If you ask fifty different guitarists what the best electric guitar is, you will probably get fifty completely different answers. And that's exactly the way it should be. There is no standard for the sound of an electric guitar. Famous guitarists are known for stretching the boundaries of the tone of the instrument ever since it was first created. It is interesting, though, to take a look at what professional guitarists prefer. Advice from your favorite guitarist could determine what guitar you are going to purchase for example. So I put together some different perspectives from professional guitarists from a variety of music styles. This is a good chance to get inside the minds of these players and use their preferences to help shape your own sound.
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| Electric Guitars |
I'll start out with a recap of what makes guitars sound better than others. Find this brief, fundamental overview here at
http://ezinearticles.com/?What-Makes-Some-Electric-Guitars-Sound-So-Much-Better-Than-Others?-3-Reasons&id=6545718.
There's absolutely no doubt about it, some electric guitars sound great whilst others just don't. Perhaps there is a reason for this and are there some points to seek out when looking to buy a new model? Here are my 3 reasons why an electric guitar sounds excellent.
1. The initial port of call will be the wood. Premium hardwood much like the mahogany used on a Les Paul Model or maybe the alder as made use of on Stratocaster guitars can certainly produce a huge difference. Naturally there are various other superb hardwoods that sound great but be mindful of some inexpensive, laminate bodies. The most effective sounding guitar bodies and necks are frequently the ones constructed from just one piece of wood, in contrast to 2 or 3 piece structures. This seems to help the sustain however it will set you back more for this luxury. Don't forget also that the quality and density of the wood has an effect on string vibrations and sustain.
Top quality fretboard wood like maple, ebony or rosewood is additionally an area to look out for as much less expensive woods implemented here can mess up the sound.
2. Now on to the guitar pickups. These are definitely vital as substandard pickups on an otherwise very good guitar can ruin the sound. Some cheap mass-manufactured guitars end up receiving cheaper mass-produced pickups. If you would like excellent sounding pickups you'll be wanting a set that came from one of the main makers or one of the smaller, fantastic boutique makers. Pickups from these suppliers are put together with high quality materials and a lot of attention. They will make use of the old school winding techniques of the 50s, which cannot be said for many of the cheap pickups that come out of the Far East.
3. The guitar's hardware is definitely the next area to mention. Low-cost brass bridges and flimsy machine heads will not help the sound in the slightest. There are numerous guitars on the market with very poor quality, low priced hardware destroying the sound. Consider this or else you may be upgrading your guitar's hardware before you know it. You may also want to look for the nut located at the top of the guitar fretboard used to seat and distribute the strings. If this is low-priced plastic material it isn't a good sign. Bone, graphite or an advanced polymer material will work much better.
So there are my 3 reasons why a guitar sounds excellent. Naturally there are the tiny little extra points for example a good guitarist along with a great sounding amplifier!
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| Gibson electric guitar |
The first guitarist is Angus Young of AC/DC. This piece is only an excerpt from the full interview, but it highlights his guitar preference. Check out the full interview at
http://www.guitarworld.com/angus-young-acdc-opens-his-first-guitar-world-interview-1984?page=0,1.
"He's probably got the best right hand in the world. I've never heard anyone do it like that. Even Keith Richards or any of those people. As soon as the other guitar drops out, it's empty. But with Malcolm it's so full. Besides Malcolm always said that playing lead interfered with his drinkin' and so he said I should do it."
A self-proclaimed "illiterate" on the instrument, Young never really took the guitar seriously until age fourteen, nearly ten years after he transformed that banjo into a make-shift guitar. At the time he received the Hofner he began a more serious evaluation of his stance and even managed to obtain a sixty-dollar amplifier which would turn the tubes blue when a push/pull treble pot was activated.
"I remember one of the first gigs I played with that amp was at a local church. They wanted someone to fill in with the guitar and my friend say, 'Ah, he can play.' And so I dragged the amplifier down and started playing and everybody started yelling 'turn it down!'"
Not to be undone, he continued playing and listening (mainly to old rock and roll records a la Chuck Berry) and in a twisted sort of fashion became adept at lead work prior to a command of rhythm. While he does nurture a pure distaste for the solo artist (he is a company man) and for that matter soloing itself, it was a technique acquired with little problem.
"Soloing was pretty easy for me because it was probably the first thing I've ever done," discloses Young. "I just used to make up leads. I never even knew any names of chords until Malcolm told me and then I picked it up from there."
Encouraged by improvements, Young outgrew the Hofner and bought a secondhand Gibson SG. Approximately a 1967 model, the instrument was played until just a few years ago when wood rot (due to excessive moisture from sweat) and neck warp forced him to look for a replacement.
"It had a really thin neck almost like a custom neck," describes Young, whose pixie-sized hands would find such a neck to his liking. "I liked the SG's because they were light. I tried Fenders but they were too heavy and they just didn't have the balls. And I didn't want to put on them DiMarzios because then everyone sounds the same. It's like you're listening to the guy down the street. And I liked the hard sound of the Gibson."
That particular instrument has been difficult for Young to replace. It had a remarkably thin neck (Gibson made 1-1/2-inch and 1-1/4-inch necks, and this was one of the latter) and after searching virtually every major guitar shop in the world has yet to find an equally playable instrument.
He used this guitar from 1970 (when he bought it) until 1978 (he did replace the original pickups after one year of use with another set of Gibson humbuckers) when it was set aside for another SG he purchased at a pawn shop in New York. A Gibson reject due to flaws in the finish, it is similarly a circa-1967 model with that same thin neck featured on his original piece. It is the shape of the instrument as well which has attracted Young, the two horns allowing for easy access to the higher frets.
"And you can do a lot of tricks on it, too," he chides.
Just as he has been faithful to the Gibson SG, so has Young been a stalwart of the Marshall amplifier. Toying with other amps (Ampeg in particular) led him to the conclusion that the Marshall hundred-watt stack is "the best rock amp," and while his stage setup does vary, it is basically an arrangement of four stacks hooked in series via splitter boxes. The tone controls represent little more than gibberish to him -- performing with the English units for over a decade has directed him to rely upon certain settings.
All four stacks are set virtually the same and read: volume at full; treble and bass at half; midrange at half; and presence at zero. If there is a lack of top end depending on the configuration of a hall, he will kick on the presence as compensation.
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Guitarist playing electric
guitar |
The Yamaha brand of guitar is a versatile choice for guitarists. If you have purchased a Yamaha or are interested in a new guitar, I suggest you take a look at the information here at
http://ezinearticles.com/?How-To-Get-The-Best-Start-With-Your-Yamaha-Guitar&id=6517192.
So you have purchased, or are at least you are thinking about purchasing, your first Yamaha guitar. Congratulations on your decision! But before you dive into your new endeavor there are some important things that you should know.
Most everybody who wants to learn to play the guitar begins with high expectations. I say, most everybody, because some are forced into the experience, which is usually a recipe for disaster. But if playing the guitar is your aspiration then one of two things will happen. Your experience will either be "wonderful" or "horribly frustrating." In most instances, "horribly frustrating" leads to abandoning the pursuit of playing altogether.
What you want to happen is a pleasant experience where you realize a modicum of success. For some people that only amounts to mastery of a few songs and for others it will mean the ability to play just about anything they want. How far you go with learning to play is obviously up to you...but all roads can be treacherous if you don't go about it in the right way.
The first step is to purchase a decent instrument that is user friendly. That is not to say that you have to pay a lot of money but that you should put your money in the right place. I believe that the best choice for beginners is a Yamaha guitar. Beginner guitars from Yamaha have a reputation for affordability without sacrificing quality. That means "quality" of construction and "quality" of sound.
An excellent beginner model that comes highly rated is the Yamaha FG700S Acoustic guitar. You can pick one up for under $200. This guitar is easy to tune and is good about staying in tune. It has that "user friendly" quality that I mentioned earlier. If your beginner interest is in playing classical music then take a look at the Yamaha C 40. As is the case in most of their instruments the classical Yamaha guitar is both affordable and reliable.
Another way to save money on your guitar purchase is to buy a bundled kit. For example the Yamaha Gigmaker Deluxe Acoustic Guitar Package includes a gig bag, tuner, strap, strings, picks, and an instructional DVD in addition to the guitar. Best of all it sells for about the same price as the guitar by itself.
If you are buying a beginner guitar for a child, ages 7 - 11, then a good choice is the Yamaha FG JR1 ¾ Size Acoustic Guitar with Gig Bag. The smaller model guitar still maintains a rich sound while making it easier for young players to handle the instrument.
If you are serious about learning to play then there must be a commitment to practice.
Practice should be consistent, purposeful, and regular. To get the most out of your practice it is best to build in accountability...and the best way to accomplish that is to work with an instructor. Learning on your own with a book or DVD is doable but nothing beats studying under a good teacher.
Most of us live around others which can mean that practice might produce friction in the household or neighborhood. If you don't have a place where you can comfortably rehearse consider a practice guitar. Yamaha also makes a superior line of practice instruments. An excellent choice is the Yamaha SLG110N Nylon String Silent Guitar Natural. With a silent Yamaha guitar you listen on headphones while you play which means you can practice in apartments, hotel rooms, or in your room late at night. The only problem is that the silent Yamaha guitar is pretty pricy...but well worth it if you are serious about growing as a musician.
For most of us mere mortals learning to play guitar is not easy. And despite those who promise that you can learn to play in just a week...forget it. You should aspire for something more than mastering "Mary Had a Little Lamb." Take your time... and put in the time. You will be rewarded with a skill that will produce much joy and satisfaction for a lifetime.
Good luck on learning to play your Yamaha guitar. And who knows? Maybe one day...that will be you up on that stage playing to a crowd of adoring fans.
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| Gibson electric guitars on bench |
The next perspective to look at is the Judas Priest guitar duo, K.K Downing and Glenn Tipton. Their heavy sound is recognizable in the rock world and is explained here at
http://www.guitarworld.com/kk-downing-and-glenn-tipton-judas-priest-talk-gear-1984-guitar-world-interview?page=0,2.
"That could happen very easily with certain personalities. If one person is very pushy, he'll try and take over. And if the other has got a more passive personality, he's going to let him. But Glenn and I were both very much of the same temperament. We've always been aware that ... 'If you try and overtake me or try and overstep the mark a little bit, I'm gonna come down on you.' And that's the way it's always been with us."
Tipton adds, "It's definitely a healthy competition. If I know that Ken is practicing hard, then I gotta do the same, just to keep up with him. And vice versa. It's always good to have competitiveness in a band, as long as it's friendly competition. The other positive aspect is that we each bring fresh ideas to the band. If you're the sole guitar player in a band, then obviously there are certain things that you're going to miss ... new sounds, new equipment, new things happening. When you're on the road as much as we are, you can get so wrapped up in what you're doing that you can miss all those things. Whereas, with us it's like two heads are better than one all the time. I mean, between the two of us, we can keep our eye on everybody and everything that's happening. And it's important to keep up."
Downing and Tipton have both used Gibson guitars almost exclusively over the years, though both have been experimenting with Hamer guitars of later. Downing reports excellent results:
"I think it's the best guitar in the world. It's absolutely beautiful. It's like the original Gibson red mahogany underneath with a mantle top. It's very well-made, very strong and it's got a Floyd Rose clamp system on it. There are a few tiny problems with it, which you always get with a brand-new guitar. You really have to wait for the neck to settle in to a point where it's trustworthy, because you do get a certain amount of movement with new wood. And you have to give it time to adjust to different temperatures. The Hamer also has an excellent-sounding pickup. My '64 Flying V, which has got PAF pickups in it, is no comparison, and that is a beautiful-sounding guitar itself."
Before discovering the Hamer, each player went through a variety of guitars. Tipton says he started off with a semiacoustic Hofner, graduated to a Rickenbacker, then progressed to a '67 Stratocaster. "It was one of my all-time favorite guitars," Tipton says. "It was salmon-pink, really nice. But it was stolen. Shame, really, 'cause I had no money to buy a new one. But what happened was, the club where it was stolen from reimbursed me for the guitar and with the money I bought another Strat for very, very cheap. Later, I moved on to a Gibson SG, which became a favorite guitar of mine."
Downing says he started off on a Gibson SG Junior, which led to a 1959 Gibson SG Standard. "I've always been a Gibson fan for some reason," he says, "But I've also always had a Strat as well throughout most of my professional career. I like those as well but Gibson has always been my preferred guitar. I've found that it has a more powerful pickup and allows me to playa little bit more fluently. Plus, the frets seem to be a little closer together, and the Gibson has that extra frets. I've gotten used to using that extra fret way up there."
After seeing guitarists Freddie King and Kim Simmons sporting Gibson Flying Vs, Downing decided to pick one up himself. "I just like the look of them. They look a little more adventurous and not many people play them, I like them, I think they're cute. I know some guitar players wouldn't buy them because they couldn't sit down and play them. Well… who wants to sit down and play?!
"Even when I'm in the house practicing solos, I stand up and play. I even stand in front of a mirror when I'm practicing, just to see what I look like when I'm playing. I suppose it's trying to see yourself from an audience point of view, I like to watch my hand going up and down the neck. I can remember when I used to watch guitar players, and it used to impress me to watch their hands, playing all those notes. So I place importance on the visual aspects of playing too. I want it to look good and sound good."
Recently, Downing and Tipton have been toying with the notion of designing their own guitars to suit their individual needs. "I don't think Ken and I will ever be satisfied with a guitar, no matter how long we go on," Tipton says. "We're always looking to improve our sound. And this search will naturally lead us to designing our own instruments, There's a multitude of little things, very fundamental things, on a guitar that cause it to break down or go out of tune or not play fluently.
"And it's these little things that build up over the years… silly things, like the position of the volume control. I want something that you can easily get to, so I know just where it is, where it's totally accessible and doesn't get in the way of the tremolo arm, as some do. There are so many variables- the wood, the electronics inside, the frets, the tremolo bar setup-that determine the sound of a guitar. And it's something that you can always keep improving. So it's a continuous process of trial and error, trying to make your guitar trustworthy,"
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| Black electric guitar |
Jeff Beck has been a guitar legend for decades. His music and guitar playing have evolved for years in the music charts. Find an excerpt from an interview detailing his guitar preferences at
http://www.guitarworld.com/jeff-beck-discusses-gear-technique-and-hendrix-1985-guitar-world-interview?page=0,2.
What kind of stuff were you doing?
It was really a jam, we wouldn't have anything at all worked out. He'd start playing "Beck's Bolero," so I'd play rhythm guitar for that, and then I'd play "Purple Haze" and he'd play rhythm. We'd just mess around and give people a good laugh, and of course the mandatory twelve-bar blues would come into it somewhere.
Was there anything that he did that made you say, "God, I wish I'd thought of that?"
Oh, sure. I don't mean to be blowing my own trumpet, it's just that some of the little licks he did came from the Yardbirds records. That was a compliment; I could never thank him enough for doing that. But what really amazed me about him was that he lived for playing, and I didn't: he was a playaholic [laughs). I have to have a daily shot of it, but I wouldn't do it all day like he did.
Were there any tunes of his that stick in your mind?
His version of "Like a Rolling Stone" and "Stone Free." "Stone Free" is the main thing -- it's amazing, simply amazing. But there was also some bad stuff that he did. That "Star-Spangled Banner" on the Isle of Wight album, that business where I think his mind was gone a bit because of the intense pressure on him. That shook me. I said to myself, Jimi, c'mon, go back into the studio and start some new stuff, because playing live to people expecting miracles every night was just too much for him, really. I could see him going down as a result of it, his playing suffering, and then unfortunately the worst happened.
It's a bloody shame there was nobody around to make sure it didn't. He just never went to sleep -- like the early Rolling Stones, I don't think they ever went to sleep either. But he was just riding on a high, constantly, and that can't go on forever. You have to back off and take it easy. Bloody hell, it's one of the saddest losses in rock and roll guitar history, really, because who knows what he'd be doing now?
Who were some of the people you listened to that when they played you'd say, God, that guy just took the top of my head off?
Well, for that you'd have to go back to when I first started, when I started getting interested in blues. The same people that Eric, Eric Clapton, got inspired by, basically Otis Rush and people that just took your face off, like Buddy Guy and all the Chicago blues guys. I wouldn't say I got off on the bottleneck-scratching kind of stuff -- I don't really have any ear for that Jimmy Reed-kind of stuff, because it wasn't really [pauses] useful enough. It was kind of old downtrodden blues, which I don't really care for. I like the wildness of Buddy Guy.
Cliff Gallup is one of my heroes; I'd dearly love to meet him. And of course Les Paul I've met, and that's just a triumph in every sense of the word, just to see him playing again. But I like listening to anybody who's saying something, that's alI. I haven't been listening to that much new stuff: most of the time my radio is off, anyway, because I can't stand that barrage of Top Forty all the time. In fact, I’ve been listening to the classical station. But sometimes I’ll play the radio and if I’m in an extra good mood or there’s good company, a record that I would normally think stinks will come over as pretty good. Y’know what I mean?
If they’re enjoying it you might see something in it you wouldn’t otherwise. But I look at the records going around now and think, Would I be able to play on it? How would I treat this if I were playing it? And lots of times there’ll be a great drum sound with a terrific groove going, and no guitar. And I think, "God, why the hell can’t I put something out like that with my style on it?" But that brings us back to Nile, because I hope that he’s enabled me to do just that: put my guitar all over something with a little bit of savagery to it.
Talking about scratchy slide, how did you pick up on slide? You use it in some of the oddest places.
Yes, well, I turn to the slide when I'm flummoxed. Sometimes I'll just use it in short bursts, and kids don't really know if I'm playing slide or with my fingers, because it keeps coming in and out. Most slide players I've heard start out with a set tuning and that song will have that all the way through it, so if you're a guitarist you know exactly what he's doing. But I don't like that; I like to playa rapid finger-style solo and then zoom off with some slide.
So you just leave the guitar in standard tuning.
Oh yeah. I've tried horsing around with different major and minor tunings, but I'm not used to that, because I never started that way. In the Yardbirds I used to just grab a piece of steel, stick it on my finger, and make a load of noise with it. And then I began to pick out triads and so on, and it went from there.
Do you practice at all?
About two hours a day. I just sit there and mess with it. Sometimes I'll set up my Linn drum and work with that. I use the Linn more as a metronome, and do some scales and such; and then if something comes out good that day I'll remember it and use it somewhere. That is, I'll put it on tape, put the tape in a box, and put the box somewhere and lose it [laughs]. But that happens all the time. But the thing about working with the Linn drum is that it makes you play, and you tend to overshoot the paint. You might write something that is so self-indulgent that you're back to. the jazz-rock thing again. But I prefer not to get too hooked on my own stuff; I intend to form a band, and just be the lead guitarist in the band, but without actually hogging center stage all the time. So I'll use a vocalist this time.
Do you have a tentative lineup for the tour band?
I've got half a dozen names I'm playing about with.
What guitars are you favoring these days?
I've got a nice guitar that somebody found for me in Memphis, a '55 [Gretsch] Duo-Jet, which I've been falling in lave with. It's the same guitar that Cliff Gallup used to use; that stuff still sends me up the wall every time I hear it. I'm still using Strats, and I've also got a Grover Jackson which is pretty nice -- it's a bit heavy metal looking but it's bloody good. It goes up to high C, which you can scream and it sounds almost like a whistle. That's on Tina's record, the thing called "Steel Claw" -- it's almost beyond human hearing.
Have you chucked the Les Pauls?
They're thick with dust at the moment, and I think that's the way they're going to stay. They're too heavy, and I don’t seem to play that well on them any more -- just been around the Strats too long, I suppose. The Strat is part of me, really, when I put it on. It doesn’t feel like an instrument, it feels like another arm.
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| Gibson electric guitarist |
The last featured guitarist is Lenny Kravitz. His unique sound has been a favorite of many people and just as easily recognizable. Find his interview here at
http://www.gibson.com/en-us/Lifestyle/Features/lenny-kravitz-0809-2011/.
Hard to believe, but 22 years have passed since Lenny Kravitz launched his recording career with his smash-hit album debut, Let Love Rule. Since then, the veteran rocker has held true to his signature mix of ’70s-style rock, classic-sounding R&B, ’60s psychedelia and other stylistic flourishes that, in total, comprise his unique sound.
Kravitz’s latest album, Black and White America, finds him bringing all his influences to bear on some of the best songs he’s written in years. Highlights include the Kool & the Gang-like title track, the hook-laden “Rock Star City Life” and an anthemic pop-rocker titled “Stand” that showcases Kravitz’s gifts as a master riff-rocker. During a recent visit to New York, the 46-year-old musician spoke with Gibson.com about his new studio in the Bahamas, his biggest influences and why he likes being a “one-man-band.”
Did one song point the way for the new album?
There were a couple of them. One was “Push,” and the other was the title track. Actually there was another one as well, a song called “Superlove.” But I wasn’t looking for a particular style of music. I had just built my new studio at home in the Bahamas, and I was getting comfortable in it. The combination of being in the Bahamas and having a new studio – with a new sound and all my gear in place – created a flow. It put me in a really creative mood.
You say in the press notes that you dreamed a lot of the songs. What’s that like?
It feels almost euphoric. The songs come fully formed. I actually hear a record playing, and I’m digging it. Then I wake up and realize, “Wait, that’s not a record. That’s a song. It’s something new.” Then it becomes a matter of quickly finding a tape recorder.
Who influenced you as record makers?
Quincy Jones’ productions were huge for me. His work with The Brothers Johnson, and George Benson, are good examples – that whole late ’70s era. And of course Jimmy Page, who’s a great producer. There’s also Maurice White and Charles Stepney, who did such great work on Earth, Wind & Fire’s albums, during that same era. As far as ways to put albums together goes, it’s Todd Rundgren, Prince and Stevie Wonder. I identify strongly with them as multi-instrumentalists. That first McCartney solo album was a huge influence as well.
What’s the attraction to being a one-man-band?
That didn’t start out on purpose. I did that originally because I had no money to pay studio musicians, when I was making Let Love Rule. Also, when my engineer and I auditioned musicians, and he kept saying, “The character isn’t there. When you’re doing it yourself, there’s more character.” I wanted a band, but it just didn’t happen.
What are your go-to guitars, for recording?
I own a huge number of guitars, but in the studio it always comes down to three or four. There’s my late ’50s Gibson Les Paul Standard. It’s an amazing guitar, with beautiful-sounding PAF’s. It never leaves the studio. It’s on every album. I’ve also got a 3-pickup Les Paul from that same era. For acoustic work, I usually play my Gibson Everly Brothers.
Who are your main guitar influences?
It’s a mix of Jimi Hendrix, the Motown studio players and James Brown’s guitarists. And for rhythm, it’s Al McKay, who played with Earth, Wind & Fire. Those are my favorites.
What’s your songwriting process like?
It begins with hearing a song in my head. When that happens, I either grab a guitar or sit at the piano, and work out the chord structure. Then, as soon as possible, I get into the studio, and begin cutting the tracks, before the song is finished. I know the chord progression, and by then I either have the melody, or a partial melody. I put the drums down first. If it’s a song where I’m playing all the instruments, I’ll have [musical partner] Craig Ross learn the song, and strum it on acoustic guitar, even if there’s no acoustic guitar intended for the song. That gives me something to comp to, while I’m playing the drums. After that I put the bass down, while I’m listening to the drum take, and after that, the guitar tracks. At around that point I usually get the hook, and sing the song. I might also hear a synthesizer part in my head, or some bongos, as I’m going along. I just keep going until it’s done.
There’s a psychedelic component to a lot of your songs. Where does that come from?
I was a major hippie. I lived that as a child with my parents in New York City, and then I re-lived it as a young adult. Psychedelia touches a part of me that stems from childhood. You can actually hear a Partridge Family influence in a song like “Stand,” from the new album. People laugh at that stuff, but it was good music, with great melodies and great arrangements. Obviously, I mix it with funk, and other styles, but those things from childhood definitely have stayed with me. Psychedelia eventually morphed into glam – in the form of artists like KISS, and Bowie and T.Rex. I listened to all that music, as a kid. It all comes together in the form of quirky songs like “Stand” or “Rock Star City Life.”
Radio valued melody and songcraft during the ’70s in ways it hasn’t since then. Do you ever wish you had come of age in that decade?
What can I do? I used to think that, back when I put Let Love Rule out. I thought, “I was born in the wrong time.” A lot of the songs I wrote back then would have big hits in the ’70s. Radio did change, but so be it. I’m here, and I am what I am. On the new album, you hear influences that range from the ’60s to the present. It’s a collage.
You were fortunate to see some of the world’s greatest performers as you were growing up. Is there anyone who stood above the rest?
Duke Ellington made a huge impression. I used to sit on his lap as he played piano. Can you imagine that? Miles Davis, The Jackson Five, Stevie Wonder, Curtis Mayfield, Al Green, Gladys Knight and the Pips … that was my foundation. I didn’t even get into rock music until I moved to L.A., when I was 11. That’s when I got introduced to Led Zeppelin and Jimi Hendrix, and Cream and The Who. That music, mixed with the funk and R&B and soul and gospel and jazz I had grown up with, comes out in what I do. It made me who I am.
Only after putting this piece together did I realize how Gibson seemed to come out as a favorite. In all fairness, there are several great guitar companies and every one of them makes good products. Big companies like Gibson and Fender have been standards for many professional guitarists, but there are many guitar companies that make affordable products for guitarists of all ages.
Mike's Guitar Talk has the answers to all your guitar questions. Subscribe now to to receive all this great contact in your e-mail box. Be sure to check back later for more at Mike's Guitar Talk.
Have fun and stay tuned!
Mike
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