in a 1977 New York Times article, Cabaret
10.
California Sound
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The California Sound is a popular music aesthetic that originates with American pop and rock recording artists from Southern California in the 1960s. It was first related to the California Myth, a narrative inspired by the states beach culture that commonly appeared in the lyrics of commercial pop songs. Later, the Sound was expanded outside of its initial geography, a derivative form of it was later classified as sunshine pop. The Sound was originally identified for harnessing a wide-eyed, sunny optimism that marked southern California teenage life in the late 1950s and its imagery is primarily represented by Brian Wilson and the Beach Boys, who are credited for the Sounds instigation via their debut single Surfin in 1961. Along with Jan and Dean, the Beach Boys encapsulated surfing, hot rod culture, other propellants included songwriters and/or record producers Gary Usher, Curt Boettcher, Bruce Johnston, Terry Melcher, and Roger Christian. The Beach Boys surf music was not entirely of their own invention, however, previous surf musicians did not project a world view as the Beach Boys did. The genesis of the California Sound is said to be the Beach Boys debut single Surfin in 1961, while the bands leader Brian Wilson then collaborated with Jan Berry for several hit singles written and produced for other artists, they recorded what would later be regarded the California Sound. University of Southern California history professor Kevin Starr has stated that the band was important for embodying the era of the Silent Generation. He explained that the group could not help but mythologize a landscape and way of life that was already so surreal, so proto-mythic, the California Sound was thus a musical translation of the California Myth. The titles of their songs said it as well as anything, Little Deuce Coupe, Surfer Girl, Fun, Fun, Fun, Dance, Dance, Dance, and California Girls. With these hits and others, the groups bassist and songwriter, Brian Wilson, created a new sound in rock and it was called the surf sound, but in fact it was a combination of older rock verities set in entirely new lyrical and musical contexts. The Beach Boys surf music was not entirely of their own invention, however, previous surf musicians did not project a world view as the Beach Boys did. Wilson once said of its myth, Its not just the surfing, its the outdoors and cars and sunshine, its the society of California, al Jardine of the Beach Boys argued that It’s not entirely a myth. There are still some elements that are true, especially for a first-time observer. But to be able to come here and to drive that coast on Route 1 and you experience the water and the animals and the sea life, the whole thing. Capitol Records staff producer Nick Venet, who worked with the early on. Allmusics review of the groups All Summer Long calls it a potent example of the California Myths idyllic dream world of sun, surf, and fun while containing qualities of sunshine pop. Author Luis Sanchez believes that the entirety of the album All Summer Long was the nearest the Beach Boys ever got to a version of the California myth
11.
Dick Dale
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Dick Dale is an American surf rock guitarist, known as The King of the Surf Guitar. He pioneered the surf music style, drawing on Eastern musical scales and he worked closely with Fender to produce custom made amplifiers, including the first-ever 100-watt guitar amplifier. He pushed the limits of electric technology, helping to develop new equipment that was capable of producing distorted, thick. Dale was born Richard Anthony Monsour in Boston, Massachusetts, on May 4,1937, although many biographies of Dale repeat his earlier assertion that he was born in Beirut and he is of Lebanese descent from his father and Polish-Belarusian descent from his mother. His father was born in Beirut, and his mothers parents came to the U. S. from Poland, they farmed in Whitman, Dales family moved to Quincy, Massachusetts, which had a significant Lebanese immigrant community, when Dale was very young. He learned to play music, starting with piano when he was nine, Dale admired Hank Williams—he wanted to be a cowboy singer—so he bought a plastic ukulele for $6 and taught himself to play by reading an instruction book. The first song he played on the ukulele was Tennessee Waltz and he then learned to play guitar, using a combination style incorporating both lead and rhythm aspects, so that the guitar filled the place of drums. He was raised in Quincy until he completed the 11th grade at Quincy High School in 1954 and his parents drove the family across the country to live in El Segundo, California. Dale spent his year at and graduated from Washington Senior High School. It was in Southern California that he learned to surf at the age of 17 and he soon learned to play the drums and the trumpet. Due to his Lebanese heritage, he also had a strong interest in Arabic music, among his early musical influences was his uncle. According to Dale, My uncle taught me how to play the tarabaki and we used to play at the Maharjan while relatives belly-danced. His early tarabaki drumming later influenced his playing, particularly his rapid alternating picking technique. According to Dale, Its the pulsation, stating that whether he is playing the guitar, trumpet, or piano, Dale is credited as one of the first electric guitarists to employ fast scales in his playing. Dale was a surfer and wanted his music to reflect the sounds he heard in his mind while surfing and he was among the first guitarists to use reverb—which gave the guitar a wet sound that has become a staple of surf music. Dales staccato picking, however, is his trademark, being left-handed, he initially had to play a right-handed guitar, but then changed to a left handed model. Dale is also noted for playing his percussive, heavy bending style and his desire to create a certain sound led him to push the limits of equipment. Leo Fender kept giving Dale amps and Dale kept blowing them up, till one night Leo and his right hand man Freddy T
12.
The Beach Boys
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The Beach Boys are an American rock band formed in Hawthorne, California in 1961. The groups original lineup consisted of brothers Brian, Dennis, and Carl Wilson, their cousin Mike Love, distinguished by their vocal harmonies and early surf songs, they are one of the most influential acts of the rock era. The Beach Boys began as a band managed by the Wilsons father Murry. Emerging at the vanguard of the California Sound, they performed material that reflected a southern California youth culture of surfing, cars. After 1964, they abandoned the surfing aesthetic for more personal lyrics, in 1966, the Pet Sounds album and Good Vibrations single vaulted the group to the top level of rock innovators and established the band as symbols of the nascent counterculture era. Following Smiles dissolution, Brian gradually ceded production and songwriting duties to the rest of the band, reducing his input because of mental health and substance abuse issues. The continued success of their greatest hits albums during the mid 1970s precipitated the transition into an oldies act. Since the 1980s, much-publicized legal wrangling over royalties, songwriting credits, Dennis drowned in 1983 and Carl died of lung cancer in 1998. After Carls death, many live configurations of the band fronted by Mike Love, Even though Wilson and Jardine have not performed with Love and Johnstons band since their one-off 2012 reunion tour, they remain a part of the Beach Boys corporation, Brother Records Inc. The Beach Boys are one of the most critically acclaimed, commercially successful, the group had over eighty songs chart worldwide, thirty-six of them US Top 40 hits, four reaching number-one on the Billboard Hot 100 chart. They received their only Grammy Award for The Smile Sessions, the core quintet of the three Wilsons, Love and Jardine were inducted into the Rock and Roll Hall of Fame in 1988. At the time of his birthday on June 20,1958, Brian Wilson shared a bedroom with his brothers, Dennis and Carl – aged thirteen and eleven. He had watched his father, Murry Wilson, play piano, after dissecting songs such as Ivory Tower and Good News, Brian would teach family members how to sing the background harmonies. For his birthday that year, Brian received a tape recorder. He learned how to overdub, using his vocals and those of Carl, Brian played piano with Carl and David Marks, an eleven-year-old longtime neighbor, playing guitars they had each received as Christmas presents. Soon Brian and Carl were avidly listening to Johnny Otis KFOX radio show, inspired by the simple structure and vocals of the rhythm and blues songs he heard, Brian changed his piano-playing style and started writing songs. His enthusiasm interfered with his studies at school. Family gatherings brought the Wilsons in contact with cousin Mike Love, Brian taught Loves sister Maureen and a friend harmonies
13.
Subgenre
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Genre is any form or type of communication in any mode with socially-agreed upon conventions developed over time. Genres form by conventions that change over time as new genres are invented, often, works fit into multiple genres by way of borrowing and recombining these conventions. Stand alone texts, works, or pieces of communication may have individual styles, some genres may be rigid with strictly adhered to guidelines while others may be very flexible. Genre began as a classification system for ancient Greek literature. Poetry, prose, and performance each had a specific and calculated style that related to the theme of the story. Speech patterns for comedy would not be appropriate for tragedy, in later periods genres proliferated and developed in response to changes in audiences and creators. Genre became a tool to help the public make sense out of unpredictable art. Because art is often a response to a state, in that people write/paint/sing/dance about what they know about. Genre suffers from the ills of any classification system. Genre is to be reassessed and scrutinized, and to works on their unique merit. While the genre of storytelling has been relegated as lesser form of art because of the heavily borrowed nature of the conventions, proponents argue that the genius of an effective genre piece is in the variation, recombination, and evolution of the codes. The term genre is used in the history and criticism of visual art. These are distinguished from staffage, incidental figures in what is primarily a landscape or architectural painting, Genre painting may also be used as a wider term covering genre painting proper, and other specialized types of paintings such as still-life, landscapes, marine paintings and animal paintings. The concept of the hierarchy of genres was a one in artistic theory. It was strongest in France, where it was associated with the Académie française which held a role in academic art. Genres may be determined by technique, tone, content. Genre should not be confused with age category, by which literature may be classified as adult, young adult. They also must not be confused with format, such as novel or picture book
14.
Rock music
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It has its roots in 1940s and 1950s rock and roll, itself heavily influenced by blues, rhythm and blues and country music. Rock music also drew strongly on a number of genres such as electric blues and folk. Musically, rock has centered on the guitar, usually as part of a rock group with electric bass guitar. Typically, rock is song-based music usually with a 4/4 time signature using a verse-chorus form, like pop music, lyrics often stress romantic love but also address a wide variety of other themes that are frequently social or political in emphasis. Punk was an influence into the 1980s on the subsequent development of subgenres, including new wave, post-punk. From the 1990s alternative rock began to rock music and break through into the mainstream in the form of grunge, Britpop. Similarly, 1970s punk culture spawned the visually distinctive goth and emo subcultures and this trio of instruments has often been complemented by the inclusion of other instruments, particularly keyboards such as the piano, Hammond organ and synthesizers. The basic rock instrumentation was adapted from the blues band instrumentation. A group of musicians performing rock music is termed a rock band or rock group, Rock music is traditionally built on a foundation of simple unsyncopated rhythms in a 4/4 meter, with a repetitive snare drum back beat on beats two and four. Melodies are often derived from older musical modes, including the Dorian and Mixolydian, harmonies range from the common triad to parallel fourths and fifths and dissonant harmonic progressions. Critics have stressed the eclecticism and stylistic diversity of rock, because of its complex history and tendency to borrow from other musical and cultural forms, it has been argued that it is impossible to bind rock music to a rigidly delineated musical definition. These themes were inherited from a variety of sources, including the Tin Pan Alley pop tradition, folk music and rhythm, as a result, it has been seen as articulating the concerns of this group in both style and lyrics. Christgau, writing in 1972, said in spite of some exceptions, rock and roll usually implies an identification of male sexuality, according to Simon Frith rock was something more than pop, something more than rock and roll. Rock musicians combined an emphasis on skill and technique with the concept of art as artistic expression, original. The foundations of music are in rock and roll, which originated in the United States during the late 1940s and early 1950s. Its immediate origins lay in a melding of various musical genres of the time, including rhythm and blues and gospel music, with country. In 1951, Cleveland, Ohio disc jockey Alan Freed began playing rhythm and blues music for a multi-racial audience, debate surrounds which record should be considered the first rock and roll record. Other artists with rock and roll hits included Chuck Berry, Bo Diddley, Fats Domino, Little Richard, Jerry Lee Lewis
15.
Southern California
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Southern California, often abbreviated as SoCal, is a geographic and cultural region that generally comprises Californias 10 southernmost counties. The region is described as eight counties, based on demographics and economic ties, Imperial, Los Angeles, Orange, Riverside, San Bernardino, San Diego, Santa Barbara. The more extensive 10-county definition, which includes Kern and San Luis Obispo counties, is used and is based on historical political divisions. Southern California is an economic center for the state of California. The 8-county and 10-county definitions are not used for the greater Southern California Megaregion, the megaregions area is more expansive, extending east into Las Vegas, Nevada and south across the Mexican border into Tijuana.5 million people. With over 22 million people, Southern California contains roughly 60 percent of Californias population, located east of Southern California is the Colorado Desert and the Colorado River at the border with Arizona. The Mojave Desert is located at the border with the state of Nevada while towards the south is the Mexico–United States border, within Southern California are two major cities, Los Angeles and San Diego, as well as three of the countrys largest metropolitan areas. With a population of 3,792,621, Los Angeles is the most populous city in California and the second most populous in the United States. South of Los Angeles and with a population of 1,307,402 is San Diego, the second most populous city in the state and the eighth most populous in the nation. The counties of Los Angeles, Orange, San Diego, San Bernardino, and Riverside are the five most populous in the state, the motion picture, television, and music industry are centered in the Los Angeles area in Southern California. Hollywood, a district within Los Angeles, gives its name to the American motion picture industry, headquartered in Southern California are The Walt Disney Company, Sony Pictures, Universal, MGM, Paramount Pictures, 20th Century Fox, and Warner Brothers. Universal, Warner Brothers, and Sony also run major record companies, Southern California is also home to a large homegrown surf and skateboard culture. Companies such as Vans, Volcom, Quiksilver, No Fear, RVCA, some of the worlds biggest action sports events, including the X Games, Boost Mobile Pro, and the U. S. Open of Surfing, are all held in Southern California. Southern California is also important to the world of yachting, the annual Transpacific Yacht Race, or Transpac, from Los Angeles to Hawaii, is one of yachtings premier events. The San Diego Yacht Club held the Americas Cup, the most prestigious prize in yachting, from 1988 to 1995, Southern California is home to many sports franchises and sports networks such as Fox Sports Net. Many locals and tourists frequent the Southern California coast for its popular beaches, the desert city of Palm Springs is popular for its resort feel and nearby open spaces. Southern California is not a geographic designation and definitions of what constitutes Southern California vary. Geographically, Californias North-South midway point lies at exactly 37°958.23 latitude, around 11 miles south of San Jose, however, when the state is divided into two areas, the term Southern California usually refers to the 10 southernmost counties of the state
16.
Reverberation
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Reverberation, in psychoacoustics and acoustics, is the persistence of sound after a sound is produced. This is most noticeable when the sound source stops but the reflections continue, decreasing in amplitude, until they reach zero amplitude. In comparison to an echo that is a minimum of 50 to 100 ms after the initial sound. As time passes, the amplitude of the reflections is reduced until it is reduced to zero, Reverberation is not limited to indoor spaces as it exists in forests and other outdoor environments where reflection exists. Reverberation occurs naturally when a person sings, talks or plays an instrument acoustically in a hall or performance space with sound-reflective surfaces. The sound of reverberation is often added to the vocals of singers in live sound systems. The time it takes for a signal to drop by 60 dB is the reverberation time, RT60 is the time required for reflections of a direct sound to decay 60 dB. Reverberation time is stated as a single value, if measured as a wide band signal, however, being frequency dependent. Being frequency dependent, the time measured in narrow bands will differ depending on the frequency band being measured. For precision, it is important to know what ranges of frequencies are being described by a time measurement. In the late 19th century, Wallace Clement Sabine started experiments at Harvard University to investigate the impact of absorption on the reverberation time. Using a portable wind chest and organ pipes as a sound source and he found that the reverberation time is proportional to room dimensions and inversely proportional to the amount of absorption present. The optimum reverberation time for a space in which music is played depends on the type of music that is to be played in the space, rooms used for speech typically need a shorter reverberation time so that speech can be understood more clearly. If the reflected sound from one syllable is still heard when the syllable is spoken. Cat, Cab, and Cap may all sound very similar, if on the other hand the reverberation time is too short, tonal balance and loudness may suffer. Reverberation effects are used in studios to add depth to sounds. Reverberation changes the perceived spectral structure of a sound, but does not alter the pitch, basic factors that affect a rooms reverberation time include the size and shape of the enclosure as well as the materials used in the construction of the room. Every object placed within the enclosure can also affect this time, including people
17.
Vocal harmony
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Vocal harmony is a style of vocal music in which a consonant note or notes are simultaneously sung as a main melody in a predominantly homophonic texture. Vocal harmonies have been an important part of Western art music since the Renaissance-era introduction of Mass melodies harmonized in sweet thirds, with the rise of the Lutheran churchs chorale hymn singing style, congregations sang hymns arranged with four or five-part vocal harmony. In the Romantic era of music during the 1800s, vocal harmonization became more complex, operas and choral music from the Romantic era used tense-sounding vocal harmonies with augmented and diminished intervals as an important tool for underscoring the drama of the music. As well, the rhythm of the harmony parts has to be in time with the lead singer. In more vocally oriented bands, backup singers may have to sing complex parts which demand a vocal agility and sensitivity equal to that of the vocal line. Usually, pop and rock bands use harmony vocals while the rest of the band is playing, however, as an effect, some rock and pop harmony vocals are done a cappella, without instrumental accompaniment. In many rock and metal bands, the musicians doing backup vocals also play instruments, such as keyboards, in Latin or Afro-Cuban groups, backup singers may play percussion instruments or shakers while singing. In some pop and hip-hop groups and in theater, the backup singers may be required to perform elaborately choreographed dance routines while they sing through headset microphones. One of the more complex styles of vocal harmony is the barbershop quartet style, the melody is not usually sung by the tenor or bass. Barbershop quartets are more likely to use dissonant and tense-sounding dominant seventh chords than pop or rock bands and it used smooth, consonant vocal harmonies, with a number of singers imitating instruments while singing nonsense syllables. For example, in The Ravens song Count Every Star, the singers imitate the doomph, doomph plucking-sound of a double bass, well-known hits include In the Still of the Night by The Five Satins and Get a Job by The Silhouettes, a hit in 1958. Doo-wop remained popular until just before the British Invasion of 1964, a cappella Backup singer Barbershop arranging Doo-wop
18.
Music of Mexico
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The music of Mexico is very diverse and features a wide range of musical genres and performance styles. It has been influenced by a variety of cultures, most notably indigenous peoples of Mexico, many traditional Mexican songs are well-known worldwide, including María Grevers first international hit Júrame, and her song Te quiero dijiste, written for the 1944 Esther Williams film. La Cucaracha, although popularized during the Mexican Revolution, is a Mexican corrido, by types of ensembles, banda, Yucatecan trio, conjunto calentano, conjunto huasteco, conjunto jarocho, conjunto norteño, Yucatecan jarana ensemble, mariachi, and marimba. Its formal structure is based on the alternation of instrumental sections, the mode is usually major, with harmonic vocabulary mostly limited to progressions drawing from I, IV, II7, V and V5. Triple meter predominates, with exceptions in duple meter. Son is performed most often by giant ensembles in which string instruments predominate, with notable exceptions like marimba ensembles. Mariachi can be considered one type of Mexican son, Mexican son also includes various miscellaneous styles. The guitar is present in nearly all Mexican son subgenres. Other instruments may include trumpets, violins, and accordions, abajeño music from Jalisco, Colima, and Michoacán. Indigenous communities have produced their own variants of Mexican son, which is otherwise a primarily mestizo genre, the Purépecha are known for the sones abajeños, which are often played alongside pirekaus, a form of native love song. Famous bands include Atardecer and Erandi, chilena from the Costa chica region in Guerrero and Oaxaca. Istmeños originates from the Zapotecs of Oaxaca and is known for songs, and the peoples sones istmeños. The music has been popularized, primarily by pop stars from outside the area, Son calentano is a melodically complex violin music from the Balsas River Basin of southern Mexico. Juan Reynoso is especially popular, and has won the National Prize for Arts, Sones de arpa grande developed in an arid, hot area of western Mexico. It is dominated by a harp, accompanied by violins and guitars, originally confined to poor rural areas and urban brothels, sones de arpa grande is now popular among the suburban and urban middle- and upper-class audiences. Juan Pérez Morfín and Beto Pineda are the best-known performers, two guitarists sing in a falsetto with accompaniment by a violin. Los Camperos de Valle, Harmonia Huasteca, Los Hermanos Calderon, Son Jarocho music comes from the Veracruz area, and is distinguished by a strong African influence. International acclaim has been limited, including the major hit La Bamba, the most legendary performer is Graciana Silva, whose releases on Discos Corason made inroads in Europe
19.
Guitar picking
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Guitar picking is a group of hand and finger techniques a guitarist uses to set guitar strings in motion to produce audible notes. These techniques involve plucking, strumming, brushing, etc, using a single thumb pick with the bare fingers is similar to hybrid picking. Another mixed technique is to play different passages with a plectrum or fingerstyle, the pros of each guitar picking style are indirectly correlated to the cons of the other. It is easier to play non-adjacent strings at the same time and it is easier to play polyphonically, with separate musical lines, or separate melody, harmony and bass. It is easy to play arpeggios, a simpler motion is required to play notes on non-adjacent strings. It is possible to play chords with no arpeggiation, there is less need to use the fretting hand to damp notes in chords, since the guitarist can pluck just the required strings. A great variation in strokes is possible, accommodating expressiveness in timbre, a wide variety of strums and rasgueados are possible. Fingerstyle is useful in almost any genre, fingerstyle players use up to four surfaces to strike string independently. However, that does not equate to four plectrums, since plectrums can more easily strike strings on both up and downstrokes—which is much more difficult for fingers, picking back and forth with a pick is easier. Alternate picking is usually the most efficient technique, Tremolo effects may be easier to achieve. The guitarist picks the string with less contact that a finger would involve, a pick can be louder compared to bare finger playing. It may be easier to maintain articulation or clarity when playing fast, playing on heavier gauge strings can damage un-coated nails, fingerstyle is more suited to nylon strings or lighter gauge steel strings. To achieve Tremolo effects, varied arpeggios, and rapid, fluent scale passages, the player must practice alternation, that is, plucking strings with a different finger each time. Using p to indicate the thumb, i the index finger, m the middle finger, has the appearance of walking along the strings. I-m-a-i-m-a Tremolo pattern with a triplet feel p-a-m-i-p-a-m-i A tremolo or apreggio pattern, p-m-p-m A way of playing a melody line on the lower strings. However, in other genres—such as classical, flamenco or fingerstyle jazz—it becomes necessary to switch fluently between patterns, tone production is important in any style. Classical guitar, for example, stresses many techniques are applicable to other styles. Tonal techniques include, Plucking distance from the bridge, guitarists actively control this to change the sound from soft plucking the string near its middle, to hard plucking the string near the bridge
20.
Let's Go Trippin'
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Lets Go Trippin is an instrumental by Dick Dale and The Del-Tones. It is often regarded as the first surf rock instrumental, first played in public in 1960 at the Rendezvous ballroom in Balboa, CA, it quickly reached #4 on influential Los Angeles station KFWB, and later reached #60 on the national charts. The song was used as the tune to the BBC Radio 4 programme Home Truths
21.
Jan and Dean
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Jan and Dean were an American rock duo consisting of William Jan Berry and Dean Ormsby Torrence. In the early 1960s, they were pioneers of the California Sound, among their most successful songs was 1963s Surf City, the first surf song to top the Hot 100. Their other charting top 10 singles were Drag City, The Little Old Lady from Pasadena, and Dead Mans Curve, in 2013, Torrences design contribution of the Surf City Allstars In Concert CD was named a Silver Award of Distinction at the Communicator Awards competition. William Jan Berry, was the son of Clara Lorentze Mustad and aeronautical engineer William L. Berry, Jans father was manager of the Spruce Goose. Dean Ormsby Torrence is the son of Natalie Ormsby and Maurice Dean Torrence, a graduate of Stanford University, who was a sales manager at the Wilshire Oil Company. Berry and Torrence, both born in Los Angeles, California, met while students at Emerson Junior High School in Westwood, Los Angeles, and both were on the schools football team. By 1957, they were students in the Vagabond Class of 1958 at the nearby University High School, Berry and Torrence had adjoining lockers, and after football practice, they began harmonizing together in the showers with several other football players, including future actor James Brolin. Wally Yagi, John Sagi Seligman, with Berry singing bass, during its short duration Sandy Nelson, Torrences neighbor, played drums, and future Beach Boy, Bruce Johnston, occasionally sang and played piano. During primitive recording sessions in the garage, Berry served as producer and arranger, in 1958 the Barons performed to popular acclaim at the talent competition at University High School, covering contemporary hits like Get a Job, Rock and Roll is Here to Stay, and Short Shorts. However, after the contest, various members of the Barons drifted away, leaving only Berry and Torrence, who tried to write their own songs. After being inspired by a poster featuring a local, Hollywood burlesque performer, Virginia Lee Hicks, who was performing as Jennie Lee. Main St, Los Angeles, Ginsburg wrote a song, Jennie Lee. Berry adapted the Civil War tune Aura Lea and arranged the harmonies, Altfeld belting out the rhythm on a childrens metal high chair. The next day Berry took their recording to Radio Recorders, a recording studio. Joe Lubin, Vice President and Head of A & R of Doris Day and Martin Melchers Arwin Records, was impressed and offered to add instruments, in March 1958 the fathers of Berry and Ginsburg signed contracts authorizing Lubin to produce, arrange, and manage their sons. Berry and Ginsburg, now christened Jan & Arnie, re-recorded their vocals on a recording system. Produced by Lubin, Jennie Lee, backed with Gotta Get a Date, according to Berrys biographer Mark A. Moore, The song had a raucous R&B flavor, with a bouncing bomp-bomp vocal hook that would become a signature from Jan on future recordings. Distributed by Dot Records, Jennie Lee was released in mid-April, entered the charts on May 10,1958, the same day they appeared on ABCs Dick Clark Show
22.
African Americans
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African Americans are an ethnic group of Americans with total or partial ancestry from any of the Black racial groups of Africa. The term may also be used to only those individuals who are descended from enslaved Africans. As a compound adjective the term is usually hyphenated as African-American, Black and African Americans constitute the third largest racial and ethnic group in the United States. Most African Americans are of West and Central African descent and are descendants of enslaved peoples within the boundaries of the present United States. On average, African Americans are of 73. 2–80. 9% West African, 18–24% European, according to US Census Bureau data, African immigrants generally do not self-identify as African American. The overwhelming majority of African immigrants identify instead with their own respective ethnicities, immigrants from some Caribbean, Central American and South American nations and their descendants may or may not also self-identify with the term. After the founding of the United States, black people continued to be enslaved, believed to be inferior to white people, they were treated as second-class citizens. The Naturalization Act of 1790 limited U. S. citizenship to whites only, in 2008, Barack Obama became the first African American to be elected President of the United States. The first African slaves arrived via Santo Domingo to the San Miguel de Gualdape colony, the ill-fated colony was almost immediately disrupted by a fight over leadership, during which the slaves revolted and fled the colony to seek refuge among local Native Americans. De Ayllón and many of the colonists died shortly afterwards of an epidemic, the settlers and the slaves who had not escaped returned to Haiti, whence they had come. The first recorded Africans in British North America were 20 and odd negroes who came to Jamestown, as English settlers died from harsh conditions, more and more Africans were brought to work as laborers. Typically, young men or women would sign a contract of indenture in exchange for transportation to the New World, the landowner received 50 acres of land from the state for each servant purchased from a ships captain. An indentured servant would work for years without wages. The status of indentured servants in early Virginia and Maryland was similar to slavery, servants could be bought, sold, or leased and they could be physically beaten for disobedience or running away. Africans could legally raise crops and cattle to purchase their freedom and they raised families, married other Africans and sometimes intermarried with Native Americans or English settlers. By the 1640s and 1650s, several African families owned farms around Jamestown and some became wealthy by colonial standards and purchased indentured servants of their own. In 1640, the Virginia General Court recorded the earliest documentation of slavery when they sentenced John Punch. One of Dutch African arrivals, Anthony Johnson, would own one of the first black slaves, John Casor
23.
Doo-wop
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Built upon vocal harmony, doo-wop was one of the most mainstream, pop-oriented R&B styles of the time. Doo-wop features vocal harmony, nonsense syllables, a simple beat, sometimes little or no instrumentation. The first record to use the syllables doo-wop was the 1955 hit When You Dance by The Turbans, the term doo-wop first appeared in print in 1961. During the late 1950s many Italian-American groups contributed a significant part in the doo-wop scene, the peak of doo-wop was in 1961. Doo-wops influence continued in soul, pop, and rock groups of the 1960s, at various times in the 1970s, 1980s, and 1990s, the genre has seen revivals. Doo-wop was a precursor to many of the African-American musical styles seen today, an evolution of jazz and blues, doo-wop also influenced many of the major rock and roll groups that defined the later decades of the 20th century. Doo-wop is iconic for its beats and using the off-beat to keep time. Doo-wop laid the foundation for musical innovations, for example. These were generally slow songs in swing time with simple instrumentation, the subject of the lyrics was generally love and relationships. This characteristic harmonic layout was combined with the AABA chorus form typical for Tin Pan Alley pop, a second stream of doo-wop oriented itself to the harmonic, formal and melodic means of jump blues. From the outset, singers gathered on street corners, and in subways, for instance, Count Every Star by The Ravens, includes vocalizations imitating the doomph, doomph plucking of a double bass. This art dates to The Mills Brothers, who first came to fame in the 1930s with their mimicking of instrumental music, radio, gramophone, and cinema inspired imitation in many U. S. cities. The late 1940s and early 1950s brought the bird groups, The Swallows. A number of names are also drawn from cars. The Orioles helped develop the sound with their hits Its Too Soon to Know. The term doo-wop first appeared in print in 1961 in the Chicago Defender, the phrase was attributed to radio disc jockey Gus Gossert but Gossert suggested doo-wop was already in use to categorize the music in California. The first record to use the syllables doo-wop in the refrain was the 1955 hit When You Dance by The Turbans, previously, the scat backing vocal doo-wop is heard in The Clovers 1953 release Good Lovin and in the chorus of Carlyle Dundee & The Dundees 1954 song Never. After some time, the term doo-wop finally caught on as both a description and category for R&B vocal group harmony, the definition expanded backward to include rhythm and blues groups from the mid-1950s, then cascaded even further back to include groups from the 1940s
24.
Scat singing
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In vocal jazz, scat singing is vocal improvisation with wordless vocables, nonsense syllables or without words at all. Scat singing is a technique that requires singers with the ability to sing improvised melodies. Though scat singing is improvised, the lines are often variations on scale and arpeggio fragments, stock patterns and riffs. As well, scatting usually incorporates musical structure, will Friedwald has compared Ella Fitzgerald to Chuck Jones directing his Roadrunner cartoon—each uses predetermined formulas in innovative ways. The deliberate choice of scat syllables also is a key element in vocal jazz improvisation, syllable choice influences the pitch articulation, coloration, and resonance of the performance. Syllable choice also differentiated jazz singers personal styles, Betty Carter was inclined to use sounds like louie-ooie-la-la-la while Sarah Vaughan would prefer shoo-doo-shoo-bee-ooo-bee, the choice of scat syllables can also be used to reflect the sounds of different instruments. Humor is another important element of scat singing, cab Calloway exemplified the use of humorous scatting. In addition to such uses of language, humor is communicated in scat singing through the use of musical quotation. Leo Watson, who performed before the canon of American popular music and this is called using a compression. The 1958 song The Witch Doctor by Ross Bagdasarian Sr. creator of Alvin, Ella Fitzgerald, who performed later, was able to draw extensively on popular music in her singing. For example, in her 1960 recording of How High the Moon live in Berlin, she quotes over a dozen songs, including The Peanut Vendor, Heat Wave, A-Tisket, A-Tasket, and Smoke Gets in Your Eyes. Though Louis Armstrongs 1926 recording of Heebie Jeebies is often cited as the first song to employ scatting, one early master of ragtime scat singing was Gene Greene who recorded scat choruses in his song King of the Bungaloos and several others between 1911 and 1917. Entertainer Al Jolson scatted through a few bars in the middle of his 1911 recording of That Haunting Melody, Gene Greens 1917 From Here to Shanghai, which featured faux-Chinese scatting, and Gene Rodemichs 1924 Scissor Grinder Joe and Some of These Days also pre-date Armstrong. Cliff Ukulele Ike Edwards scatted an interlude on his 1923 Old Fashioned Love in lieu of using an instrumental soloist, harry Barris, one of Paul Whitemans The Rhythm Boys, along with Bing Crosby, scatted on several songs, including Mississippi Mud, which Barris wrote in 1927. One of the female singers to use scat was Aileen Stanley. Jelly Roll Morton credited Joe Sims of Vicksburg, Mississippi, as the creator of scat around the turn of the 20th century. Morton, Oh and that was way before Louis Armstrongs time. By the way, scat is something that a lot of people dont understand, but I must take the credit away, since I know better. The first man ever did a scat number in history of this country was a man from Vicksburg, Mississippi, by the name of Joe Sims
25.
Girl group
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A girl group is a music act featuring several female singers who generally harmonize together. All-female bands, in which also play instruments, are usually considered a separate phenomenon. These groups are sometimes called girl bands to differentiate, although this terminology is not universally followed, with the advent of the music industry and radio broadcasting, a number of girl groups emerged, such as the Andrews Sisters. The late 1950s saw the emergence of all-female singing groups as a force, with 750 distinct girl groups releasing songs that reached US. The Supremes alone held 12 number-one singles on the Billboard Hot 100 during the height of the wave, in later eras, the girl group template would be applied to disco, contemporary R&B, and country-based formats, as well as pop. A more globalized music industry saw the popularity of dance-oriented pop music led by major record labels. This emergence, led by the US, UK, South Korea, also, since the late 2000s, South Korea has had a significant impact, with 8 of the top 10 girl groups by digital sales in the world originating there. The ladies were together from 1923 until the early 1940s, and known for their harmonies, as well as barbershop style or novelty tunes. The Three X Sisters were also especially a notable addition to the music scene, the Boswell Sisters, who became one of the most popular singing groups from 1930 to 1936, had over twenty hits. The Andrews Sisters had musical hits across multiple genres, which contributed to the prevalence, the rise of girl groups appeared out of and was influenced by other musical movements of the time period. Importantly, the first successful girl groups of this era were typically white and this era was also advantageous to the beginnings of girl group music because of the newfound prevalence of the radio as well, which allowed this style of music to spread. Also, the Lennon Sisters were a mainstay on the Lawrence Welk Show from 1955 on, in early 1956, doo-wop one-hit wonder acts like the Bonnie Sisters with Cry Baby and the Teen Queens with Eddie My Love showed early promise for a departure from traditional pop harmonies. With Mr. Lee, the Bobbettes lasted for 5 1/2 months on the charts in 1957, building momentum and gaining acceptance of all-female. However, it was the Chantels 1958 song Maybe that became arguably, the mixture of black doo-wop, rock and roll, and white pop was appealing to a teenage audience and grew from scandals involving payola and the perceived social effects of rock music. However, early groups such as the Chantels started developing their groups musical capacities traditionally, through mediums like Latin, the Shirelles solidified their success with five more top 10 hits, most particularly 1962s number one hit Soldier Boy, over the next two and a half years. Motown would mastermind several major groups, including Martha and the Vandellas, the Velvelettes. Other songwriters and producers in the US and UK quickly recognized the potential of new approach. Phil Spector recruited the Crystals, the Blossoms, and the Ronettes, while Goffin, phil Spector made a huge impact on the ubiquity of the girl group, as well as bringing fame and notoriety to new heights for many girl groups
26.
Motown
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Motown is an American record company. The record company was founded by Berry Gordy, Jr. as Tamla Records on January 12,1958, the name, a portmanteau of motor and town, has also become a nickname for Detroit. Motown played an important role in the integration of popular music as an African American-owned record label that achieved significant crossover success. In the 1960s, Motown and its subsidiary labels were the most successful proponents of what came to be known as the Motown Sound, a style of soul music with a distinct pop influence. During the 1960s, Motown achieved spectacular success for a record company,79 records in the Top Ten of the Billboard Hot 100 record chart between 1960 and 1969. The company was sold to MCA Inc. Motown was later sold to PolyGram in 1994, before being sold again to MCA Records successor, Universal Music Group, Motown spent much of the 2000s as a part of the Universal Music subsidiaries Universal Motown and Universal Motown Republic Group, and headquartered in New York City. From 2011 to 2014, Motown was a part of The Island Def Jam Music Group division of Universal Music. On April 1,2014, Universal Music Group announced the dissolution of Island Def Jam and it now operates out of the landmark Capitol Tower. For many decades, Motown was the highest-earning African American business in the United States, Berry Gordy got his start as a songwriter for local Detroit acts such as Jackie Wilson and the Matadors. Wilsons single Lonely Teardrops, written by Gordy, became a huge success and he realized that the more lucrative end of the business was in producing records and owning the publishing. In 1959, Billy Davis and Berry Gordys sisters Gwen and Anna started Anna Records, Davis and Gwen Gordy wanted Berry to be the company president, but Berry wanted to strike out on his own. On January 12,1959, he started Tamla Records, with a loan from his family. Gordy originally wanted to name the label Tammy Records, after the hit song popularized by Debbie Reynolds from the 1957 film Tammy, when he found the name was already in use, Berry decided on Tamla instead. Tamlas first release, in the Detroit area, was Marv Johnsons Come to Me in 1959 and its first hit was Barrett Strongs Money, which made it to number 2 on the Billboard R&B charts. Gordys first signed act was the Matadors, who changed their name to the Miracles. Their first release, Got a Job, was a record to the Silhouettes Get a Job. The Miracles first, minor hit was their single, 1959s Bad Girl, released in Detroit as the debut record on the Motown imprint
27.
Fender amplifier
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Fender amplifiers have a long history. Leo Fender began building guitar amps before he started manufacturing guitars, the first of these amps were the K&F models, which were produced between 1945 and 1946. The original Fender amps were tube-powered and the company started producing solid-state models in the late 1960s. The K&F amplifiers were the first Fender amps made and they were made by the K&F Manufacturing Corporation, which was run by Leo Fender and Doc Kauffman. Most of the amps were finished in a gray crinkle finish, the finishes were baked in the Kauffman family oven. They were made in three different sizes, 1×8, 1×10, and 1×15 and they are all very rare today and few have survived. The first amplifiers made in-house by Fender is the Woodie series and they included the Model 26 Deluxe, the Princeton, and the Professional. The twill was first used in 1946 on the Dual Professional a twin 10 6L6 powered model of which only 400 were made before being renamed the Super Amp in 1948. These early models are referred to as TV-Fronts due to the shape of the cabinet when viewed from above. The Dual Pro was the first twin speaker amp and also the first amp to employ a finger-jointed pine cabinet and the first amp with a top facing control panel. The construction of the amplifiers was changed as well, the chassis are mounted to the back with the tubes pointed down and this has the benefit of providing ease of access to the inside while providing a strong top. Fender mostly stopped using the twill covering in 1960, though the Harvard was still covered in twill until 1963, the first kind used was an off-white fabric, followed by a horizontal-stripe two-tone pattern, and finally a two-tone twill. Fender later on constructed them with narrow panel, in all the panels have more or less the same width. Toward the end, despite keeping such construction, Fender utilized tolex to cover its amps, the Brownface series was introduced in 1959 and discontinued in 1963. This period marked the beginning of Fenders use of Tolex to cover amp cabinets, the name brownface stems from the brown-colored control panels, common to both the brown- and cream/blonde- Tolex-covered amps. The brownface amps originally featured a maroon or oxblood grillcloth. The Brown amplifiers included all of the combo amps except the flagship Twin and Vibrasonic. The Blonde amplifiers included all of the piggyback Fender amps as well as the Twin, two different colors of grillclothes were featured on the blondes, oxblood and wheat
28.
Banzai Pipeline
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The Banzai Pipeline, or simply Pipeline or Pipe, is a surf reef break located in Hawaii, off Ehukai Beach Park in Pupukea on Oahus North Shore. A reef break is an area in the ocean where waves start to break once they reach the shallows of a reef. Pipeline is notorious for huge waves which break in shallow water just above a sharp and cavernous reef, forming large, hollow, there are three reefs at Pipeline in progressively deeper water further out to sea that activate according to the increasing size of approaching ocean swells. The locations compound name combines the name of the break with the name of the beach fronting it. It got its name in December 1961, when surfing legend producer Aidan Aquino was driving up North with locals Tahitoa Louis-Perkins, Aidan stopped at the then-unnamed site to film Tyrra catching several waves. At the time, there was a project on an underground pipeline on adjacent Kamehameha Highway. The name was first used in Aidanʻs movie Surfing Hollow Days and it also lent its name to a 1963 hit by surf music rockers The Chantays. The reef at Pipe is a flat tabletop reef, with several caverns on the inside, there are also several jagged, underwater lava spires that can injure fallen surfers. Sand can accumulate on the reef at Pipeline, and that can cause waves to close out, a strong swell from the west clears out the sand in the reef, and after that, a strong north swell can give rise to the best waves. There are four associated with Pipeline. The left known as Pipeline is the most commonly surfed and photographed, as the size at Pipe increases, over 12 feet usually, Second Reef on the outside starts breaking, with longer walls, and more size. At an extreme size an area called Third Reef even further outside starts to break with giant waves, numerous surfers and photographers have been killed at Pipe, including Jon Mozo and Tahitian Malik Joyeux, who was famous for his heavy charging at Teahupoo. Pipeline is often considered the worlds deadliest wave and its average wave is 9 feet, but can be larger. Many more people have died or been injured at Pipeline than at any other surf spot. The takeoff zone at Pipeline is small, but a number of surfers tend to congregate there when it is breaking large. The top surfing competitions at this spot include the Pipe Masters, the Volcom Pipe Pro, the IBA Pipeline Pro, every winter, surfers can submit a video to Surflines Wave of the Winter competition. The coveted award goes out to the surfer who the judges believe showed the most commitment and style and also heavily factor in things such as how deep the surfer got. The judges are Gerry Lopez, Pancho Sullivan, Ross Williams, surfers to win the award include Kelly Slater, Reef Mcintosh, Mason Ho, and most recently, Koa Rothman
29.
Surfaris
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The Surfaris were an American surf rock band formed in Glendora, California in 1962. They are best known for two songs hit the charts in the Los Angeles area, and nationally by May 1963, Surfer Joe and Wipe Out. The original band members were Ron Wilson, Jim Fuller, Bob Berryhill, in the fall of 1962, Southern California high school students Jim Fuller and Pat Connolly called friend and guitarist Berryhill for a practice session at Berryhills house. The trio practiced for about 4 hours and met drummer Wilson at a school dance later that evening. Wipe Out was written and recorded by the later that winter. Saxophone player Jim Pash joined after their Wipe Out/Surfer Joe recording sessions at Pal Studios, ken Forssi, later of Love, played bass with The Surfaris after Pat Connolly. Wilsons energetic drum solo made Wipe Out one of the instrumental songs of the period. Wipe Out is also remembered particularly for its introduction, before the music starts, Berryhills dad broke a board near the mic, followed by a maniacal laugh and the words Wipe Out spoken by band manager Dale Smallin. Wipe Out was written in the studio by the four original members and it was initially issued on the tiny DFS label in January,1963. It was reissued on the tiny Princess label in February,1963 and it was picked up by Dot in April,1963, and later reissued as Dot 45-144 in April,1965. It sold over one million copies and was awarded a gold disc, the band released a series of records, with two other singles, Surfer Joe and Point Panic, having an impact on the charts. Point Panic is a renowned surfing venue in Hawaii after which the song was named, the original 1963 membership remained intact until August 1965 when Connolly departed before their Japanese tour. Ken Forssi replaced him on bass for the tour, Fuller resigned after the tour and the band folded in early 1966. The group has reunited and are still active, performing and recording, often re-recording their old. Drummer Ron Wilson died on May 12,1989, one short of his 45th birthday. Wilson had released an album of his songs, entitled Lost It In The Surf, on Bennet House Records of Grass Valley, California, a very small number of cassettes of this album were produced. Lost It in the Surf included a cover of Louie Louie, Forssi died from a brain tumor in 1998, and Pash died from heart failure in 2005. Bob Berryhill currently performs worldwide under the Surfaris banner as Bob Berryhills Surfaris, the Surfaris with Bob Berryhill in 2015 released a critically acclaimed album entitled The Surfaris Hurley Sessions
30.
Vibrato systems for guitar
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A variety of mechanical vibrato systems for guitar have been developed since the 1930s. They are used to add vibrato to the sound by changing the tension of the strings, the lever enables the player to quickly vary the tension and sometimes the length of the strings temporarily, changing the pitch to create a vibrato, portamento or pitch bend effect. Instruments without this device have other bridge and tailpiece systems, however, it has also made many sounds possible that could not be produced by the old technique, such as the 1980s-era shred guitar dive bombing effect. In the 1960s and 1970s, vibrato arms were used for more pronounced effects by Jimi Hendrix, Jeff Beck, David Gilmour, Ritchie Blackmore, Jimmy Page, and Frank Zappa. The pitch-bending effects, whether subtle inflections or exaggerated effects, have become an important part of many styles of electric guitar, terje Rypdal, David Torn and David Duhig have added to the language and extended techniques of vibrato bar usage. Guitars equipped with any system can be harder to re-string, tune. Historically, some guitarists have reversed the normal meanings of the terms vibrato and tremolo when referring to hardware devices. This reversal of terminology is generally attributed to Leo Fender and the naming of the Fender Vibroverb amplifier, see vibrato unit for details of the history of these terms in relation to electric guitar, and related issues. Ironically, Fender had previously introduced the Tremolux amplifier in 1953, while the tremolo arm can produce variations of pitch including what is normally termed vibrato, it can never produce the effect normally known as tremolo. Tremolo, on the hand, is exactly the effect produced by the electronic vibrato units built into many classic guitar amplifiers. The G&L Dual-fulcrum Vibrato, designed by Leo Fender, the Fender Floating Bridge, which has two main variants, The Fender Floating Tremolo or jag trem, introduced on the Fender Jazzmaster. The Fender Dynamic Vibrato or stang trem, introduced on the Fender Mustang, cam-driven designs based on pedal steel guitar concepts, including, The Kahler Tremolo System. Many other designs exist in smaller numbers, notably several original designs marketed by Gibson under the Vibrola name, a design patented in 2006 from Trem King uses a fixed bridge with a moving tone block. One of the first mechanical vibrato units was the Vibrola, invented by Doc Kauffman and his Vibrola was first offered to the general public by the Epiphone guitar company as an option on some archtop guitars from 1935 to 1937. Epiphone sold the Vibrola as an option as well. This Vibrola was also used on some Rickenbacker lap steel guitars at around the time and was introduced on their six string electric guitars beginning about 1937. The Vibrola distributed as an option with Rickenbacker Electro Spanish guitars was hand operated like the earliest Epiphone Vibrolas, a later unit was created and used on Rickenbackers Capri line of guitars in the 1950s, such as John Lennons 1958 Rickenbacker 325. It was a side-to-side action vibrato unit that was notorious for throwing the guitar out of tune, hence Lennons replacing his with a Bigsby B5 unit, then later with Accent Vibrola unit
31.
Fender Jazzmaster
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The Fender Jazzmaster is an electric guitar designed as a more expensive sibling to the Fender Stratocaster. First introduced at the 1958 NAMM Show, it was marketed to jazz guitarists. Its appearance is similar to the Jaguar, though it is tonally and physically different in many technical ways, the contoured offset-waist body was designed for comfort while playing the guitar in a seated position, as many jazz and blues artists prefer to do. A full 25½ scale length, lead and rhythm circuit switching with independent volume and tone controls, the tremolo lock can be manually activated to keep the entire guitar from going out of tune if one string breaks. The Jazzmaster also had a tremolo arm. The bridge and tremolo construction is very different from that of the Stratocaster and gives the Jazzmaster a different resonance, the body is larger than that of other Fender guitars, requiring a more spacious guitar case. The Jazzmaster had unique wide, white soapbar pickups that were any other single coil. Jazzmaster pickups are often confused with Gibsons P-90 pickups, although they look similar, they are constructed differently. Whereas the polepieces of the Jazzmaster pickups are magnets, the P-90 has its magnets placed underneath the coil, the JM coil is wound flat and wide, even more so than the P-90. This is in contrast to Fenders usual tall and thin coils and this pancake winding gives them a warmer thicker tone without losing their single coil clarity. The Jazzmaster has a mellower, jazzier tone than the Strat, instead, rock guitarists adopted it for surf rock. The Ventures, The Surfaris, and The Fireballs were prominent Jazzmaster users, one of the Jazzmasters notable features is the pickup circuit featuring the unusual roller thumbwheel controls and slide switch at the upper neck end of the pickguard. The slide switch selects between two different pickup circuits, the lead and rhythm circuits, when the switch is in the lead position, the guitars tone is controlled by the conventional tone and volume knobs and the pickup selector switch. The intention was that this circuit would allow the performer to switch to a preset volume. As a concession to its more conservative audience, the Jazzmaster was the first Fender guitar carrying a rosewood fingerboard instead of maple, the fingerboard had clay dot position inlays and was glued onto a two-piece maple neck. The Jazzmaster initially came with a brown tortoise shell pickguard. Some early pre-production/prototype examples came with a maple neck, others with an ebony fingerboard and/or a black painted aluminum pickguard. Rosewood became a standard material on other Fender models around 1959
32.
Fender Jaguar
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Owing some roots to the Jazzmaster, it was introduced in 1962 as Fenders feature-laden top-of-the-line model, designed to lure players from Gibson. During its initial 13-year production run, the Jaguar did not sell as well as the less expensive Stratocaster and Telecaster, Fender began making a version in Japan in the mid-1980s, and then introduced a USA-made reissue in 1999. Since then, Fender has made a variety of Jaguars in America, Mexico, original vintage Jaguars sell for many times their original price. Both the Fender company and vintage guitar authorities date the introduction of the Jaguar to 1962, one writer states that the model was introduced in December 1960, but a 1962 ad featuring a Jaguar automobile in the background referred to the new Fender Jaguar. 1960s advertising for the Jaguar often had themes, underscoring the guitars appeal to surf musicians. Photographs for the campaign, done by Bob Perine, included photographs of girls on sandy beaches holding Jaguars—many of these featured Perines daughter and her friends. The guitar was not, however, heavily publicized by surf players themselves, the Jaguar never enjoyed the popularity of its Stratocaster and Telecaster siblings. Despite this, Jaguars still fetch considerably less than Telecasters and Stratocasters of similar vintage, one of the reasons why the Jaguar was used by indie rock artists is the sonic possibilities offered by the bridge construction. The bridge and vibrato unit of the Jaguar and the Jazzmaster help produce sympathetic resonance there is a considerable length of string between the bridge and the tailpiece. On top of that, when the strings are strummed behind the bridge, a chiming sound is created. Fender reissued the 1962 version of the Jaguar in 1999 as part of its American Vintage Series, several other variations have been released within the last decade, including several humbucker versions and a Jaguar bass guitar in 2006. Fender Japan produced Jaguars for its own market with numerous special editions including an accurate version of Kurt Cobains modified model until its closure in 2015. No standard US made AVRI Jaguars sport matching headstocks unlike their counterparts, however many Japanese models do. In the past, a Kurt Cobain replica Jaguar was made for the Japanese domestic market, in May 2008 Fender introduced the Classic Player Series Jaguar and Jaguar HH with dual Enforcer humbuckers, which are made in Mexico and sold for under $1000. This Classic Player guitar is available as a 1966 limited-edition version with a bound neck featuring rectangular block inlays. In September 2010 the Black Top Jaguar HH was introduced as part of the Mexico-made Black Top series, features include a solid alder body with gloss polyester finish, chrome hardware, dual Hot Vintage AlNiCo humbucking pickups with chrome metal covers and black skirted amp knobs. Other refinements include a neck with a 9. 5”-radius rosewood fingerboard,22 medium-jumbo frets, 24-scale length, a stop tailpiece. The Jaguar was built from ideas first incorporated in the Jazzmaster, with a similar offset waist body, the rhythm circuit, set into operation when the upper bout switch is flicked upwards, had individual volume and tone rollers but no option to choose between pickups
33.
Fender Stratocaster
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The Fender Stratocaster is a model of electric guitar designed in 1954 by Leo Fender, Bill Carson, George Fullerton, and Freddie Tavares. The Fender Musical Instruments Corporation has continuously manufactured the Stratocaster from 1954 to the present and it is a double-cutaway guitar, with an extended top horn shape for balance. Along with the Gibson Les Paul, it is one of the most often emulated electric guitar shapes, Stratocaster and Strat are trademark terms belonging to Fender. The Fender Stratocaster was the first guitar to feature three pickups and a spring tension tremolo system, as well as being the first Fender with a contoured body, the Stratocasters sleek, contoured body shape differed from the flat, slab-like design of the Telecaster. The Stratocasters double cutaways allowed players access to higher positions on the neck. Starting in 1954, the Stratocaster was offered with a solid, deeply contoured ash body, a 21-fret one-piece maple neck with black dot inlays, the color was originally a two color sunburst pattern, although custom color guitars were produced. In 1956, Fender began using alder for sunburst and most custom color Stratocaster bodies, in 1960, the available custom colors were standardized, many of which were automobile lacquer colors from DuPont available at an additional 5% cost. A unique single-ply, 8-screw hole white pickguard held all electronic components except the recessed jack plate—facilitating easy assembly, in this floating position, players could move the bridge-mounted tremolo arm up or down to modulate the pitch of the notes being played. Hank Marvin, Jeff Beck and Ike Turner used the Strats floating tremolo extensively in their playing, as string gauges have changed, players have experimented with the number of tremolo springs, and modern Stratocasters ship with three springs. Some Strats have a bridge in place of the tremolo assembly. There is considerable debate about the effects on tone and sustain of the used in the tremolo systems inertia bar. The Stratocaster features three single coil pickups, with the originally selected by a 3-way switch. In 1977 Fender introduced a 5-way selector making such pickup combinations more stable, dick Dale is a prominent Stratocaster player who also collaborated with Leo Fender in developing the Fender Showman amplifier. In the early 1960s, the instrument was also championed by Hank Marvin, guitarist for the Shadows, in 1965, George Harrison and John Lennon acquired Stratocasters and used them for Help. Rubber Soul and later recording sessions, the double unison guitar solo on Nowhere Man is played by Harrison and Lennon on their new Stratocasters, after the introduction of the Fender Stratocaster Ultra series in 1989, ebony was officially selected as a fretboard material on some models. In December 1965 the Stratocaster was given a broader headstock with altered decals to match the size of the Jazzmaster, during the CBS era, particularly the 1970s, the perceived quality of Fender instruments fell. During this time, vintage instruments from the era became popular. Dan Smith, with the help of John Page, proceeded to work on a reissue of the most popular guitars of Leo Fenders era
34.
Mosrite
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Mosrite is an American guitar manufacturing company, based in Bakersfield, California, from the late 1950s to the early 1990s. Founded by Semie Moseley, Mosrite guitars were played by rock and roll. Mosrite guitars were known for design, high-quality engineering, very thin, low-fretted and narrow necks. Moseleys design for The Ventures, known as the Ventures Model, was considered to be the flagship of the line. In Bakersfield, Semie Moseley started playing guitar in a group at age 13. Semie and his brother Andy experimented with guitars from their years, refinishing instruments. Semie Moseley began building guitars in the Los Angeles area around 1952 or 1953, One of the most recognizable features on most Mosrite guitars is the German Carve on the top that Moseley learned from Rossmeisl. In 1954 Semie built a guitar in his garage. He presented a double-neck to Joe Maphis, a Los Angeles-area TV performer, by 1956, with an investment from Ray Boatwright, a local Los Angeles minister, Semie and Andy started their company, Mosrite of California. Semie, who built guitars for the L. A. -based Rickenbacker company, said to his co-workers that he was making his own product, and he was fired by Rickenbacker. When they began, their production was all custom, handmade guitars, built in garages, tin storage sheds, wherever the Moseleys could put equipment. In 1959, Andy moved to Nashville, Tennessee, for a year to popularize the Mosrite name and sold a few, including to Grand Ole Opry entertainers, Andy said, And that’s how we kept the factory going at the time, custom guitars. Moseley made guitars in Los Angeles until 1959, when he moved to Oildale, California, just north of Bakersfield. In 1962 he moved his shop to Panama Lane where he designed and produced the first Joe Maphis model guitars, one model of which would evolve into the Ventures model guitar. At this time, Mosrite made everything in-house, except for the tuners, the full The Ventures line consisted of the Mark I, Mark II, Mark V, Mark X and Mark XII. The Ventures line started in 1963 and ran through 1967, when the agreement with The Ventures ended. At the peak of production, in 1968, Mosrite was making around 600 guitars per month, Mosrite of California went bankrupt in late 1968 after they contracted with a competitor to market their guitars. After this, they tried to deal directly with stores, and they sold 280 guitars in 1969 before they came to the one day
35.
Teisco
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Teisco was a Japanese manufacturer of affordable musical instruments from 1948 until 1969, and now the brand is owned by Kawai Musical Instruments Manufacturing Co. Ltd. The company produced guitars as well as instruments, microphones, amplifiers. Teisco products were exported to the United States and the United Kingdom. The brand name Teisco was established in 1948, and sometimes explained as an acronym of Tokyo Electric Instrument. However, the name of company establishing and producing the Teisco brand was not that name. The company was founded in 1946 by renowned Hawaiian and Spanish guitarist Atswo Kaneko, the company was originally called Aoi Onpa Kenkyujo. In 1956, the name was changed to Nippon Onpa Kogyo Co. Teisco guitars were imported to the United States since 1959 or early 1960, likewise, they were imported in the U. K under such labels as Arbiter, Sonatone, Audition, Kay and Top Twenty. These brands were sold in large department stores, including Sears, Montgomery Ward, Woolworth. However, in the early 1960s Teisco products became increasingly unique, Teisco guitars became notable for unusual body shapes, such as the May Queen design resembling an artists palette, or other unusual features such as having four pickups. After Kawai bought Teisco in 1967, they started to produce all the Teisco guitars, as well as their own brand, hound Dog Taylor famously used a variety of these Kawai-era Teiscos, which he bought at his local Sears department store. Ben Waugh, singer & guitarist for Apparition, The Sillies, many Teisco guitars had a primitive tailed bridge in their extended tail bridges with limited timbre when used in an extended technique. When the strings are attacked behind the bridge, a 3rd bridge sound is created, Teisco also produced a six-string bass called TB-64 in 1964, similar to the Fender Bass VI which was itself an uncommon instrument. Teisco six-string bass followed an unusual shape that was used on one of their guitars. Also,2 or 4-pickup baritone guitars with a tremolo, known as Demian or Orlando VN-2 or VN-4 ca.1964 manufactured by FujiGen, are referred as Teisco models. However the formal relations between Teisco and these models are not enough verified yet, the VN-2 is used by The Noble Gasses band of Los Angeles, California. Teisco basses are easily identified through a unique pickup design exclusive to the Del Rey series and this design consisted of a large rectangular chrome pickup with black plastic holding the four poles in one place. Other designs may vary, but are all easily distinguishable and unique among subsequent bass designs, Teisco made a short scale bass under the Heit Deluxe name
36.
Danelectro
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Danelectro is a US designer and importer of musical instruments and accessories, specializing in guitars, bass guitars, amplifiers, and effects units. The current owners bought the name in the late 90s from a previous Danelectro company, the original Danelectro company was founded by Nathan Nat Daniel in 1947. Throughout the late 1940s, the company produced amplifiers for Sears, Roebuck and Company, in 1954, Danelectro started producing the Danelectro lines of solidbody electric guitars and amplifiers. The company also made guitars and amplifiers under contract that were branded with the names of various store brands, later Danelectro manufactured hollow-bodied guitars, which they constructed out of Masonite and plywood to save costs and increase production speed. These were distinguished by Silvertones maroon vinyl covering, and Danelectros light tweed covering and they used concentric stacked tone/volume knobs on the two-pickup models of both series—and lipstick-tube pickups, which contained the pick-up inside war surplus lipstick tubes. Danelectros goal was to produce no-frills guitars of reasonably good tone at low cost, in 1956, Danelectro introduced the six-string baritone guitar. The baritone guitar never became popular, but found an enduring niche in Nashville for Tic-tac bass lines. In 1966, Danelectro was sold to MCA, a year later, in 1969, they introduced the Coral line, known for its hollow-bodies and electric sitars. In 1969, Danelectro closed down, due to MCAs attempt to market Danelectros to small guitar shops rather than large department stores, after initially selling well, guitar sales slowed and Danelectro stopped selling guitars after 2001 to concentrate on effects pedals. In 2006, new owners of Evets decided on a new marketing model for guitars and they market eight pedals lnes, original effects, FAB effects, mini effects, vintage effects, Wasabi effects, Paisley effects, Cool Cat effects and other miscellaneous effects. All run on 9 volt batteries or power adapters, the original effects featured metal enclosures and switching. Cool Cat models are the most recent pedals, designed with metal enclosures, Danelectro has begun rolling out Cool Cat V2 pedals, featuring extra under the hood features. Mini effects pedals are smaller, compact pedals with effects resembling those of the original effects, vintage effects include the large, rectangular Spring King and Reel Echo effect pedals. The discontinued Paisley series featured paisley-patterned drive effects in original style enclosures, the Wasabi series features large, futuristic-looking metal enclosures. FAB effects are the cheapest of the bunch, and feature plastic enclosures somewhat larger than the Mini effects series, in 2006, Danelectro began selling a carrying case that holds up to five mini effects. When the player is ready to play, the top may be removed, not long after, another carrying case was developed to fit five FAB or Cool Cat pedals, as well as serve in the pedal board function as well. Despite the advantages of the effects, FAB effects are more common. The Mini effects are less expensive, but the plastic construction makes them fragile, the series was launched in 2005 with the release of the FAB Distortion, FAB Overdrive and the FAB Metal pedals
37.
Single coil guitar pickup
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A single coil pickup is a type of magnetic transducer, or pickup, for the electric guitar and the electric bass. It electromagnetically converts the vibration of the strings to an electric signal, single coil pickups are one of the two most popular designs, along with dual-coil or humbucking pickups. In the mid-1920s George Beauchamp, a Los Angeles, California guitarist, originally using a phonograph pickup assembly, Beauchamp began testing many different combinations of coils and magnets hoping to create the first electromagnetic guitar pickup. He wound his earliest coils using an out of a washing machine, later on switching to a sewing machine motor. Beauchamp was backed in his efforts by Adolph Rickenbacker, an engineer and wealthy owner of a successful tool, Beauchamp eventually produced the first successful single coil pickup. The pickup consisted of two massive U shaped magnets and one coil and was known as the horseshoe pickup, the two horseshoe-shaped magnets surrounded the strings that passed over a single core plate in the center of the coil. The Gibson Guitar Corporation introduced the bar pickup in 1935 for its new line of Hawaiian lap steel guitars, the pickups basic construction is that of a metal blade inserted through the coil as a shared pole piece for all the strings. A pair of large magnets were fastened below the coil assembly. In 1936 Gibson introduced the ES-150, its first electric Spanish styled guitar, the ES-150 was outfitted with the bar pickup. Jazz guitar innovator, Charlie Christian, began playing an ES-150 in the late 1930s with the Benny Goodman Orchestra and this caused the popularity of the electrified guitar to soar. Due to Christian’s close association with the ES-150 it began being referred to as the “Charlie Christian Model”, the P-90 is a single-coil pickup designed by the Gibson Guitar Corporation. These pickups have a large, flat coil with adjustable steel screws as pole pieces, the adjustable pole pieces pick up the magnetism from the magnets. Moving the screw closer or further away from the magnet determines signal strength, occasionally, they are mistaken for pole pieces, thus, the P-90 is sometimes erroneously said to have eight pole pieces. Dog ear is a type with extensions at both sides of pickup that somewhat resemble dogs ears. These are extensions of the predominantly rectangular cover that encompass the outlying mounting screws, dog-ear P-90 pickups were commonly mounted on Gibsons hollowbody guitars like the ES-330 and occasionally on solid body models like the Les Paul Junior. The same pickups were available on Epiphone models and the design is best remembered for its appearance on the hollow body Epiphone Casino of the mid to late 1960s. Despite its tonal qualities the P-90 fell out of favor with Gibson in the early 1950s as a consequence of guitar players complaining about the amount of hum it put out. Gibson employee Seth Lover solved the hum problem by designing a hum-canceling pickup known as a humbucker, it was supposed to sound like a P-90 and it nevertheless became Gibsons mainstay pickup from that point on
38.
Humbucker
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A humbucking pickup, humbucker, or double coil, is a type of electric guitar pickup that uses two coils to buck the hum picked up by coil pickups. Most pickups use magnets to produce a field around the strings. Humbuckers work by pairing a coil with the poles of its magnets oriented up. By connecting the coils together out of phase, the interference is reduced via phase cancellation. The string signals from both coils add up instead of canceling, because the magnets are placed in opposite polarity. The coils can be connected in series or in parallel in order to achieve this hum-cancellation effect, in addition to electric guitar pickups, humbucking coils are sometimes used to cancel hum in dynamic microphones. Hum is caused by the magnetic fields created by transformers. While playing a guitar without humbuckers, a musician would hear a hum through the pickups during quiet sections of music, sources of studio and stage hum include high-power amps, processors, mixers, motors, power lines, and other equipment. Compared to unshielded single coil pickups, humbuckers dramatically reduce hum, the twin coiled guitar pickup invented by Arnold Lesti in 1935 is arranged as a humbucker, and the patent USRE20070 describes the noise cancelation and current summation principles of such a design. This Electric Translating Device employed the solenoid windings of the pickup to magnetize the steel strings by means of switching on a short D. C. charge before switching over to amplification, in 1938 A. F. Knoblaugh invented a pickup for stringed instruments involving 2 stacked coils. This pickup was to be used in pianos, since he was working for Baldwin Piano at the time, the iron cores of these pickups were magnetized to have their north-south poles at the opposite ends of the core, rather than the now more common top-bottom orientation. To overcome the hum problem for guitars, a humbucking pickup was invented by Seth Lover of Gibson under instruction of then president Ted McCarty, about the same time Ray Butts developed a similar pickup that was taken up by Gretsch guitars. Although Gibsons patent was filed almost 2 years before Gretschs, Gibsons patent was issued 4 weeks after Gretschs, both patents describe a reverse wound and reverse polarity pair of coils. A successful early humbucking pickup was the so-called PAF invented by Seth Lover in 1955, humbuckers are also known as dual-coil, double-coil, or hum-canceling pickups. In any magnetic pickup, a guitar string, magnetized by a fixed magnet within the pickup induces an alternating voltage across its coil. Guitar pickups reproduce this noise, which can be quite audible, the direction of voltage induced across a coil by the moving string depends on both the coil winding direction and the polarity of the fixed magnet. On the other hand, the direction of current induced by external fields is only dependent on the direction of winding, therefore a humbucker has two coils wound in such a way to cancel hum and maximize signal when they are connected. By convention humbucker coils are both wound counterclockwise, however typically the outside ends of the coils are connected together so that the starts are out of phase
39.
Rogers Drums
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Rogers Drums, was an American drum company created in 1849 and based in Covington, Ohio. Their drums were embraced by musicians from the movement to the classic rockers of the 1960s and 1970s. However, the manufacturer was most closely associated with the big band, the Rogers company was started in 1849 by an Irish immigrant from Dublin named Joseph Rogers. Rogers came to the United States and started crafting drum heads and his son began making drums in the mid-1930s at a Farmingdale, New Jersey location. The first Rogers drums were assembled from shells and hardware of other manufacturers, in 1953, Joseph Rogers grandson, Cleveland, who had no heirs, sold the Rogers drum company to Henry Grossman. Grossman moved the company to Covington, Ohio, and under his leadership Rogers was propelled to the forefront of American drum making for the next decade and a half. Design engineer Joe Thompson and marketing guru Ben Strauss were instrumental in Rogers success during its golden age from the mid-1950s to the late 1960s, the companys drums were embraced by musicians from the dixieland movement to the classic rockers of the 1960s and 1970s. However, the manufacturer was most closely associated with the big band, Rogers is probably most famous for its Dyna-Sonic snare drum, which featured a number of innovations. In particular was a cradle in which the snare wires were supported. This device provided a means by which the tension of the snare wires could be adjusted independently of the vertical force holding the snares against the bottom head. As a result, the snares could be tensioned as tightly as the drummer wanted without having to pull the snares against the head so hard they constrained the heads vibration. This and other innovations made possible by the novel tensioning arrangement gave the drum a relatively crisp, Dyna-Sonics were made from about 1961 until the mid-80s. The company was bought in 1966 by CBS Musical Instruments, which had acquired in 1965 Fender Guitars. The vast majority of Dyna-Sonics had COB shells, only a small number of wood-shell Dyna-Sonics was made during the lifetime of the drum. Pristine models can fetch thousands of dollars on the vintage drum market, other notable Rogers drums were the Powertone model of snare drums and the Holiday model of tom-toms and bass drums. Fiberglass timpani were also manufactured for a time, the model being called Accu-Sonic, in addition to its Dyna-Sonic snare drum, Rogers was renowned for its highly-innovative hardware. Much of it was developed by Thompson, including the Swiv-o-Matic line of bass pedals, hi-hats, cymbal stands. The cymbal stands and tom-tom holders featured a ball-and-socket tilting mechanism, even Ludwig drummers like Ringo Starr of The Beatles, Mitch Mitchell of The Jimi Hendrix Experience, and John Bonham of Led Zeppelin used some Swiv-o-Matic hardware items on their kits
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Ludwig Drums
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Ludwig Drums is an American manufacturer of percussion instruments. The brand achieved significant popularity in the 1960s, through the endorsement of The Beatles drummer Ringo Starr, the Ludwig Drum Company was established in 1909 by William F. & Theobald Ludwig, sons of a German immigrant to the United States. William Jr. had been a drummer, playing with circuses and touring vaudeville shows. Since this work was irregular, he and his brother, Theobald, opened a shop in Chicago. The company started with a concept for the design and manufacture of a bass drum pedal. The company added new products to its catalog, such as snare drums, in 1917, Ludwig signed a deal to build rope drums to support World War I. Theobald Ludwig died in 1918 and William continued on his own, by 1923, the factory was the largest drum manufacturer in the world, employing 240 workers. In the late 20s, the company was sold to the C. G. Conn instrument company, William Ludwig stayed on to run the company for Conn. Eventually, William Ludwig decided to leave Conn and start a new company of his own and he was unable to use the Ludwig name since that trademark now belonged to Conn who continued to market Ludwig & Ludwig drums. In 1937, William bought a building and started The WFL Drum Company. The company continued producing drums at a scale for the duration of World War II. WFL was a competitor with Ludwig and Ludwig, Conn combined their two drum brands into one in the early 50s forming Leedy & Ludwig and then decided to quit the drum business altogether. As it happens, Starr chose that brand upon joining the band simply because he liked the oyster pearl black color of the kit he chose. Ludwig acquired the Musser Mallet Company, a manufacturer of xylophones, marimbas and vibraphones, on November 4,1981, William F. Ludwig II sold the business to the Selmer Company. Selmer closed the Damen Avenue factory in the years and moved the drum production business to Monroe. The Musser manufacturing facility remained in LaGrange, Illinois until 2013, Ludwig II July 9,2002 NAMM Oral History Interview with William F. Ludwig III January 16,2009
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Gretsch
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Gretsch is an American company that manufactures guitars, basses and drums. The company was founded in 1883 by Friedrich Gretsch, a 27-year-old German immigrant, Friedrich Gretsch manufactured banjos, tambourines, and drums until his death in 1895. In 1916, his son, Fred Gretsch Sr. moved operations to Brooklyn, most modern-era Gretsch guitars are manufactured in the Far East, though American-made Custom Shop models are available. In 2003, Gretsch entered an agreement with Fender Musical Instruments Corporation. Under the terms of that agreement Fred W. Gretsch would retain ownership while FMIC would handle most of the development, distribution, Gretsch was founded in 1883 by Friedrich Gretsch, a young German immigrant. His Brooklyn shop was designed for the manufacture of banjos, tambourines, in 1895, Gretsch died at the age of 39, and the then successful company was taken over by his son Fred Sr. By 1916, Fred had moved the company into a larger 10-story building in the Williamsburg district, chuck Berry also played the Duo Jet when he recorded his first major hit, Maybellene and is pictured on his LP After School Session. Two other models were introduced - the Country Club, and the White Falcon, Guitar production by the Gretsch Company began in the early 1930s, and Gretsch guitars became highly sought after, most notably in the 1950s and 1960s. They lost favor with players during the 1970s and 1980s for various reasons, Gretsch eventually went bankrupt, then was revived in 1989 by Fred W. Gretsch, a great-grandson of Friedrich Gretsch. Fred W. Gretsch remains president of the company, during this time, Chet Atkins became an endorser of Gretsch. Atkins was one of the pre-eminent guitarists of his day, and his endorsement gave Gretsch greater visibility in competition with Gibson and Fender. Gretsch ultimately sold thousands of guitars with Chets name on the pickguard, most notably the 6120 Chet Atkins model, the worldwide success of Eddys twangy instrumental records, television appearances, and extensive touring, helped expose the Gretsch guitar to the teenage rock and roll market. George Harrison, years later, would refer to model as the Eddie Cochran/Duane Eddy guitar. Other Chet Atkins models were the Country Gentleman and the Tennessean, many rockabilly players had followed in the footsteps of Eddie Cochran, who also wielded a 6120 and Gene Vincents guitarist Cliff Gallup, who played a Duo Jet. Elvis Presley later owned a Gretsch Country Gentleman—, playing it briefly both on stage and in the studio, Gretsch quickly became a legitimate competitor to both Gibson and its main rivals, Fender and Rickenbacker. Gretsch fortunes rose yet again in the sixties when George Harrison played a Gretsch Country Gentleman on The Ed Sullivan Show. Despite popular belief, he acquired two Country Gentleman guitars, his first was destroyed when it fell out of the trunk of a car on the roadway. He would later switch to a Gretsch Tennessean and his Country Gentleman made its last appearance in the video of Youre Going to Lose That Girl in the movie Help
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Slingerland Drum Company
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Slingerland is an American drum kits brand, currently owned by Gibson. The brand is strongly related to jazz drummers, such as Gene Krupa or Buddy Rich, Slingerland also produced electric and acoustic guitars, mandolins and banjos during the 1930s. The Slingerland Drum Company was founded by Henry Heanon H. H. Slingerland in 1912, Slingerland had won a correspondence school of music in a card game aboard one of the gaming boats that once cruised Lake Michigan. He then opened a school in Chicago, and soon turned to manufacturing instruments as well. The company started out importing ukuleles from Germany, but set up its own production because it could not meet demand, soon, they produced their own banjos and ukuleles and eventually, also guitars. Production of drums was started in 1927 in answer to the entry of the Ludwig & Ludwig drum company into the banjo market, the first Slingerland drum kits came out in 1928. A resourceful and energetic businessman, H. H. established a dealer network throughout the U. S. the then-territory of Hawaii. After H. H. s death from a stroke, the company was run by his wife, Nona, the companys manufacturing plant was later moved from Chicago proper to the outer suburbs. As the Slingerland company, best known as a manufacturer, also made guitars. The Songster electric guitar, featured in a 1939 company catalog, the guitars pickup includes individual string magnets as well as a large horseshoe magnet. Slingerland ceased making electric instruments in 1940 in order to focus on producing percussion instruments. The company remained in the Slingerland family until 1970, after introducing the Magnum series in the late 1970s, Slingerland lost its footing, and the company folded. In the 1970s and 1980s, Slingerland changed ownership multiple times until it was acquired from Gretsch by the Gibson musical instruments company in 1994, in 1998, Slingerland released a model based on its Gene Krupa signature drum kit. Slingerlands most famous line is the Radio King series of drums. These drums were introduced in 1936-37, and remained Slingerlands flagship snare drums and drum sets until 1957, between 1960 and 1962, Radio Kings were reintroduced and remain the premier product for the Slingerland Drum Company. Older Radio Kings are obsessively collected by vintage drum enthusiasts, Gene Krupa and Buddy Rich were both Radio King endorsers. Single-ply wood drums are known for their resonance and bright tone, Radio King bass drums and tom-toms were made from mahogany, with maple reinforcement hoops. These drums are known for their sound, very warm
