April 2025 – An A‑Z of Vintage Guitar Gear: in 150 Snippets

Prelude

ALL PRESENT AND CORRECT, SIR, YES SIR! Here we are once again dear friends, acquaintances and anyone else who wishes to explore the Any‑Zany world of vintage gear. Spring is here folks and time to enjoy the freshness of rejuvenated nature accompanied by a suitable musical backdrop. It is a wonderful time of the year, in the northern hemisphere at least. I’ll get my monthly plea for a civilised society in our far too uncivilised world out of the way now. Even the notion of armed (or economic or social) conflict of any kind is futile and archaic in the 21st Century. Harmony, not discord, is the key to a flourishing future and it is achievable should we care enough and value it enough. What’s wrong with a bit of peace & love? Goodness knows we need it.

After the last three articles referencing Far Eastern influences, you may be relieved to know that that is not the focus of this month’s masterpiece (Ed: conceited or what?). I started out on this article thinking that it would be fairly straightforward. By the end, I was in the ‘what on Earth was I thinking?’ frame of mind. If I want to make space and time for writing ‘The Distortion Diaries’, this really is NOT the way to go about it. When will I learn? Well, it’s done now and time to move onto the next ‘big’ thang.


A CRAVE Guitars A‑Z of Vintage Guitar Gear

Looking back over the 90‑odd monthly articles so far, I was quite surprised I haven’t tried this particular exercise or something like it before now. This month is definitely one for the list‑o‑philes out there. For all you list‑o‑phobes, you might want to sit this one out.

The following narrative is an A‑Z that covers guitar gear including guitars, basses, amps, effects, accessories, etc. In order to give enough credence to many notable names, the A‑Z comprises subjects now associated with the vintage market and the main focus is on names with a clear historical component. There could have been many more but a line had to be drawn somewhere and it ended up a conveniently rounded 150.

For the author’s fragile sanity, the exercise is specifically about guitar‑related stuff. If I had gone for a looser definition or a wider scope for musical industry, instruments, equipment and accessories, it would have proved to be unmanageably massive.

Some of these names will be familiar household names while others are going to be somewhat esoteric. Some are companies, while others are products – it’s a bit mix and match but the rationale will hopefully become clear. It is not intended to be exhaustively comprehensive and I will undoubtedly have missed some important names that readers will pick up on and no doubt berate me for not including them. However, it is MY list and I’m sticking to it, although I apologise to anyone I may have omitted or misrepresented (easy to do with such a large number of précis).

There are plenty of notable industry names not included below, such as Ashdown, Blackstar, Eastman, Eastwood, Faith, Fractal, Kemper, Line 6, Luna, Manson Guitarworks, Matamp and Suhr among many, many, many more. The focus here is primarily on producers and products. Distributors and retailers are generally not listed, including names like Chandler Music, Gruhn Guitars, Macari, Rose Morris, Sam Ash, Guitar Center, PMT, Sweetwater, Thomann, Gear4Music, etc. Some key people are included as contributors to guitar gear, rather than in their own right, such as Robert Moog and Larry Fishman. Also pro studio gear tends not make the cut here. Not everything can make the list!

The volume of available information means that the descriptions here have to be very (and sometimes overly) brief, resulting in a lot of detail being left out skewing balance. However, the A‑Z may provide an interesting launching pad for further exploration and/or investigation should you so desire. Hey, I’m not going to do everything for you!

One thing I discovered (or rather became increasingly aware of, having understood it intuitively beforehand) during the research for this article is that the global music industry has been markedly incestuous and inbred over the last 150 years or so. The industry’s relationship status could probably best be described as, ‘it’s complicated’. There has been a great deal of to‑ing and fro‑ing, buyouts, mergers, sell‑offs, liquidations, shake outs, bankruptcies, relaunches, revivals and complex interdependencies between the various players. Trying to make sense of the numerous combinations and permutations in a consistent and coherent way made my head hurt. A lot.

Due to the nature of the subject matter and the work involved, there aren’t any words‑of‑wisdom quotes/idioms or many illustrative images this month. Horses for courses and all that. I apologise that this isn’t a very ‘pretty’ blog article.

Wherever possible, I have relied on my own resources built up over many years. While I have not plagiarised content from online sources, I have relied on generalised sources such as Wikipedia, specific sources such as company/brand web sites, as well as details from various books and other publications to inform the A‑Z. I would not have been able to achieve the significant amount of information herein without seeking corroborative cross‑references as part of the research. My thanks go out to those sources, which have been of significant assistance. It probably goes without saying that there is no end of ‘information’ on all of this should you wish to delve into the endless rabbit warren that is the hinternet thingummyjig.

There was, however, a great deal of unreliable, conflicting and/or inaccurate information making collation challenging. There is, therefore, despite best endeavours, a risk that the lack of definitive facts, especially relating to dates and individuals, may have made its way into the narrative. If that is the case, I apologise pre‑emptively. For that reason alone, I do not recommend using this as a source of irrefutable factual information. It is, as always, only for entertainment and broad information. The following is pretty heavy going and may stray into nerdy nirvana. Are you sitting comfortably?

Without further ado, it’s time to get analytically and amazingly alphabetic. Following convention, we start with…


A – A Stands for…

AER

AER (Audio Electric Research) was founded in 1992 by Udo Rösner, Michael Eisenmann and Susanne Janz in the the Ruhr area of Germany. As a relative newcomer, AER has specialised in developing and manufacturing amplifiers for acoustic instruments, an under‑represented field at the time. Their slogan is, ‘the acoustic people’.

Airline

Airline Guitars was a brand used by American mail order company Montgomery Ward on a range of electric and acoustic guitars between 1958 and 1968. Like their competitor, Sears, Montgomery Ward sourced instruments from the likes of Valco, Kay and Harmony. The Airline name was also used on a range of amplifiers manufactured by Valco and Danelectro during the same period. Eastwood Guitars purchased rights to the Airline brand in the early 2000s and is still used for retro designed guitars as of 2025.

Akai

Akai Electric Company Ltd. was founded by Masukichi and Saburo Akai in Tokyo in 1946. Akai was a Japanese electronics manufacturer for many years. In the 1980s, Akai Professional focused on studio production and recording equipment and stage audio gear. The original Akai business ceased production in 2000, although Akai Professional continued manufacturing a wide range of equipment, including synthesisers.

Alembic

Alembic was founded in 1969 by Owsley Stanley (1935‑2011) in Novato, California. Alembic was, and still is, an American manufacturer of high‑end basses and guitars, Alembic was an innovator in premium bass instruments including 5‑string and graphite necks. Alembic basses have been favoured by artists such as Jack Casady, Stanley Clarke and Mark King.

Alvarez

The American Alvarez guitar brand was created in 1965 by retailer Gene Kornblum and luthier Kazuo Yairi, based in St. Louis, Missouri. The firm focused on steel‑string acoustic guitars manufactured in Japan and imported into the US. Alvarez is a private company under the ownership of St. Louis Music as of 2025.

Ampeg

The American company that became Ampeg was founded in 1946 by Everett Hull and Stanley Michaels in Linden, New Jersey. Ampeg is an abbreviation of ‘AMlified PEG’, a transducer pickup for upright acoustic basses. Ampeg’s main focus over decades has been to specialise in bass amplifiers, although it has diversified into guitar amps as well. Like many other American manufacturers, it was sold in the mid‑1960s in order to survive. Ampeg is now a brand owned by Japanese giant, Yamaha.

Aria

Aria Guitars Co. was founded in 1956 by Shiro Arai (1930‑2019) in Nagoya, Japan. Initially, Aria was a musical instrument retailer. In 1964, Aria started manufacturing acoustic guitars and, from 1966, electric guitars and basses. Aria made its name during the 1970s and changed its name to Aria Pro II in 1975. Aria currently also owns Pignose amps (see below).

Audiovox

The original Audiovox Manufacturing Co. was founded by musician and inventor, Paul Tutmarc (1896‑1972). Tutmarc was famous for the introduction of the Audiovox Model 736 Bass Fiddle – the precursor to the fretted bass guitar – in 1936. Not to be confused with another consumer electronics company bearing the same name, founded in 1960, based in Orlando, Florida.


 B – B Stands for…

B.C. Rich

B.C. Rich was founded by Bernardo Chavez Rico (1941‑1999) in 1974 in LA, California. The American company is famous for manufacturing acoustic and electric guitars, and basses. B.C. Rich guitars became known for radical guitar designs that became popular with heavy metal bands, particularly during the 1980s. Budget B.C. Rich guitars are made in Asia, while high‑end boutique instruments are made in small numbers in the US. After the founder’s death in 1999, the brand changed ownership several times before returning to private ownership in 2019.

Bigsby

Bigsby was the brainchild of innovator Paul Bigsby (1899‑1968) who started building bespoke guitars for professional artists like Merle Travis and Chet Atkins in Scottsdale, Arizona from 1946. Bigsby is best known for its worldwide industry standard vibrato tailpieces used by many other brands often under licensing agreements. Bigsby sold the company to Gibson president, Ted McCarty in 1966 and it was sold again to Fender in 2019.

Binson

The Binson Amplifier HiFi Company was founded by engineer, Bonfiglio Bini in Milan in the mid‑1940s. The company is best known for its legendary portable echo and reverberation effect, the Binson Echorec introduced in 1953/1954. Uniquely, the Echorec used a magnetic disc, rather than tape loop, to record and replay the original signal. The company ceased production in 1986. The Binson Echorec name has since been revived by guitar effect company T‑Rex.

Bogner

Bogner Amplification was founded in 1989 by Reinhold Bogner in LA, California. Bogner is an American manufacturer of guitar amps, speaker cabinets and effect pedals. The company started out making boutique amps based on modified Fender and Marshall amps before moving into mainstream production with three discrete amp lines.

BOSS

BOSS is a division of the Roland Corporation that was formed in 1972 in Osaka, Japan. BOSS focuses mainly on the manufacture of compact guitar and bass effect pedals, as well as modern multi‑effect units and amplifiers. The company started making its familiar compact BOSS effect pedals in 1977, first in Japan until c.1990 and then in Taiwan and latterly Malaysia. BOSS has become one of the biggest names in guitar and bass effects.

Burns

Burns Guitars London is a manufacturer of electric guitars and basses, founded in 1959 by Alice Farrell and Jim Burns (1925‑1998) in London, England. After a period of success during the 1960s, the Baldwin Piano Company acquired the business and the original Burns guitar line ceased production in 1970, although Jim Burns continued to make guitars independently. A range of Burns‑branded guitars re‑appeared in 1992 with guitars made in the Far East.

Buzz Feiten

Howard ‘Buzz’ Feiten II (1948‑) is a musician and luthier notable for patenting a unique tuning system for guitars in 1992. The Buzz Feiten Tuning System (BFTS) for fretted instruments is intended to correct inherent intonation issues by replacing a guitar’s standard fingerboard nut with a specialised compensated version. In 2012, Buzz Feiten Guitars was formed, renamed Buzz Feiten Guitar Research in 2018.


C – C Stands for…

Carlsboro

Carlsbro is a guitar amplifier company, founded in 1959 by Stuart and Sheila Mercer in Nottingham, England. It is one of the oldest British guitar amp makers. In 2002, production was shifted overseas and in 2010 the company was acquired by the Chinese Soundking Group.

Carvin (Kiesel)

The American Carvin Corporation was founded in 1946 by Lowell Kiesel (1915‑2009) based in San Diego, California. Carvin guitars and basses were popular with rock and metal guitarists during the 1970s and 1980s. After Kiesel’s death, the company was split into Kiesel Guitars and Carvin Corporation, the latter mainly covering audio equipment.

Charvel

Charvel is an American guitar company founded in 1974 by Wayne Charvel in Azusa, California. Charvel sold the company to Grover Jackson (of Jackson Guitars) in 1978. Charvel guitars were popular with rock and metal guitarists during the 1980s. After several changes, both Charvel and Jackson brands were acquired by Fender in 2002.

Collings

The American Collings Guitars company was founded in 1973 by Bill Collings (1948‑2017) in Austin, Texas. Collings manufacture a wide range of high quality acoustic, arch top and electric guitars, as well as other fretted instruments including production of quality mandolins and ukuleles.

Colorsound

Guitar effect brand Colorsound was formed in 1967 by brothers Larry and Joe Macari in London, England. Colorsound pedals were manufactured by another Macari‑owned company, Sola Sound. Colorsound is probably best known for the iconic Tone Bender fuzz pedal, made famous by rock guitarists in the 1960s and 1970s.

Columbus

Columbus was a brand name used by the American importer Elger Guitars on entry level copies of Gibson, Fender and Rickenbacker guitars. The flagrant copies were made in the Far East by the Japanese manufacturer, Hoshino Gakki Gen. Elger used the Ibanez name in the US and Columbus in the UK.

Coral

In 1967, the giant MCA company acquired guitar manufacturer Danelectro (see below) and introduced the short‑lived Coral brand with instruments produced in Danelectro’s Neptune City, New Jersey facility between 1967 and 1969. The brand is best remembered for its distinctive instruments like the Coral Bellzouki and the Coral Sitar.

CSL

The CSL brand name was used by Charles Summerfield Limited, based in Gateshead, England. During the 1970s, CSL distributed guitars in the UK that were manufactured by FujiGen Gakki in Matsumoto, Japan. At the time, FujiGen was known for supplying guitars for other brands including Ibanez, Fender, Yamaha and Greco. CSL guitars were mainly blatant ‘lawsuit era’ copies of Fender, Gibson and Rickenbacker models. CSL ceased trading in 1993.


D – D Stands for…

D’Angelico

D’Angelico was founded by master luthier John D’Angelico (1905‑1964) in 1932, in Manhattan, New York. D’Angelico built a strong reputation for hand built archtop guitars created in small numbers during the 1930s. Original instruments are now highly sought after. After D’Angelico’s death, the business (but not the name) was bought by former apprentice Jimmy D’Aquisto (see below). The D’Angelico brand was re‑launched in 1999 and continues as of 2025 with a range of American and Far Eastern models.

D’Aquisto

James L. D’Aquisto (1935‑1995) was an American luthier who served as an apprentice to John D’Angelico from 1952 until the latter’s death in 1964. D’Aquisto concentrated on building and repairing archtop guitars under his own name. As he predicted, he died at the same age as his mentor (59). Fender currently manufactures a range of guitars using the D’Aquisto name.

Dallas Arbiter

John E. Dallas & Sons was formed in 1875 in London, England making and selling musical instruments. Dallas imported musical instruments from Europe and the USA, including brands such as Kay, Harmony and Vega. Separately, Sound City was formed in London by Ivor Arbiter, another industry bigwig, which specialised in guitars and amplifiers. Around 1965, Dallas Music acquired the Arbiter‑Western company thereby creating Dallas Arbiter, which produced drums, guitars and basses under the Hayman brand. Dallas Arbiter is, though, best known for the iconic Fuzz Face effect pedal, manufactured from c.1966 to 1975 (and which has been reissued many times since). Dallas Arbiter went out of business in 1975.

Dan Armstrong

Dan Kent Armstrong (1934‑2004) was an American guitarist and luthier born in Pittsburgh, Pennsylvania. After opening his own business in 1965, Armstrong designed an innovative range of guitars for Ampeg in 1968 using bodies made from clear Plexiglas (a.k.a. Lucite), a synthetic polymer. The instruments also used interchangeable pickups designed by colleague Bill Lawrence. In the 1970s, Armstrong moved to England and designed a new range of traditional guitars, basses, effects and amps. In 1998, a Plexiglas Dan Armstrong guitar was reissued, made in Japan.

Danelectro

American company Danelectro was founded in 1947 by Nathan Daniel (1912‑1994) in Neptune City, New Jersey. ‘Dano’ made distinctive semi‑hollow guitar and bass bodies made from poplar or plywood frames faced with Masonite front and back and with vinyl tape binding. The instruments also used characteristic ‘lipstick’ single coil pickups and ‘coke bottle’ headstocks. MCA bought Danelectro in 1966 and ceased guitar production in 1969. The brand was revived in the 1990s focusing intermittently on guitars/basses, effect pedals and amps. Danelectro is currently owned by Evets Corporation.

DeArmond

Harold DeArmond (1906‑1999) was an American electrical designer who founded DeArmond Research in Toledo, Ohio to develop a magnetic guitar pickup in 1935, working with Bud Rowe, owner of Fox Electrical and Manufacturing. The first acoustic guitar pickups were manufactured in 1939. In 1940, production was consolidated as Rowe Industries. Although best known for guitar pickups, Rowe introduced a tremolo effect pedal in 1941, the first of its kind. By the time Harry DeArmond retired in 1976, his company had made over 170 different types of pickup, as well as many amplifiers and effect pedals. In c.1998, Fender acquired the rights to use the DeArmond name.

Dean

Dean Guitars was founded in 1976 by Dean Zelinsky in Chicago, Illinois. Dean originally made a variety of guitars for many famous artists. Zelinsky sold Dean in 1986, which continued in business but with little connection to the original company. Professional musician Elliott Rubinson of Armadillo Enterprises bought the business in 1997 and successfully rejuvenated the Dean Guitars brand with a range of products from Far Eastern budget models to US‑built custom shop instruments. The late guitarist Dimebag Darrell was a key endorsee.

DiMarzio

Larry DiMarzio started making guitar pickups in Staten Island, New York in the 1960s. DiMarzio became famous for manufacturing after‑market guitar pickups and stock pickups for a number of brands. DiMarzio also produces a range of accessories and merchandise. DiMarzio Inc. continues to make a wide range of products including around 200 types of guitar and bass pickups.

Dobro

Dobro Manufacturing Company was originally founded in 1928 by four Dopyera Brothers (Dobro is a conflation of DOpyera and BROthers). Dobro produced single cone acoustic resonator guitars to compete with National’s tricone resonator guitars. In 1932 Dobro merged with National to form the National‑Dobro Company. In the 1940s the business was sold to Valco (see below). In 1964, the Dopyera Brothers re‑introduced the Dobro name, which was eventually acquired by Gibson 1993 with guitars manufactured by Gibson subsidiary, Epiphone from 2012.

DOD (DigiTech)

DOD Electronics, deriving from the initials of founder David Oreste DiFrancesco, was formed in Salt Lake City, Utah in 1973. DOD, and its brand DigiTech, manufactures a wide range of popular guitar effect pedals. DOD/DigiTech was sold to Harman International around 1991 and then sold again to South Korean giant Cortek (owner of Cort Guitars) in 2018.

Dumble

Dumble Amplifiers was a one‑man‑band enterprise founded by reclusive Alexander Dumble (1944‑2022) to build no‑compromise hand‑made guitar amplifiers in very small numbers, often for wealthy celebrity artists. Dumble amplifiers have acquired legendary status amongst guitarists, particularly for his Dumble Overdrive Special. Commercially, the brand died along with its founder in 2022.

Dunlop

Dunlop Manufacturing was founded in 1965 by Scottish immigrant to the USA, entrepreneur Jim Dunlop (1936‑2019) in Benicia, California. Dunlop built the business from a humble start in his living room and garage to become one of the largest manufacturers of musical accessories and guitar effect pedals. Dunlop remains a private company as of 2025.


E – E Stands for…

EBow

The EBow is an innovative guitar accessory manufactured by Heet Sound Products in LA, California. The battery‑powered EBow (short for ‘electronic bow’) uses battery‑powered electromagnetism to vibrate a guitar string producing a sustained sound like a bowed violin or cello string. The sound contrasts with the rapid attack and decay of a plucked guitar string. Greg Heet invented the EBow in 1969, launched it commercially in 1976 and patented it in 1978. The EBow remains in production as of 2025.

Echoplex

Engineer Mike Battle designed the Echoplex tape delay effect unit in 1959, based on an earlier design by Ray Butts from the 1950s. The Echoplex was sold through Chicago Musical Instruments (CMI) and then Maestro, a distributor owned by Norlin (which also owned Gibson). The effect rapidly became an industry standard. In 1970, a solid‑state Echoplex superseded the valve‑driven unit, developed by Maestro. The Echoplex brand was purchased by Gibson in the 1990s and the Echoplex name was used on a line of digital looping delays. In 2019, Echoplex became a trademark of Dunlop Manufacturing.

EKO

EKO Guitars was founded in 1959 by Oliviero Pigini in Recanati, Italy. EKO manufactures classical guitars, 12‑string guitars, archtop guitars, electric guitars and acoustic bass guitars. During the 1960s, EKO became the largest guitar exporter in Europe and made guitars and effect pedals for other brands such as VOX. EKO remains a private company that continues to manufacture guitars as of 2025.

Electro-Harmonix

Electro-Harmonix (a.k.a. EHX) was founded in 1968 by musician Mike Matthews in New York City. EHX makes effect pedals and sells rebranded amplifier valves. During the 1970s, EHX manufactured a wide range of innovative affordable state-of-the art guitar effect pedals for guitarists and bass players. In the 1980s EHX stopped making effect pedals and focused on valves in the 1990s. At that time, EHX started producing a few effect pedals in Russia before returning to its roots from 2002 and continues to excel in the manufacture of guitar effect pedals.

Epiphone

What would become Epiphone in 1928 was founded by the family of Greek/Turkish immigrant luthier Anastasios Stathopoulo (1863‑1915) in 1873 in the Ottoman Empire. Initially a fiddle and lute maker, Epiphone became a major competitor to Gibson during the 1930s, especially in the manufacture of high quality archtop guitars. A struggling Epiphone was finally acquired by Gibson in 1957. Epiphone is best known for the Casino hollow body electric guitar because of an association with The Beatles. From the 1970s, Epiphone became a low cost offshore manufacturer of Epiphone‑branded copies of Gibson models.

Ernie Ball

Ernie Ball Inc. was founded in 1962 by American musician and entrepreneur Roland Sherwood Ball (1930‑2004) in San Luis Obispo, California. Ernie Ball is an instrument and accessory company, particularly known for its guitar strings. In 1972, Ernie Ball also started producing guitars. Guitars and basses are also manufactured by Music Man, which Ernie Ball bought in 1984 and now called Ernie Ball Music Man (EBMM). Ernie Ball’s son, Sterling Ball (1955‑) is the current CEO of the company, keeping it a private family business.

ESP/LTD

ESP Company Ltd was founded in 1975 by Hisatake Shibuya (1937‑2024) in Tokyo, Japan. ESP’s main business is manufacturing electric guitars and basses, as well as an OEM supplier of parts for other companies. ESP is also parent to subsidiary brand LTD amongst others. ESP and LTD guitars have been favoured by heavy metal guitarists in particular. ESP also has had an American headquarters based in LA, California since 1993. ESP’s primary competitor is rival Japanese brand, Ibanez.

Eventide

The American Eventide Inc. was founded in 1971 by recording engineer Stephen Katz, inventor Richard Factor, and businessman Orville Greene in New York City. Eventide is best known for its extensive range of premium quality studio and guitar effect pedals using digital effect processors and Digital Signal Processor (DSP) software. Eventide is now based in Little Ferry, New Jersey.


F – F Stands for…

Fender

Fender, one of the world’s most famous and important names in guitars, basses and amplifiers was founded in 1946 by Clarence Leonidas ‘Leo’ Fender (1909­‑1991) in Fullerton, California. Leo Fender sold his business to CBS in 1965. Following a management buyout in 1985, Fender Musical Instrument Company (FMIC) once again became a private company. Fender is home to iconic instruments like the Telecaster, Stratocaster, Precision, Jazz Bass, Jaguar, Jazzmaster and amplifiers like the Twin, Deluxe, Bassman and Princeton. Fender also produces accessories and merchandise.

Fernandes

Fernandes Guitars was formed in 1972 from its predecessor, Saito Musical Instruments, founded in 1969 in Niizo, Japan. Fernandes is a Japanese company that produces electric and bass guitars, amplifiers and accessories. Fernandes has become one of the biggest guitar producers in Japan. Fernandes, though, is possibly best known for its Sustainer pickups that use electromagnetism to vibrate the guitar’s strings in a similar way to the eBow (see above). Fernandes also owns the Burny brand, known for making copies of Gibson guitars.

Floyd Rose

The Floyd Rose locking vibrato system (erroneously called a tremolo) was designed by Floyd D. Rose in 1976 and patented in 1979. The vibrato was intended to return the strings to accurate tuning despite extreme ‘dive bombing’ of a guitar bridge to change the pitch of strings. The system relies on firmly clamping the strings at both the nut and bridge. Floyd Rose vibratos became phenomenally popular, particularly with rock and heavy metal guitarists and the approach has been widely imitated and officially licensed.

Framus

Framus was founded in 1946 by Fred Wilfer in Luby, Czechoslovakia to make stringed instruments and to resettle German Bohemians expelled from Bohemia after WWII. Framus is a conflation of FRAnconian MUSical instruments. Framus became the largest guitar producer in Europe during the 1950s. Despite success, Framus went bankrupt in 1975. The brand was re‑introduced in 1995 by founder Fred Wilfer’s son as part of the German bass guitar manufacturer Warwick (see below).


G – G Stands for…

G&L

G&L Musical Instruments was founded in 1980 by George Fullerton (1923‑2009)(G), Leo Fender (L) and Dale Hyatt in Fullerton, California. G&L was the venture Leo Fender pursued after he left Music Man in 1979 and before Music Man was sold to Ernie Ball in 1984. G&L focused on continuing to innovate and evolve Leo Fender’s guitar and bass designs in a way that Fender (the company) couldn’t. After Leo Fender died in 1991, BBE Sound, Inc. took over the business.

Gibson

Gibson, one of the oldest, most famous and most important names in guitars was founded in 1894 by Orville Gibson (1856‑1918), in Kalamazoo, Michigan. Orville started off making labour‑intensive carved top guitars and mandolins. Lloyd Loar (1886‑1943) designed key jazz archtops like the L5 for Gibson in the 1920s. The ES‑150 was the first production ‘electric’ guitar in 1936. Collaborating with professional musician Les Paul (1915‑2009), Gibson introduced the Les Paul Model guitar in 1952. Company president Ted McCarty (1909‑2001), followed the Les Paul with the Explorer, Flying V, ES‑335, SG and many others. Gibson was sold by parent company CMI to Norlin in 1974 and was subsequently subject to a management buy‑out in 1986. Despite financial difficulties, Gibson remains a private company as of 2025.

Godin

Godin Guitars was founded by Robert Godin in Montreal, Quebec, Canada in 1972. Godin currently manufactures electric and acoustic guitars and basses under its own name, built in Canada, as well as other subsidiary brands like Seagull. Godin is Canada’s largest guitar business.

Gordon Smith

Gordon Smith Guitars was founded in 1974, named after its founders, Gordon Whitham and John Smith in Greater Manchester, England. Gordon Smith is a manufacturer of hand‑crafted electric guitars. The company is also Britain’s longest‑running electric guitar manufacturer. In April 2015 Gordon Smith Guitars was acquired by British firm, Auden Guitars, based in Northamptonshire, England.

Goya

Goya guitars (named after the Spanish artist) were manufactured by Levin, a company founded in 1900 by Herman Carlson Levin in Gothenburg, Sweden. In 1952, Goya introduced nylon‑strung acoustic guitars followed by steel‑string acoustic guitars in the 1960s. In 1976, the Goya brand was sold to CF Martin (see below). Production of Goya guitars suffered and Martin stopped selling Goya‑branded guitars during the 1990s.

Greco

Greco is a brand name used by the wholesaler Kanda Shokai Corporation, formed in 1948 in Japan. The company started selling Greco guitars in the mid‑1960s. In the 1970s, although not specifically targeted by Gibson, Greco became embroiled in the ‘lawsuit-era’ copy scandal. In 1982, Kanda Shokai was part of a joint venture with Fender Japan, making acoustic and electric guitars for the Japanese market. Various guitar models have used the Greco name on and off since the 1990s.

Gretsch

Gretsch was originally founded by German immigrant Friedrich Gretsch (c.1856‑1895) in 1883, located in Brooklyn, New York, USA. Gretsch focused primarily on guitars as a core business in the 1930s and the company hit their peak era from the mid‑1950s to mid‑1960s during the rock & roll boom. Gretsch was sold to Baldwin Pianos in 1967 and the family business has worked in partnership with Fender since 2002. Gretsch is probably best known for the iconic 6120 Chet Atkins hollow body guitar.

Guild

The Guild Guitar Company was founded in 1952 by professional guitarist and music retailer Avram ‘Al’ Dronge (1911‑1972) in Manhattan, New York. Guild intended to compete primarily with rivals Epiphone and Gretsch. Following expansion, Guild was sold to the Avnet Corporation in 1966, which moved production to Westerly, Rhode Island. Guild was sold again to Fender Musical Instrument Corporation (FMIC) in 1995. In 2014, Guild was acquired by Cordoba Music Group and moved yet again to Oxnard, California.

Guyatone

Guyatone was founded in 1933 by Mitsuo Matsuki in Yamanashi, Japan. Matsuki Manufacturing produced guitars under the Guya brand until 1940. In 1951 the Guyatone name was established for electric guitars and, in 1955, the first Guyatone solid-body electric guitar was introduced. In Japan, Guyatone guitars were sold using the Ibanez name. In the UK, Matsuki used the Antoria name and in the US, they used the Kent name. The Guyatone name is now owned by DeMont Guitars LLC.


H – H Stands for…

Hagström

Hagström was founded in 1925 by Albin Hagström in Älvdalen, Dalecarlia, Sweden. Hagström’s main business was accordions before they started making electric guitars in 1958 and subsequently amps. Hagström pioneered with the innovative H8 8‑string bass and also began to experiment with guitar synths. Hagström ceased production in 1983 in the face of stiff competition. The brand was revived in 2004 and now produces guitars in both Europe and the Far East.

Hamer

Hamer Guitars was founded in 1973 by Paul Hamer and Jol Dantzig in Wilmette, Illinois. Hamer became well‑known for building guitars and basses based on Gibson’s designs. In 1988, Hamer was acquired by Kaman Music Corporation (KMC), which owned Ovation guitars. In 2008, Fender bought KMC including the Ovation and Hamer brands. Fender closed down Hamer production in 2012. In 2015, Fender sold KMC again. In 2017, KMC revived the Hamer name with products imported into the US.

Harmony

The Harmony Company was founded in 1892 by Wilhelm Schultz. Sears, Roebuck & Co. purchased Harmony in 1916 for the latter’s ukulele business. By the 1950s, Harmony produced a wide range of instruments, peaking in the mid‑1960s. In 1975, the production of Harmony guitars ceased and the brand name was sold. In 2018, BandLab Technologies of Singapore revived the Harmony brand, producing guitars and amps made by Heritage (see below).

Heritage

Heritage Guitar Inc. was founded in 1985 by three former Gibson employees in Kalamazoo, Michigan. Heritage set up business in the old Gibson factory after Gibson had moved to Nashville, Tennessee in 1974. As of 2025, Heritage is a small‑scale manufacturer of guitars heavily based on Gibson’s traditional designs.

HH Electronics

HH Electronics was founded in 1968 by Mike Harrison, Malcolm Green and Graham Lowes in Harston near Cambridge, England. It was a manufacturer of distinctive solid state guitar, bass and PA amps, as well as speaker cabinets. In the 1990s, HH was acquired by Laney Amplification (see below).

Hiwatt

Hylight Electronics, better known as Hiwatt, was founded in 1966 by Dave Reeves in Surrey, England. Hiwatt are best known for their guitar and bass amps. As part of the 1960s and 1970s boom in high powered amps, Hiwatt (including Sound City, see below) along with its main competitors Marshall, Orange and VOX helped to cement the ‘British sound’ of rock music, contrasting with the ‘American sound’ of Fender (and its derivatives) amps.

Höfner

Karl Höfner GmbH & Co. KG was founded in 1887 by German luthier Karl Höfner (1864‑1955) in Schönbach, Austria-Hungary (now Luby in the Czech Republic). One part of the company manufactured classical string instruments while another produced guitars and basses. After WWII, Höfner moved to West Germany, where the company thrived. Höfner became closely associated with The Beatles who were seen to use Höfner guitars and basses. In 1994, Höfner was sold to British music publisher, Boosey & Hawkes. After financial difficulties, the Höfner brand was sold to a former Höfner employee in 2004.

Hohner

Hohner Musikinstrumente GmbH & Co. KG was founded in 1857 by clock maker Matthias Hohner (1833‑1902) in Trossingen, Baden‑Württemberg, Germany. While Hohner is best known for its harmonicas, the company manufactured a wide range of musical instruments, including guitars from the 1950s until c.2015. Hohner has since returned to its roots and currently produces harmonicas, melodicas, accordions and recorder flutes.

Hondo

The Hondo guitar company was founded in 1969 by Jerry Freed and Tommy Moore. Hondo was a joint venture with the Samick Company of South Korea to manufacture entry‑level acoustic and electric guitars and basses, importing them into the USA using the Hondo name. Many of Hondo’s guitars were based on, or copies of, classic American guitar designs. The Hondo name had largely disappeared by 1989 but was revived by what is now Musicorp in 1995.

Hughes & Kettner

Hughes & Kettner was founded in 1984 by brothers Hans and Lothar Stamer in in Neunkirchen, Saarland, Germany. The company focuses on manufacturing premium level amps and innovative effect pedals. H&K as built a strong reputation with a particular focus on high‑gain amplifier technology for heavy metal and hard rock.


I – I Stands for…

Ibanez

Ibanez is a guitar brand created in 1957 in Nagoya, Aichi, Japan. Ibanez is owned by Hoshino Gakki a musical instrument manufacturer founded in 1908. Ibanez began production of guitars in 1957 and were known for copies of American guitars during the 1960s. Ibanez in particular was the target for litigation by Gibson because of trademark infringements during the 1970s. Ibanez (and other) brand guitars of the period became known as ‘lawsuit‑era’ instruments. Also in the 1970s, Hoshino Gakki licensed Maxon effect pedals for sale under the Ibanez brand.


J – J Stands for…

Jackson

Jackson Guitars was founded in 1980 by American luthier Grover Jackson in Glendora, California to manufacture electric guitars and basses. Grover Jackson had worked closely with Wayne Charvel until the latter sold the Charvel name to Jackson in 1978. During the 1980s, Jackson manufactured high-quality, US‑made, custom instruments, primarily for heavy metal guitarists including Randy Rhoads. Fender acquired both Jackson Guitars and Charvel in 2002. Low budget Jackson guitars are manufactured in the Far East. Grover Jackson is now co‑owner of independent GJ2 Guitars, based in Orange County, California.

Jen

JEN Elettronica was founded in c.1969 in Pescara, Italy. Jen’s focus was to become Europe’s biggest music OEM manufacturer including guitar effect pedals. Jen was notable for manufacturing products for VOX and Gretsch among others, as well as a line of guitar effect pedals under the JEN name. Jen is best known for making the iconic wah‑wah pedal, the ‘Cry Baby’ in the 1960s. Jen failed to trademark the Cry Baby name, so any manufacturer could use it at the time.

John Hornby Skewes (JHS)

John Hornby Skewes (JHS for short) was founded in 1965 by John & Madge Hornby Skewes in Garforth near Leeds, England. Over the years, JHS has become an international company offering thousands of products including a number of JHS proprietary brands including Fret‑King, Vintage, Encore and JHS‑branded guitar effect pedals.


K – K Stands for…

Kahler

Kahler Systems International was formed in the late 1970s by Gary Kahler. The company started out making parts for other companies such as Fender and DiMarzio. The cam‑operated Kahler vibrato (not tremolo!) was introduced in 1981, just in time for the rock and metal boom of the 1980s with its associated ‘shredding’ and ‘dive‑bombing’ guitar playing styles. Kahler’s main competitor was Floyd Rose (see above). Like Floyd Rose, the focus was on maintaining tuning stability. Unusually, Kahler also produces a bass vibrato version. When demand for vibrato systems declined in the 1990s, Kahler switched to making golf clubs but returned to manufacturing guitar hardware including the classic Kahler vibrato in 2005.

Kalamazoo

Gibson was based in Kalamazoo, Michigan until 1974. Kalamazoo was also a brand name used by Gibson for archtop and flattop acoustic guitars, lap steels, banjos, and mandolins. Kalamazoo was a low cost option that many musicians needed during the Great Depression (1929‑1939). The original short‑lived Kalamazoo brand was used between 1933 and 1942. During the 1960s, Gibson temporarily resurrected the Kalamazoo name for low-cost, beginner guitars until Gibson positioned Epiphone into that market to compete with Far Eastern competition.

Kawai

Kawai Musical Instruments Manufacturing Co Ltd was founded in 1927 by Koichi Kawai (1886‑1955) in Hamamatsu, Shizuoka, Japan. The company is best known for its pianos, electronic keyboards and synthesisers. Kawai worked for Nippon Gakki (Yamaha) before setting up his own business. Koichi’s son, Shigeru took over control of Kawai until his death in 2006. Shigeru’s son, Hirotaka Kawai now runs the family business. Kawaii also bought the Teisco brand, which manufactured a range of distinctive guitars and basses.

Kay

Kay Musical Instrument Company was founded in 1931 by Henry ‘Kay’ Kuhrmeyer in Chicago, Illinois, although previous incarnations date back to 1890. Kay produced budget and pro‑level guitars, mandolins, banjos and ukuleles from 1936. Kay migrated to electric guitars and basses from c.1955. Kay was sold in 1965 and again in 1967, this time to Valco (see below) who went bust in 1968, and then sold again in 1969. The Kay name has been used intermittently over the years, often attached to instruments imported from China.

Korg

Korg Inc. (previously Keio Electronic Laboratories) was founded in 1962 by Tsutomu Kato (1926‑2011) and Tadashi Osanai in Tokyo, Japan. Korg was and is best known for their keyboards and synthesisers from the late 1960s to the 1980s. In 1987, Yamaha took temporary control of Korg until 1992. In 1992, Korg acquired British amp maker VOX (see below).

Kramer

Kramer Guitars was founded in 1976 by Gary Kramer in Neptune, New Jersey. Gary Kramer and Travis Bean had formed the Travis Bean guitar company in 1974 shortly before Kramer formed his own company. Initially, Kramer continued to use aluminium necks on guitars and basses, improving on Travis Bean’s designs. Kramer reverted to traditional wood necks from 1981. Kramer guitars and basses became associated with the rock and metal boom of the 1980s. Kramer filed for bankruptcy in 1989. Eventually, Gibson acquired the rights to Kramer in 1997 and guitars are now manufactured by Epiphone using the Kramer name. In 2005, Gary Kramer founded the independent Gary Kramer Guitars (GKG).

Kustom

Kustom Amplification was founded in 1964 by Charles ‘Bud’ Ross in Chanute, Kansas. Kustom is a manufacturer of guitar and bass amplifiers, PA systems and accessories. Uniquely, speaker cabinets were wrapped in a sparkling car upholstery material called Naugahyde, giving them a particularly standout image. Baldwin Pianos bought Kustom in 1972 and is now owned by Hanser Music Group who keep the style and spirit of the original Kustom designs going. Founder Charles Ross went on to form effect pedal company Ross Musical (see below) in c.1972.


L – L Stands for…

Laney

Laney Amplification was founded in 1967 by musician Lyndon Laney in Birmingham, England. The British Laney brand manufactured guitar and bass amplifiers, speaker cabinets and PA systems. Laney developed from its humble beginnings in Laney’s father’s garage into a major player in the global amp market. Laney remains in business as a private company, as of 2025.

Larrivée

Jean Larrivée Guitars Inc. was founded in 1967 by Jean Larrivée in Toronto, Canada. The company moved to Vancouver in 1982 then to California in 2001. Since 1977, Larrivée has manufactured a range of premium acoustic guitars, often featuring ornate inlays. Larrivée Guitars is still in production as a family business as of 2025.

Leslie

The Leslie speaker was the invention of electronic engineer Donald Leslie. Development began in the 1930s as a means for a Hammond organ to emulate the sound of a pipe organ. Production began in 1941. The speaker comprises a variable speed rotating baffle in front of the loudspeaker(s) which modulates the sound exploiting the Doppler Effect. Leslie speakers have been used by guitarists keen to obtain the signature Leslie sound. In contemporary times, many attempts have been made to imitate the sound effect, first through analogue circuits and then by Digital Signal Processing (DSP). In 1965, Leslie sold his business to CBS who, in turn sold it to Hammond in 1980. In 1992, the Japanese Suzuki Musical Instrument Corporation bought both the Hammond and Leslie brands.

Lowden

George Lowden (1952‑) is an Irish luthier based in Bangor, County Down. He founded the eponymous company, George Lowden Guitars in 1974. Lowden’s main output comprises premium nylon and steel‑string acoustic guitars although he has also dabbled in making electric solid body guitars. In an unusual move, Lowden licenses other luthiers to build guitars using the Lowden name, especially in Japan. In 2002, Lowden introduced a more affordable range of guitars, called Avalon.


M – M Stands for…

Maccaferri

Henri Selmer Paris was a company founded in 1885 in Mantes‑la‑Ville near Paris. In 1932, Selmer worked with Italian luthier Mario Maccaferri (1900‑1995) to design what are known as ‘gypsy jazz’ acoustic guitars, famously used by virtuoso Belgian/French jazz guitarist Django Reinhardt. Maccaferri guitars have a large body with thin ladder‑braced top and squared off bouts. Early sound holes were D‑shaped while later ones were oval, with a rounded cutaway on the upper treble bout. Selmer made less than 1,000 of these guitars until production ceased in 1952.

Maestro

Gibson’s parent company, Chicago Musical Exchange (CMI) had used the Maestro name on products like the legendary Echoplex tape loop echo effect (see above). From 1962, CMI was one of the first companies to move into effect pedals using the Maestro name. They launched a number of effect pedals starting with the FZ‑1 Fuzz Tone. In 1974, Norlin acquired Gibson from CMI and the company put synthesiser pioneer, Robert Moog in charge of Maestro effects. By 1979, Norlin was struggling and ceased production of all Maestro products. In 2022, Gibson revived the Maestro name and re‑launched a new range of effect pedals.

Magnatone

The origins of Magnatone date back to the late 1930s and a company called Dickerson Musical Instrument Company in California. The business was bought by Art Duhamell in c.1946, when the name was changed to Magna Electronics Company, using the brand name Magnatone. Magna manufactured a range of electric guitars and vibrato (actually tremolo!) amplifiers produced between 1937 and the mid‑1970s. In 2013, Ted Kornblum reintroduced the Magnatone brand on a range of reissued amps.

Marshall

Marshall Amplification was founded in 1962 by drummer and retailer Jim Marshall (1923‑2012) in London, England. The British company built its formidable reputation manufacturing Marshall guitar and bass amps, and speaker cabinets, starting with the classic JTM45 amp head in 1963. The Marhsall ‘stack’ became a familiar icon of rock music from the 1970s onward. Other guitarists preferred combo amps like the Bluesbreaker. In 1965, Marshall launched a sister brand, Park which made amps until 1982. Facing stiff competition from American companies like Mesa and Soldano, Marshall explored the use of solid state, rather than valve‑based amp circuits, including hybrid versions. In 2007, some former employees of Marshall left and founded Blackstar Amplification. In 2023, Marshall was sold to Swedish company Zound Industries, majority owned by the Chinese HongShan Capital Group. Marshall was nicknamed, ‘The Father of Loud’.

Martin

C.F. Martin & Company was founded in 1833 by German immigrant Christian Frederick Martin in New York City before relocating to Nazareth, Pennsylvania in 1838. C.F. Martin was an apprentice for Johann Georg Stauffer, a famous luthier from Vienna, Austria. Following consumer demand, Martin refocused its manufacturing toward steel‑strung acoustic guitars around 1921 using many key innovations to improve the company’s already strong reputation. In 1931, Martin launched its dreadnought acoustic guitar with X‑bracing, which became a best seller and industry standard, particularly the D‑18 and D‑28 models. Pre‑WWII Martin guitars are highly sought after today. Martin has also dipped its toes into solid body electric guitars and basses, as well as strings. Martin continued to innovate including the use of composite materials from the 1990s onward. The company has been family‑owned and run throughout its entire history with the great‑great‑great‑grandson of the founder, C.F. ‘Chris’ Martin IV as current president as of 2025.

Maxon

The Japanese company, Nisshin Onpa was formed in 1965 in Tokyo Japan. Maxon was a brand name used by the company for its range of guitar effect pedals from 1969. Maxon became an OEM provider for Ibanez, producing stomp boxes using the Ibanez name, including the iconic TS‑808 Tube Screamer Pro. Nisshin Onpa also marketed pedals under its own Maxon name. Maxon stopped working with Ibanez in 2002 and Maxon continues to manufacture and market its own effect pedals.

Mesa/Boogie

Mesa Engineering was founded in 1969 by Randall Smith (1946‑) in Petaluma, California. Randall started out by hot‑rodding Fender amps in his home workshop. The Mesa/Boogie nickname derived from a comment made by Carlos Santana when demoing a Mesa‑modified Fender Princeton. The Boogie amps went through a number of generations (Marks) and in the 1990s the Boogie was supplemented by high‑gain Rectifier models. Gibson acquired Mesa Engineering from Smith in 2021.

Morley

Morley Pedals was founded in 1969 by American brothers Raymond and Marvin Lubow in LA, California superseding their previous enterprise, Tel‑Ray Electronics. The distinctively rugged Morley guitar effect pedals, particularly their wah‑wah and volume pedals using electro-optical circuitry, grew in popularity during the 1970s. Chicago‑based firm, Sound Enhancements, Inc. acquired Morley in 1989.

Mosrite

Mosrite guitars was founded in 1956 as Mosrite of California by Semie and Andy Moseley in LA, California. Semie Moseley (1935‑1992) had been an apprentice at Rickenbacker and Bigsby where he learnt his craft. Mosrite guitars were known for their radical designs and innovative features, as well as the brand’s association with surf pop/rock band The Ventures. The original Mosrite company went bankrupt in 1968. Several attempts were made to resurrect the brand over intervening decades, although without much success. Semie’s daughter, Dana Moseley is keeping the name alive.

Mu‑Tron

Musitronics Corporation (a.k.a. Mu‑Tron) was founded in 1972 by former Guild employees, Mike Beigel and Aaron Newman in Rosemont, New Jersey. Musitronics was known for manufacturing a number of high-quality guitar effect pedals including their most famous effect unit, the Mu‑Tron III envelope filter in 1972, which produced an electronic wah‑wah type sound beloved by funk guitarists. Musitronics ran into financial trouble in the late 1970s and production wasn’t resumed until 2014 when Mike Beigel founded Mu‑FX.

MXR

MXR Innovations was founded in 1972 by Keith Barr and Terry Sherwood in Rochester, New York. MXR is famous for its range of guitar effect pedals, starting with the iconic Phase 90, followed by the Distortion +, Dyna Comp and Blue Box. MXR was acquired by Dunlop Manufacturing in 1987 and continues to manufacture effect pedals using the MXR name as of 2025.

Music Man

Music Man (a.k.a. MM) was the company formed in 1974 by Leo Fender and partners 10 years after Leo sold the firm that bore his name to CBS in 1965. MM made its name with the Stingray Bass introduced in 1976. Leo Fender left Music Man in 1979 and went on to found G&L in 1980 (see above). Music Man was sold to Ernie Ball Inc. in 1984.


N – N Stands for…

National

The National String Instrument Corporation was an American guitar company founded in 1927 by entertainer George Beauchamp and luthier John Dopyera in LA, California. The company started by manufacturing banjos and then acoustic resonator guitars, an innovative instrument intended to be loud enough to be heard in a big band environment. In 1932, National merged with Dobro (see above) to form the National Dobro Company. It later came under the control of Valco (see below) until the latter went bankrupt in 1968. The spirit of National resonator guitars was rejuvenated by independent company, National Reso‑Phonic Guitars founded in 1989 in San Luis Obispo, California.


O – O Stands for…

Orange

Orange Amps was founded in 1968 by musician, electronics designer and retailer Clifford Cooper in London, England. The bright orange covering on their amp heads and speaker cabinets was a distinctive aesthetic, making them instantly recognisable. It helped that the sounds were also what many guitarists and bass players were listening out for at the time. Orange partnered with Radiocraft owned by Mat Mathias, which led to the Orange Matamp amps. After a 4‑year period in which Gibson reissued amps using the Orange name, Cooper regained the brand in 1997 and production was resumed in 1998. Orange is still flourishing as of 2025.

Orville

Orville by Gibson guitars and basses were part of the Gibson Guitar Corporation, destined for the Japanese market from 1988. Japanese distributor Yamano Gakki and Gibson decided not to use the Epiphone brand name and chose Orville – after Gibson founder Orville Gibson – despite the fact that Gibson was selling both Gibson and Epiphone in Japan. Production of Orville by Gibson guitars ceased in 1998 with Gibson’s focus on promoting Epiphone Japan models.

Ovation

Ovation was founded in 1965 by aeronautical engineer Charles Kaman (1919‑2011), in Hartford, Connecticut, USA. Kaman Music Corporation (KMC) used the founder’s technical background to manufacture guitars employing composite materials, predominantly bowl‑back acoustic guitars using a synthetic material called Lyracord. Fender briefly owned Ovation from 2008 to 2014 and the business is now owned by German company GEWA Music as of 2025.


P – P Stands for…

Parker

Parker Guitars was founded in 1993 by American luthier Ken Parker with input from pickup pioneer Larry Fishman in Chicago, Illinois. Parker guitars, particularly the Fly model, used innovative composite construction including a wood core covered with a carbon fibre/resin exoskeleton to reduce weight and increase rigidity. Pickups were traditional magnetic coil split humbuckers supplemented by piezo pickups to provide acoustic‑like tones. Fingerboards comprised composite materials with stainless steel frets. The US Music Corporation acquired Parker in 2003, moving production overseas before selling the brand again to Jam Industries. Parker Guitars has been defunct since 2016, despite several efforts to revive the brand.

Patrick James Eggle

Patrick Eggle Guitars was founded in the 1990s by British luthier Patrick James Eggle in Coventry, England. He left his own company in 1994 and, after several side projects in the US and UK, he formed Patrick James Eggle Guitars producing high‑end acoustic guitars. Eggle also helped to design Faith Guitars. In 2016, Eggle switched production from acoustic to electric guitars and in 2017. Eggle has also designed guitars for the revived Shergold Guitars brand (see below).

Paul Reed Smith (PRS)

PRS, a relatively new kid on the block, was founded in 1985 by American luthier Paul Reed Smith (1956‑) in Annapolis, Maryland. PRS guitars were cleverly positioned strategically between Fender and Gibson often using flamboyant designs and highly figured tone woods, often selling for premium prices. In 2003, PRS created the highly successful SE (Student Edition) range manufactured in the Far East. PRS remains a private company as of 2025.

Peavey

American innovator, Hartley Peavey (1941‑) founded Peavey Electronics in 1965, based in Meridian, Mississippi. Peavey has grown to become one of the largest music audio equipment manufacturers in the world. Peavey is mainly known for its amps and speaker cabinets, Peavey has also manufactured acoustic and electric guitars as well as basses. As of 2025, Peavey remains a privately owned company.

Pignose

Pignose was founded in 1969 by Richard Edlund and Wayne Kimbell in Chicago, Illinois. The company focuses on the manufacture of battery‑powered guitar amps, mains‑powered practice amps and innovative travel guitars incorporating an integrated amp and speaker. The iconic Pignose 7‑100 was considered to be the first portable electric guitar amp. Since 2023, Pignose has been under the ownership of Japanese company Aria (see above).

Pro Co

Pro Co Sound is based in Kalamazoo, Michigan and is best known for a single product, the Pro Co Rat distortion effect pedal (and multiple variations thereof). The Rat – allegedly named after the rodent‑infested basement in which the pedal was designed – was the brainchild of Pro Co engineer Scott Burnham in 1974, entering full production in 1979. The Rat has become one of best‑selling distortion stomp boxes of all time.


Q – Q Stands for…

I got nothin’


R – R Stands for…

Ramírez

Ramírez Guitars was founded in 1882 by José Ramírez in Madrid, Spain. The company has been manufacturing hand‑built professional, concert‑grade classical and flamenco acoustic guitars. Ramírez has been in business for over 140 years and has remained a private family business for five generations (to‑date).

Randall

Randall Amplifier Company was founded in 1970 by Don Randall in Irvine, California. Before setting up his own business focusing on guitar amps, Randall was vice president and general manager of Fender and then the Fender Sales divisions of CBS. After Randall sold his business in 1987, it was acquired by US Music Corporation, a subsidiary of Canadian corporate group Exertis.

Regal

What would become the Regal Musical Instrument Manufacturing Company from 1901 was founded in 1896 by Emil Wulschner in Indianapolis, Indiana. Regal started out making ukuleles and tenor guitars. Regal later made resonator guitar components for National and Dobro as well as making instruments under their own brand. Regal ceased production of guitars in 1941 and closed business in 1954, Fender owned the brand for a while before it was sold again to Saga Musical Instruments in 1987, who reintroduced a range of resonator instruments using the Regal name.

Rickenbacker

Swiss immigrant Adolph Rickenbacher (1886‑1976) founded Rickenbacker Manufacturing Company in 1925 to make metal bodies for National Guitars before setting up the Ro‑Pat‑In Corporation in 1931 along with performer and inventor George Beauchamp in LA, California. In 1932, Rickenbacker became the first company to make a production solid bodied electric guitar and by 1934, the company was using the Rickenbacker name. Rickenbacker really hit its stride in the 1950s after Rickenbacker sold his company to businessman F.C. Hall. Rickenbacker International Corporation (RIC) is famous for its 300 series guitars and 4000 series basses. Rickenbacker remains a private company, with its headquarters in Santa Ana, California.

Roger Mayer

Electrical engineer Roger Mayer is a name closely associated with Jimi Hendrix among others in the 1960s. In particular, Mayer’s fame resulted from the Octavia guitar effect pedal that integrated an octave (up) generator with a fuzz distortion effect. The classic Octavia remains in production still using the Mayer name. Mayer was also involved with modifying Maestro Fuzz Tone pedals and influencing the Sola Sound/Coloursound Tone Bender fuzz pedals.

Roland

The Roland Corporation was founded in 1972 by Ikutaro Kakehashi (1930‑2017) in Osaka, Japan. Roland is a multinational company manufacturing electronic organs, synthesisers, drum machines, amps and effect pedals with many iconic models, too many to mention here. Roland was also a key player in the development, introduction and promotion of the MIDI communication protocol for electronic music equipment. Roland also owns famous subsidiaries, including BOSS, Drum Workshop, Edirol and Rhodes.

Ross

Kustom Amps was founded in 1964 by Charles ‘Bud’ Ross in Chanute Kansas. After Kustom achieved considerable success, Ross sold his company to Baldwin Pianos in 1972. At that point, Ross launched Ross Musical and released the first Ross guitar effect pedals in c.1974. While Ross manufactured a wide range of effects, three Ross pedals are noteworthy, the tan‑hued Distortion, the orange Phaser and the now legendary grey Compressor. Ross pedals were revived in c.2020 by JHS Pedals (see above under John Hornby Skewes) with reissues of the classic Ross stomp boxes from the 1970s.


S – S Stands for…

Sadowsky

Sadowsky Guitars Limited was founded in 1979 by American luthier Roger Sadowsky in Long Island, New York. Roger Sadowsky has a strong reputation for building high‑end boutique guitars and basses. From 2019, Sadowsky has remained a private company while instruments are produced by German bass manufacturer Warwick (see below).

Santa Cruz

The Santa Cruz Guitar Company was founded in 1976 by American luthier Richard Hoover in Santa Cruz, California. Santa Cruz manufactures a limited number of high‑end steel‑string acoustic and acoustic bass guitars along with baritone guitars and ukuleles. Santa Cruz remains a private company as of 2025.

Schaller

Schaller GmBH was founded in in 1945 by Helmut Schaller (1923‑1999) near Nuremberg, Bavaria, Germany. Schaller manufactures a wide range of guitar parts and accessories. Initially, Schaller focused on the development of amps and speakers before moving into manufacturing metal guitar aftermarket and OEM components used by a wide variety of companies. Schaller tuners and bridges have achieved recognition for build quality. After the deaths of founding family members by 2006, Schaller was restructured as a limited liability company (GmbH).

Schecter

Schecter Guitar Research was founded in 1976 by David Schecter in Van Nuys, California. Initially, Schecter manufactured a wide range of replacement guitar parts and accessories. In 1979, Schecter started producing its own custom made guitars based on Fender designs. By 1983, Schecter was bought out by investors and, after legal action from Fender, the company was bought again by Japanese businessman Shibuya Hisatake, owner of ESP Guitars (see above), to make high‑end custom guitars. In addition to American manufacturing, Schecter imported South Korean‑built guitars from the late 1990s. In 2012, Schecter resumed American custom shop production.

Selmer

Henri Selmer Paris was founded in 1885 by Henri Selmer in Mantes la Ville near Paris, France. Selmer started off by manufacturing professional woodwind and brass instruments. In 1928, a UK branch of Selmer was formed under the leadership of brothers, Ben and Lew Davis. In the 1930s, Selmer partnered with luthier Mario Maccaferri to produce gypsy jazz guitars (see above). They also moved into PA systems during the 1930s. In the 1950s, Selmer also went into manufacturing organs as well as importing guitars from Europe. Selmer began producing a range of guitar and bass amps prompted by the rise of rock & roll. In the 1970s, Gibson owner CMI acquired Selmer UK. From 1976, CMI’s successor Norlin started running down Selmer UK until it was shut down in the early 1980s. In 2018, the family‑owned Henri Selmer Paris was sold to European equity group, Argos Wityu.

Seymour Duncan

Seymour Duncan was founded in 1976 by Seymour Duncan (1951‑) and his wife Cathy Carter in Santa Barbara, California. Seymour Duncan is best known for manufacturing a wide range of aftermarket guitar and bass pickups, as well as effect pedals. Most pickups are American‑made although the low‑cost OEM ‘Duncan‑designed’ pickups are manufactured in South Korea. Seymour Duncan’s main competitor is DiMarzio (see above).

Shergold

Shergold Guitars was founded in 1967 by former Burns London employees Jack Golder and Norman Houlder in London, England. After producing products for other companies, Shergold started making and selling guitars under the Shergold name in 1975. Shergold ceased manufacturing guitars in 1982 and there were several subsequent failed attempts to revive the brand. Barnes & Mullins acquired Shergold in 2015 and, in 2016, British luthier Patrick James Eggle (see above) became a shareholder and helped to design a range of new Shergold models.

Shin-ei

Little known outside of Japan, Shin‑ei was a major manufacturer of guitar effect pedals from the late 1960s and throughout the 1970s. In 1968, Shin‑ei created the legendary Uni‑Vibe modulation effect made famous by Jimi Hendrix. The Uni‑Vibe’s unique tones have been much imitated since. Shin‑ei manufactured products for different companies as well as under its own name. The rejuvenated company is Honey Shin-ei LLC, based in Austin, Texas.

Silvertone

Silvertone was a brand name used by the American Sears, Roebuck & Company mail order and department store for its line of consumer electronics and musical instruments from 1916. Silvertone instruments and amplifiers were manufactured by a wide variety of companies including Danelectro, Harmony, Kay, National, Supro, Teisco and Valco. Sears stopped using the Silvertone brand in 1972. In 2001, South Korean company, Samick Music acquired the rights to Silvertone and reissued a number of instruments under the revived Silvertone brand. Samick sold Silvertone to current owners, RBI Music in 2021.

Sola Sound

Sola Sound was a British guitar effect pedal brand best known for making the iconic Tone Bender fuzz pedals. The Tone Bender first appeared in 1965, designed and built in London by electronic technician Gary Hurst. The Tone Bender derived from Maestro’s Fuzz Tone and inspired Dallas Arbiter’s Fuzz face. From 1970, Sola Sound produced Colorsound‑branded pedals. Sola Sound also made pedals for other companies, such as VOX, Marshall, Carlsboro, Rotosound, CSL and many others. Both Sola Sound and Colorsound were owned by brothers Larry and Joe Macari of London, England, known for their eponymous London retail store.

Soldano

Soldano Custom Amplification was founded in 1986 by American Michael Soldano in LA, Calirfornia. Soldano designed and manufactured high‑gain guitar amps after modifying Fender and Mesa/Boogie amps. Michael Soldano, latterly based in Seattle, Washington, sold his company to Boutique Amps Distribution in 2019.

Sound City

British amp manufacturer Hiwatt (see above) was formed in 1966. Hiwatt’s founder Dave Reeves contacted Ivor Arbiter to produce guitar amplifiers re‑badged using Arbiter’s Sound City music store name. Sound City amps became associated particularly with The Who and Jimi Hendrix.

Steinberger

Steinberger was founded in 1979 by Ned Steinberger (1948‑) in Brooklyn, New York. The company manufactured a range of electric guitars and basses designed by the founder. Steinberger was eventually sold to Gibson in 1987, which stopped selling Steinberger guitars in the mid‑1990s. The most distinctive Steinberger instruments have downsized synthetic construction bodies and necks devoid of a traditional headstock, giving the instruments a minimalistic look. Steinberger (under Gibson) licensed the design to other companies including Hohner and Cort, accounting for new models.

Stick

Stick Enterprises is the company behind the innovative Chapman Stick, an unorthodox electric musical instrument devised by jazz musician Emmett Chapman (1936‑2021), which started production in 1974. The Chapman Stick commonly comprises 8, 10 or 12 strings on an enlarged fretboard and is usually played by a ‘two handed tapping’ technique, rather than by plucking the strings. While based on a guitar, it is classified as a composite chordophone.

Stromberg

Stromberg Guitars was founded in 1906 by Swedish immigrant Charles Stromberg in Boston, Massachusetts. Stromberg started out by making banjos and mandolins until 1927 when they produced their first archtop jazz guitar. Stromberg only made around 640 guitars during the big band era, during which their guitars’ large size gave them sufficient volume to compete with loud horn sections. Production stopped in in 1955 with the death of the founder.

Supro

Supro guitars date back to 1935, made as a low‑cost brand by the National Dobro Corporation (see above). From the 1950s, Supro produced electric guitars, basses, amps and effects. National Dobro was acquired by Valco, which went out of business in 1968, at which time the Supro name was discontinued. The Supro name was revived in 2013 making guitars, amps and effects. In 2020, Supro was bought by Bond Audio.


T – T Stands for…

Takamine

Takamine Musical Instruments Manufacturing Co., Ltd. was founded in 1959 by Ozhone in Sakashita, Gifu, Japan. In 1962, the company was named after Mount Takamine in Japan. Takamine focuses on manufacturing steel‑string acoustic guitars and it has become one of the leading companies of its kind. In 1978, Takamine was one of the first firms to make acoustic/electric guitars using innovative transducers, particularly suited to live performance, as they reduced feedback. For a short period, Takamine also produced solid body electric guitars and basses. Takamine remains a private company as of 2025.

Taylor

Taylor Guitars was founded in 1974 by Bob Taylor and Kurt Listug in El Cajon, California. Taylor manufactures premium acoustic, classical and semi‑hollow electric guitars in the USA and Mexico. Taylor has become famous for its innovative manufacturing technologies, use of exotic tone woods and sustainable production processes. In 2021, Taylor Guitars became owned by its employees and in 2022, Luthier and guitarist Andy Powers became Taylor’s Chief Executive, President, and Chief Guitar Designer.

TC Electronic

TC Electronic was founded in 1976 by brothers Kim and John Rishøj in Denmark. The company specialises in a wide range of innovative music audio products and is most famous for its guitar effect products. TC Electronic is only one of several companies under the ownership of TC Group holding company. In 2015, TC Electronic was purchased by Music Group (now Music Tribe).

Teisco

Teisco was founded in 1946 by guitarist Atswo Kaneko and electrical engineer Doryo Matsuda in Tokyo, Japan. The company produced a range of esoterically designed guitars, basses and baritone guitars as well as other musical equipment including amps, synthesisers and drums. In the US, guitars were re‑badged Teisco Del Rey. In 1967, the Teisco name was acquired by Japanese company Kawai Gakki Seisakusho which ceased using the Teisco name outside Japan in 1969. In 2018, the Teisco name, along with Harmony Guitars (see above), was relaunched by BandLab Technologies of Singapore.

Thomas Organ

The Thomas Organ Company was founded in 1875 by Edward Thomas in Woodstock, Ontario, Canada. The company’s early focus was on pipe and pump organs. In the 1950s, the company invented the Thomas electronic organ. Thomas became US importer of VOX products, exemplified by the Thomas Organ Cry Baby (the Cry Baby name wasn’t trademarked). Thomas also acquired rights to make Moog synthesisers. In 1979, Thomas Organ ceased business, although the name was revived 1996 to manufacture electronic organs once again.

Tobias

Tobias Bass Guitars was founded in 1977 by Michael Tobias in Orlando, Florida. The majority of Tobias basses were cost‑effective neck‑through models. Tobias was acquired by Gibson in 1990 and production was moved to Nashville, Tennessee. In 1992, Michael Tobias left Gibson to found Michael Tobias Design making boutique bass guitars. Tobias bass guitars are manufactured by Gibson’s Epiphone division and the brand has been rejuvenated in 2025.

Tokai

Tōkai Gakki was founded in 1947 by Tadayouki Adachi in Hamamatsu, Shizuoka, Japan. Initially, Tokai focused on harmonicas and pianos as well as other instruments. In 1968, Tokai started manufacturing electric guitars alongside acoustics and, later, basses and amps. In 1972, Tokai worked with C.F. Martin to build Martin’s Sigma electric guitars. In the early 1980s, Tokai got caught up in the ‘lawsuit era’, a period during which American brands threatened Japanese businesses over design copyright infringements. Tokai was a family business until it was sold in 2021 to Grace Company Ltd.

Tom Anderson

Tom Anderson Guitarworks was founded in 1984 by American luthier Tom Anderson in Newbury Park, California. Anderson started out working for Schecter before branching out on his own making limited numbers of highly‑regarded premium boutique and custom guitars. By 1990, Anderson moved from manufacturing parts to building whole guitars. Tom Anderson remains in business as of 2025.

Trace Elliot

Trace Elliot was founded in 1979 by retailer Fred Friedlein in Romford, Essex, England. The company specialised in bass amps and speaker cabinets, and from 1989, acoustic guitar amps. In 1992, KMC (who owned Ovation) acquired Trace Elliott to focus on the US market. In 1998, the company was sold again to Gibson. Then, in 2005, Peavey acquired Trace Elliott.

Travis Bean

Travis Bean Guitars was founded in 1974 by American luthier Travis Bean (1947‑2011) and business partner Gary Kramer in California to manufacture high‑end guitars using necks made from machined aluminium. Kramer left the company in 1975 to found Kramer Guitars (see above). Bean once again toyed with guitar manufacture in the late 1990s but the potential from his innovative construction techniques was largely unrealised.

Traynor

Traynor Amplifiers was a brand founded in 1963 by electronics designer Peter Traynor in Toronto, Canada under parent company Yorkville Sound. Traynor focused on manufacturing bass and guitar amps. In 1976, Peter Traynor left due to poor health and the brand diminished over a period of years until it was revived by Yorkville in 2000, still manufacturing bass, guitar, acoustic and keyboard amps.


U – U Stands for…

Univox

Univox was a musical instrument brand founded in 1960 by Thomas Walter Jennings in Westbury New York. The company marketed Univox guitar amplifiers, guitars, keyboards and drum machines. Univox’s main claims to fame were the legendary Uni‑Vibe and Uni‑Fuzz pedals. They also distributed Matsumoku guitars, Shin‑Ei effect pedals and Korg synthesisers. In 1985, the parent company Unicord was sold to Japanese company Korg, after which the Univox brand was phased out.


V – V Stands for…

Valco

Valco was formed in 1940 by a stakeholder restructuring of the National Dobro Company. Valco manufactured a range of guitars, basses and amplifiers using a variety of brand names including National, Airline and Supro, as well as making guitars for other companies such as Sears and Montgomery Ward. However, they didn’t retail any products using the Valco name. Valco merged with Kay in 1967 before going bankrupt in 1968.

Vega

The American Vega Company was formed in 1881 by Julius and Carl Nelson in Boston, Massachusetts. At the start of the 20th Century, the firm concentrated on banjos, mandolins and brass instruments. Vega started building guitars in the 1930s and was later acquired by C.F. Martin in 1970, primarily for its banjo expertise. In 1989 the Vega name was sold to the Deering Banjo Company who continue to make banjos using the Vega brand.

Vigier

Vigier Guitars was founded in 1980 by luthier Patrice Vigier in Grigny, Essonne, France. Vigier manufactures premium grade electric guitars, basses and strings. Vigier guitars has introduced many innovations and became particularly noteworthy for its Surfreter fretless variation on the Excalibur 6‑string guitar model.

VOX

VOX was founded in 1957 by Thomas Walter Jennings in Dartford, Kent, England. The company is mostly associated with guitar amplifiers such as the iconic AC30. From 1962, VOX also manufactured a range of electric guitars and effect pedals, often using Italian production facilities. VOX was sold to Rose Morris in 1978 and then again to the giant Japanese corporation Korg in 1992. Korg still own the VOX name as of 2025.


W – W Stands for…

Wal

Wal is a British brand of bass guitars founded in 1974 by electronic innovator Ian Waller and luthier Pete Stevens in London, England. Starting out making custom‑made bass guitars for professional players, the first production Pro Series basses started appearing in 1978 and the Custom Series in 1983. After Ian Waller died in 1988, Pete Stevens kept the business going at a low level. The company was revived under the leadership of luthier and former Wal employee Paul Herman in 2008.

Wandre

Wandre Guitars was founded in c.1957 by Antonio Vandrè Pioli in in Cavriago, Italy. Wandre manufactured a very small number of electric guitars and basses using some esoteric radical design elements until production ceased in 1968. To‑date, the Wandre brand has not been revived. Examples of Wandre instruments are highly sought after on the vintage guitar market.

Warwick

Warwick was founded in 1982 by Hans‑Peter Wilfer in Erlangen, Bavaria, Germany. Hans‑Peter was the son of Fred Wilfer, who had founded Framus (see above) back in 1946. Warwick is famous for manufacturing premium bass guitars, as well as more affordable bass models, amps and bass strings.

Washburn

Washburn Guitars was originally founded in 1883 by American businessman George W. Lyon and Patrick J. Healy in Chicago, Illinois. Washburn initially focused on guitars, mandolins, banjos, ukuleles and zithers. Washburn’s early years were particularly volatile and hard to document accurately. After bankruptcy, Regal (see above) tried to rejuvenate the brand without success. After many further changes, Washburn International was formed in 1987. Washburn bought the US Music Corporation in 2002 and was then sold on to Jam Industries in 2009. Washburn‑branded instruments are currently sourced from Indonesia and China.

Watkins (WEM)

Watkins Electric Music (WEM) was founded in 1949 by Charlie and Reg Watkins in London, England. WEM was one of the first British makers of guitar and PA amplifiers from 1954. In 1958, WEM introduced one of the first portable tape loop echo effects, the iconic Copicat. WEM amps and speaker cabinets were adopted by a wide range of British rock bands in the 1960s and early 1970s. Watkins sill manufactures small numbers of Copicat tape echo units.

Westone

The official Westone brand was formed in 1975 when Japanese company Matsumoku purchased the rights to the Westone name. Westone began by producing affordable acoustic and electric guitars, and basses. St. Louis Music registered the Westone brand in the US to import Japanese Westone guitars. The Westone name was superseded by Alvarez (see above) in 1991. Since then, a number of firms have used (or tried to use) the Westone name.


X

I got nothin’


Y – Y Stands for…

Yamaha

The massive Japanese Yamaha Corporation is the world’s largest manufacturer of music and audio equipment. Yamaha was founded as the Nippon Gakki Co. in 1887 by Torakusu Yamaha (1851‑1916) in Hamamatsu, Shizuoka, Japan. The company began as a reed organ manufacturer. In 1987, Nippon Gakki was renamed Yamaha Corporation in honour of its founder, still based in Hamamatsu. Yamaha also owns some other famous brands such as Ampeg and Line 6.


Z – Z Stands for…

Zemaitis

Zemaitis was founded in 1955 by luthier Tony Zemaitis (1935‑2002) in London, England. He hand built guitars, renowned for their engraved metal tops (created by Danny O’Brien) and later pearl inlaid tops. Zemaitis gained an enviable reputation among many famous artists. After his death, the tradition was continued by Zemaitis Guitars of Tokyo, Japan, led by the founder’s son, Tony Zemaitis Jr. and still using the metal engraving skills of O’Brien. Original Zemaitis guitars are now highly sought after.


Links to CRAVE Guitars’ Brand Features

The CRAVE Guitars’ web site currently has feature pages on 14 guitar brands. These provide a bit more detail than the above, should you wish to explore further (each link opens in a new browser tab):

Danelectro
Epiphone
Fender
Gibson
Gretsch
Guild
Kramer
Music Man
National (Dobro/Valco)
Ovation
Paul Reed Smith (PRS)
Peavey
Rickenbacker
Silvertone


Final Thoughts on ‘An Alternative A‑Z of Vintage Guitar Gear’

Well, that was a bit of a slog (at least for me). For once, there is not a great deal to add, so this will be very brief. That’s it. There you go. No point in wasting words on waffle. So, let’s move on with aplomb.


CRAVE Guitars’ ‘Album(s) of the Month’

It seems appropriate this month to applaud the accomplishments of not one but two bands and their classic studio albums, both with an alphabetic emphasis from A(BC) to Z(Z Top). See what I did there? These two albums should prove beyond doubt that there was some great music – and MTV‑friendly pop music videos to boot – to be had in the 1980s. Without further ado, let’s dig in for some upbeat joyful musical exuberance…

ABC – The Lexicon of Love (1982): ‘The Lexicon of Love’ was the chart‑topping debut studio album by English new wave/new romantic/pop band ABC. It was released in June 1982 on Neutron Records. The astounding popularity and commercial success of the album led it to be ranked as ‘one of the greatest albums of the 1980s’. It sounds both of its time and also timeless, if you get my drift. ABC were not able to capitalise on their success and the slick 10 tracks (38 minutes) of ‘The Lexicon of Love’ remains the pinnacle of their career (to‑date).

ZZ Top – Eliminator (1983): ‘Eliminator’ was the 8th studio album by American blues/rock band ZZ Top. It was released in March 1983 on Warner Brothers Records. Despite only reaching #3 in the UK album chart and #9 in the US Billboard 200, it proved phenomenally popular and commercially successful. Whether you remember the iconic pop music videos, the customised 1933 Ford Coupe hot rod or the spinning sheepskin‑covered guitars, the striking images and fresh sounds of the 11 tracks (45 mins) on ‘Eliminator’ couldn’t be ignored. It may not be their best but it is certainly their biggest. There is no doubt that ‘Eliminator’ launched the power trio into superstardom.

There you have it – from ABC-ZZ Top. Love or loathe these albums epitomising the excesses of the 1980s, they have both become landmarks in music history and represent the cultural zeitgeist at the time. Perhaps it is now time for a re‑appraisal of their merit within the broader historical context. Are they ‘essential listening’? I think so but, when it comes down to it, it’s up to everyone to make up their own minds. All I can do is put it out there for consideration.

BELIEVE IN MUSIC!


Tailpiece

Well, that was a lot, and I mean A LOT, of work and, for what I ask? Was it worth it? Well, for the author’s own sanity and personal development, yes. For everyone out there, that’s for you to judge. I hope it has been both informative and entertaining. Given the huge amount of work involved in compiling this A‑Z article, I intend to use a lot of it in modified form as a permanent part of the ‘Resources’ section of the CRAVE Guitars web site.

Next month, the author will face a conundrum, a dilemma, a challenge, a quandary, a predicament, a pickle and, most of all, an enigma, a paradox and a bit of a mystery (at least for now). Typically trailing trendy tantalising tantra. Intrigued? Be sure to check in, same time, same place, next month. Bye for now, y’all.

Truth, peace, love, and guitar music be with you always. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “A picture can tell a thousand lies”

© 2025 CRAVE Guitars – Love Vintage Guitars.


 

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August 2018 – A Potted History of the Guitar Part VI

Hello again, guitar history fans and welcome to August 2018’s article in the series on the history of the guitar. There is no point in beating about the bush, it’s time to dive right back in where we left off last month with the birth, and now – to extend the analogy – the growth of the electric guitar from early years to adolescent hood.

If you wish to recap on previous articles before starting here, the ‘Potted History of the Guitar’ series, can be accessed here (each part opens in a new browser tab):

The Modern Solid Body Electric Guitar

This part of the guitar’s story covers the period of fundamental and rapid innovation as well as pragmatic entrepreneurialism that starts around the late 1940s and early 1950s, a period of intense creativity that would come to define the modern electric guitar. Once the essential foundations were laid by Rickenbacker, Gibson and a few others, the popularity of the guitar was about to explode.

Since the time of the guitar ‘big bang’, instruments would continue to be improved and refined; an incremental process that continues unabated up to the current day. However, nothing like the level of creativity that heralded the ‘dawn’ of the electric guitar era. It was the start of a so‑called ‘golden era’ that would last about 15 years.

While acoustic guitars continued to develop after the 1930s, they were just about as loud as they were going to get without some form of amplification. Electric archtop and early solid body electric guitars had started the ball rolling during the first half of the 1930s and guitarists were buying into the increasing trend for electric guitars of one sort or another.

While not alone in influencing guitar development, today’s ‘big two’ companies – Fender and Gibson – have between them, been responsible for, or at last instrumental (sic!) in, many of the major innovations and landmark electric guitars since the 1950s. Therefore, the focus here is predominantly, but not exclusively, on the contribution from these two major manufacturers.  Much credit though is due to the vast number of other guitar builders – way too many to mention them all by name – that have played their part in developing the musical landscape over the decades, and which we enjoy today. Without their competition to keep the ‘big two’ on their toes, the quality and price equation might have gone too far in opposite directions. Thankfully, there is no monopoly in the guitar market – far from it in fact – and that fact, as it turns out, is a very good thing for musicians all over the world.

However, before the story moves on to Fender and then Gibson, we need to take a short diversion before getting back on track…

Bigsby Guitars

No history of the formation of the electric guitar would be complete without some mention of Paul Adelburt Bigsby (1899-1968). P.A. Bigsby was a motorcycle racer, inventor, designer and builder based in California. Bigsby has often been quoted as saying confidently, “I can build anything”.

Historically, Bigsby might be better known for his iconic Bigsby vibrato systems. Less well known is that Bigsby was also responsible for pioneering solid body electric guitars as well as for revolutionising pedal steel guitars.

Bigsby collaborated with lap steel guitarist Earl ‘Joaquin’ Murphey (1923-1999) of Spade Cooley’s orchestra in the 1940s. Murphey helped to persuade Bigsby to start making guitars in the first place, in around 1946/1947. Bigsby built Murphey several steel guitars by 1947, with two or three necks. Murphey’s successor in Cooley’s band, another steel guitarist called Speedy West (1924-2003), not wishing to be outdone, also commissioned Bigsby to build him a custom pedal steel guitar in 1948.

Around the same time, successful country and western artist and good friend, Merle Travis (1917-1983) asked Bigsby to fix a wayward vibrato on his Gibson L-10 guitar. Bigsby subsequently went on to build a complete solid body electric guitar for Travis, based on a sketch Travis had made. Travis’s Bigsby guitar attracted a lot of attention and other artists queued up for Bigsby to make further custom guitars, including for acclaimed session guitarist with the ‘Nashville A-Team’, Grady Martin (1921‑2001).

Bigsby’s guitar designs not only seem familiar, but also seem well ahead of their time for 1948, especially when compared to anything else on the market. The Bigsby Merle Travis guitar has a single cutaway body not dissimilar to Gibson’s Les Paul models and a neck/headstock outline that bears a notable resemblance to Fender’s Stratocaster. Bigsby’s design predated both the Les Paul (1952) and the Stratocaster (1954) by several years. Many have contended that Gibson and Fender plagiarised, rather than simply being influenced by, Bigsby’s original designs. Hindsight provides the opportunity to speculate but the truth is shrouded in idle debate and misinformation.

Partly because he wanted to make most of the parts himself, Bigsby only produced a very small number of finished custom‑built instruments up until 1956, where after he concentrated on the vibrato business. However, as his guitars never entered full production, his legacy consists of a few unique examples of his craftsmanship. Unfortunately, Bigsby kept no records of his creations. The company he founded undertook extensive research and can document 47 steel guitars and only 6 standard guitars, along with a few other custom instruments surviving to the current day. Others may yet come to light at some point to be authenticated.

Bigsby’s name is now synonymous with his ubiquitous vibrato tailpieces, which have adorned countless guitars since the 1950s. Bigsby sensibly filed a patent for his ‘tailpiece vibrato’ in November 1952, which was granted by the U.S. Patent Office in March 1953. The rest, as ‘they’ say, is history.

When his health started to fail, Bigsby sold his company to retired Gibson president Ted McCarty in 1966. Paul Bigsby died 2 years later in 1968 at the age of 68. Subsequently, Gretsch bought the Bigsby enterprise from McCarty in 1999. Bigsby Guitars is now making limited edition guitars under the patronage of Gretsch.

Many of those aware of Bigsby’s pioneering work feel that he should be given greater credit for his contribution to guitar history. One might only wonder at the course of modern guitar history had Bigsby capitalised on his creative designs. Bigsby may have been first in a lot of areas but it was other companies that catered for the market and it is the commercial success brought about by mass production which is where the story then continues.

Fender Solid Body Electric Guitars

Clarence Leonidas ‘Leo’ Fender (1909-1991) was an electrical engineer by trade. He started out in business as Fender Radio Service in 1938, repairing radios, phonographs and valve amplifiers. Recognising the growing demand for his skills from the music industry, Fender looked to use his growing expertise in that area. Along with business partner and former Rickenbacker employee Clayton ‘Doc’ Kauffman, Fender co‑founded the short‑lived K&F Manufacturing Corp in 1945. K&F’s intention was to manufacture musical instruments and amplifiers, including lap steel guitars that were particularly popular at the time.

By 1946, Fender had parted ways with Kauffman and established the Fender Electric Instrument Manufacturing Company, based in Fullerton, California. The company, known to most simply as Fender, has become one of the pre‑eminent and most widely recognised manufacturers of electric guitars, basses and amplifiers in the world. Historically, Fender is particularly important because of its ground breaking role in making electric instruments and amps accessible to mass markets eager for the new‑fangled technology in the 1950s.

Leo Fender’s vision had less to do with building small numbers of bespoke instruments and more to do with commercial large‑scale manufacture of instruments using tried and tested production methods. Fender wanted the electric guitar to be straightforward to manufacture as well as easy to service and maintain. Leo Fender asked George William Fullerton (1923-2009) to join the company in 1948. Fullerton’s appointment was important, as he would become a long‑term business associate not only at Fender but also in subsequent post‑Fender enterprises, including Music Man and G&L (an acronym standing for George & Leo).

Even though Fender had introduced amplifiers in 1947, Fender’s business began focusing on guitar designs and in c.1949 the company started making prototypes of what would eventually become the iconic Telecaster. The early prototypes used a body largely designed by George Fullerton. The first prototype exhibited a 3‑a‑side lap steel‑style headstock, while the second attempt looked more Fender‑like. Both prototype headstock designs bore a similarity to those seen on Bigsby’s guitars.

Fender offered the first mass-produced Spanish-style solid-body electric guitar to the public in 1950. The initial few guitars were single pickup models called the Esquire, although confusingly, a small number of Esquires were also ordered with two pickups.

The production dual pickup model was originally named the Broadcaster until Gretsch objected to the use of the name, as they had produced drums using the Broadkaster name since the 1920s. Fender complied and for a short period between February and August of 1951, the guitar appeared with no name on the headstock, leading to the popular nickname ‘Nocaster’ to describe its curious temporary anonymity.

Fender filed a patent for the Telecaster design in April 1951, which was awarded quite quickly by the U.S. Patent Office in August 1951. The familiar twin pickup single cutaway guitar, now formally named the Telecaster was made available to the public from mid‑1951 and has, remarkably, remained in continuous production ever since.

Although instantly recognisable nowadays, the Telecaster was unlike anything that had come before. The way they were put together was revolutionary; using a modular construction comprising a single cutaway slab body of solid ash wood and a removable maple neck secured by four screws on the back of the body. The simple and sturdy design proved not only resilient but also efficient and relatively cheap to manufacture using established assembly line techniques of the time.

While there have been many variants of the Telecaster over the years, including the Custom, Deluxe, Thinline and Elite, the original fundamental design elements have remained largely unchanged over many decades.

Not content with the success of the Telecaster, Fender and this team went on to design and market the enormously popular Stratocaster in 1954. Unlike the Telecaster, the Stratocaster employed a futuristic double cutaway ash body with deep rib and forearm contours for player comfort, 3 single coil pickups and a clever floating vibrato system. Fender retained the bolt‑on maple neck, albeit with a shapelier headstock than the Telecaster and eerily reminiscent of Bigsby’s earlier design. Fender filed a patent application for the Stratocaster’s ‘tremolo’ (a misnomer – it is actually a vibrato) design in August 1954, which was subsequently awarded in April 1956. The Stratocaster, like the Telecaster before it, became phenomenally successful with consumers and has been in continuous production since its launch.

Just as revolutionary for bass players, Fender also pioneered the commercially successful electric solid-body bass guitar. The Precision bass first appeared shortly after the Telecaster in 1952 and before the Stratocaster. Before the Precision, bass players had to contend with cumbersome acoustic, hollow body, fretless upright basses. The Precision was an ergonomic godsend, especially for travelling musicians. Like a guitar, the Precision featured a fretted neck making the instrument much more accessible to neophytes wanting to jump on the bandwagon of popular electric guitar music in the 1950s and 1960s. The 34”‑scale fretted neck gave practical credence to the new bass’s name – Precision. Fender filed a patent for the bass guitar in November 1952, which was awarded in March 1953.

Initially, the Precision took many design cues from the Telecaster before updates in 1954 and 1957 gave it the now‑familiar characteristics more akin to the Stratocaster. Not resting on their laurels, Fender followed up the hugely successful Precision with the twin‑pickup offset Jazz bass in 1960.

These four models – Telecaster, Stratocaster, Precision and Jazz – represented the enduring ‘core’ models around which Fender experimented with other designs. It is very unusual in industrial design history to ‘get it right’ first time and then for those products to remain relevant for over six decades (… so far, and counting). However, Fender seemed to have achieved just that. Fender, however, not content to stand still, kept innovating.

In the late 1950s and early 1960s, Fender also introduced two luxury contoured offset‑waist body models; the 25½”‑scale Jazzmaster in 1958 and the shorter 24”‑scale Jaguar in 1962. Both models used entirely new single coil pickups and both had separate, complex ‘rhythm’ and ‘lead’ circuits. The controls were not intuitive, which put off some players. The high‑price of the Jazzmaster and Jaguar may also have deterred customers and both models failed to attract the intended target audience – traditional jazz guitarists wedded to the competition’s archtop designs. However, both the Jazzmaster and Jaguar gained a significant boost from an unexpected source. Popular west coasts surf musicians including The Beach Boys and The Ventures adopted the new offsets and gave them some legitimacy. Ultimately though, poor sales led to Fender discontinuing the Jaguar in 1975 and the Jazzmaster in 1980. Wisely, Fender has subsequently successfully reissued both models for newer generations to discover.

One of the key success factors for Fender was the introduction of custom colour options in addition to the limited standard blonde and sunburst finishes. Custom colours were based on popular automobile paints made by DuPont during the American car craze of the 1950s. Customers could custom order new guitars from a range of exciting colour finishes for an additional 5% upcharge. Fender was also open to accepting standard colour guitars for factory refinishing in the custom colours. Popular names for the custom colours included Olympic White, Lake Placid Blue, Daphne Blue, Sonic Blue, Shoreline Gold, Burgundy Mist, Sherwood Green, Surf Green, Foam Green, Fiesta Red, Dakota Red, Candy Apple Red, and Shell Pink. Early models with genuine custom colours are relatively rare and have since become highly desirable with vintage guitar collectors; some guitars fetching a hefty premium on the vintage market compared to the standard colours. Many of those original custom colours phased out by 1969 to 1972 have now become very popular again as standard colours in the 21st Century.

Strategically, Fender tried to cover all bases by also introducing a range of short-scale (initially 22½” and then 24”) ‘student’ models including the Musicmaster (1956), Duo‑Sonic (1964), Mustang (1964) and Bronco (1967). To differentiate the ‘student’ instruments from the pro‑level models, Fender designed hardware and finishes that was unique to these models. The Musicmaster and Bronco had single pickups, while the Duo‑Sonic and Mustang had two pickups. The Mustang and Bronco also featured bespoke vibrato systems while the Musicmaster and Duo‑Sonic had fixed bridges. While these budget models have found a strong following by those in the know, they have had chequered histories, all having been discontinued and reissued over the years. Seen as peripheral to the ‘core’ classics, the high volume low cost guitars undeservedly attract a lower profile and lower resale values on the vintage collector market despite being made at the same factory, by the same staff, using the same materials and tools.

In the minds of most guitarists, Fender was a solid‑body guitar maker. After the failure of the Jazzmaster and Jaguar to persuade traditionalists to change brand, Fender attempted to compete with Gibson’s popular ES range of semi‑acoustic guitars. Fender introduced the fully hollow‑body Coronado in 1966, designed by German luthier and Rickenbacker guitar designer Roger Rossmeisl. The Coronado retained Fender’s ‘bolt‑on’ maple necks with six‑a‑side headstocks, although the pickups used were unusually DeArmond single coil models. Unfortunately for Fender, the ill‑fated Coronado proved a commercial failure and was discontinued in 1972. After a short‑lived venture into archtop jazz guitars with the rare Montego and LTD models between 1968 and 1972, Fender tried again in1976 with the introduction of the upmarket semi‑hollow humbucker‑equipped Starcaster. Like the valiant attempts before it, the Starcaster met with the same consumer resistance and proved equally unsuccessful, resulting in it being summarily discontinued in 1982. Notably, both the Coronado and Starcaster models were reissued by Fender in 2013 and continue in production today.

There have been many other Fender solid body electric guitars over the years including the Bass V & VI, the Electric XII, Bullet and Lead amongst numerous others.  In addition, there were many variations on a theme, for instance the Coronado came in Antigua, Wildwood, XII and bass versions. Similarly, the Musicmaster and Mustang also had short‑scale bass models. Other examples include parts‑bin oddities like the Swinger and Maverick. Many later experiments were undertaken by the Japanese arm of Fender without any risk to the company’s ‘Made in USA’ standing. Japanese‑only models include the Performer, Katana and the Gibson‑like set neck Flame. Many of these low volume under‑the‑radar guitar models are often described as ‘forgotten Fenders’.

As covered in Part IV of the story, Fender has also sustained a very successful line of guitar and bass amplifiers dating from the late 1940s right through to the current day, including landmark valve amps such as the Princeton, Champ, Bassman and the mighty Twin Reverb (among many others). Like Marshall and Vox from the UK, Fender amps have become synonymous with modern electric guitar music.

The successful honeymoon period for Fender was, however, not destined to last forever. In early 1965, Leo Fender sold his company to the Columbia Broadcasting System (CBS), reportedly for $13m. Despite investment and efforts to diversify the product lines, manufacturing quality varied considerably due to poor management and cost cutting, particularly during the 1970s. Industry reputation and credibility waned and Fender sales suffered significantly, especially in the face of aggressive competition from Japan. One of the strategies adopted by Japanese companies at the time was, despite the existence of U.S. patents, to flagrantly copy American guitar designs. Japanese companies produced large numbers of guitars built to high standards and sold at low prices. This shameless targeting of American products placed an already struggling Fender under considerable pressure. By 1981, Fender had brought in Dan Smith from Yamaha as Marketing Director to oversee selective guitar redesigns and, along with Fender luthier (and founder of the Fender Custom Shop) John Page, to breathe new life into Fender’s fortunes.

After making considerable improvements across the business, 20 years after being sold to CBS, a management buyout was initiated by CEO William Schultz (1926‑2006). In retrospect, Schultz is now widely regarded as ‘the man who saved Fender’. Fender Electric Instrument Manufacturing Company was acquired from CBS by its own employees in 1985 and the newly privatised company was renamed Fender Musical Instruments Corporation (FMIC). The sale did not, however, include the existing Fullerton factory, so Fender was forced to construct a new plant at Corona, California which started limited manufacturing in late 1985.

After two years of restructuring the business, the post‑CBS Fender American Standard Stratocaster was introduced in 1987. While superficially similar to previous models, the American Standard was a significant model that signified the company’s return to form and commercial prosperity. In the same year (1987), Fender set up their in‑house Custom Shop (nicknamed ‘The Dream Factory’), based at their Corona facility in California. The aim of the Custom Shop was to showcase just what Fender’s master luthiers were capable of building.

Fender’s headquarters are now based in Scottsdale, Arizona, with North American manufacturing facilities in Corona, California, and Ensenada in Mexico. Off-shore production of budget Squier guitars and basses is based in Korea and Japan. Fender has continued to innovate, introducing ‘custom shop’, ‘vintage reissue’ and ‘relic’ instruments and a range of electronics to a market hungry to recapture the ‘golden years’ of pre‑CBS Fender instruments and amps.

We have become so familiar with the Fender Telecaster, Stratocaster and Precision, that we sometimes forget just how revolutionary these designs actually were back in the 1950s and what they, perhaps unwittingly, came to represent. Looking a little more broadly helps to put things into context. Loud and brash electric guitars undoubtedly helped to define the musical uprising brought about by the advent of rock ‘n’ roll. At the same time, a western social and cultural transformation was taking place in the wake of post‑WWII austerity and despite prevailing conservative Cold War political paranoia. Affluent and often puritanical middle class values allied to consumers’ relentless drive to satisfy materialistic aspiration were fuelled by media, film and television. Opposing the status quo was a growing urban resentment, an angry youthful rebellion boosted by emerging anti‑conformist liberalism and radical demands for greater personal freedoms. Fundamental change was, arguably, inevitable. The turmoil created in the 1950s began to reshape the fabric of society in both the U.S. and the UK and this, in turn, propelled musical experimentation and creativity at a pace never seen before. Fender’s electric guitars not only enabled that particular wave to be ridden with verve, passion and a certain degree of teenage angst, but also came to symbolise many defining events for a frustrated generation, a subversive movement that would last well into the 1960s. When Marlon Brando was asked the question in the film ‘The Wild One’ (1953), “Hey Johnny, what are you rebelling against?” he retorted disinterestedly “whadda you got?” For a while at least, it was hip to be cool and cool to be hip.

If there are any guitars that qualify for the terms ‘iconic’, ‘classic’ and ‘industry standard’, these original Fender models have to be up there with the best and most enduring industrial design wonders of all time. In particular, the timeless design of the ‘Tele’ and the ‘Strat’ have persisted in the minds of guitarists over many decades, and will surely continue to do so for the foreseeable future.

Those ‘new’ guitars back in the 1950s are now hugely valuable vintage instruments and are part of our collective music heritage. Vintage Fender guitars, basses and amplifiers are much sought after by collectors, musicians, dealers and enthusiasts alike, with many key models originally made prior to the CBS takeover in 1965 now reaching high vintage guitar market values. Authentic vintage instruments associated with successful artists (and with documented provenance) attract an even higher price premium on the collectable market, for instance, Eric Clapton’s famous c.1956 ‘Blackie’, which was sold for $959,500 to Guitar Center at Christie’s in New York in 2005.

Gibson Solid Body Electric Guitars

The history of Gibson guitars is much longer than that of its main current‑day rival Fender and much of this has already been covered elsewhere. The crucial part that Gibson played in this stage of guitar evolution is picked up again here in the mid‑20th Century.

During the 1940s, popular American jazz guitarist, performer and musical inventor Les Paul (1915-2009) – born Lester William Polsfuss – had become increasingly unhappy with the compromises experienced by electric acoustic archtop guitars. In an attempt to overcome the shortcomings, Les Paul had been actively experimenting with guitar design from around 1939. A famous early prototype electric guitar assembled by Les Paul out of hours at the Epiphone factory around 1940 was nicknamed ‘the log’, which was essentially a solid piece of 4”x4” pine timber running the length of the body, providing the base for the strings, bridge assembly and pickups. To make the design appear more guitar‑like, Les Paul attached a traditional guitar neck and two hollow guitar ‘wings’ from an Epiphone archtop on either side of the ‘plank’.

Les Paul had originally approached Gibson as early as 1941 but no interest was shown by the company.  He tried again in 1945 or 1946 and his ideas were once again rejected. It wasn’t until 1950 that newly‑appointed Gibson president, Theodore ‘Ted’ McCarty (1909-2001) brought in Les Paul to act as a consultant in response to Fender’s newly launched solid body electric guitars. Like Leo Fender, McCarty could not play the guitar, so he worked very closely with those who could.

In 1951, Gibson began producing prototypes of a solid body electric guitar designed by McCarty in consultation with Les Paul. One of the many prototype designs (shown following restoration below) is relatively close to the final production in all but detail.

Gibson was already losing ground, and business, following the introduction of Fender solid body guitars that appealed to young musicians exploring new musical ideas. To many consumers, Gibson’s models were seen as staid and, compared to the modernistic Stratocaster, frankly old fashioned, tired and boring. For Gibson, it was important that any sold body electric guitar design would be all‑new while also remaining consistent with the values, quality and reputation of the company. It was also crucial that the new instrument would be quite different from Gibson’s competition, whether existing or emerging. Crucially, before the new guitar was launched, McCarty agreed a deal with Les Paul for it to carry Les Paul’s name on the headstock and for him to be an integral part of Gibson’s advertising campaign.

In July 1952, Gibson launched the now-iconic solid-bodied guitar, the Gibson Les Paul Model, finished in metallic gold, equipped with dual P90 pickups and a trapeze tailpiece similar to those found on the company’s archtop guitars. For a number of years, the Les Paul Model and its variants were the only solid body guitars made by Gibson. The range was extended from the basic ‘gold top’ to the upmarket black and gold Les Paul Custom in 1953 featuring a standard bridge, one P90 pickup and a unique Alnico V ‘staple’ pickup at the neck, a unique design intended to appeal to jazz guitarists.

To broaden appeal, Gibson introduced two affordable slab‑body single cutaway Les Paul models, the Junior with a single P90 pickup in 1954 and Special with dual‑P90 pickups in 1955. These rather utilitarian models retained the body outline but with few of the upmarket features of the carved‑top Les Pauls.

By 1957, the Les Paul’s P90 single coil pickups began to be replaced with Gibson’s PAF (Patent Applied For) humbucking pickup. The process started with the now‑iconic 3‑pickup Les Paul Custom ‘Black Beauty’.

1958 saw the Junior and Special updated to a new double cutaway body and the option of cherry or outrageous TV Yellow, a colour allegedly designed to show up well on black & white TV screens of the time.

Following poor sales of the original Les Paul ‘gold top’ model, the guitar was rejuvenated in 1958 by renaming it the Standard. The Standard’s specification was changed substantially – a cherry sunburst finish was applied to a maple‑capped mahogany body, the PAF pickups became the norm and a tune‑o‑matic bridge and ‘stop’ tailpiece were standardised. Some, but not all, of the tops exhibited an attractive matched 2‑piece ‘flame’ maple top. Around 1,700 of the now‑legendary ‘Burst’ Les Paul Standards were produced between 1958 and 1960 and all have become highly collectable on the vintage guitar market. The original sunburst Standards have become the aspiration of many guitar enthusiasts. These rare instruments are widely regarded as representing the epitome of Gibson guitar’s ‘golden age’.

The Les Paul models weren’t the only new instruments aiming to establish Gibson’s electric guitar credentials. The late 1950s saw a number of new guitar designs including the McCarty‑designed ES-335 semi‑acoustic, which first appeared in 1958. The ES‑335 was significant because of a solid centre block running through the body and on which the pickups and bridge were mounted, essentially much like Les Paul’s ‘log’ experiment. The semi‑hollow body construction was important in reducing acoustic feedback in high gain situations compared to fully‑hollow archtops. Gibson also released a lower cost hollow‑body ES model with dual P90s, called the ES-330 and two upmarket siblings, the ES‑345 and ES‑355.

The late 1950s was a period of intense innovation at Gibson. In addition to the Les Paul and the ES series, Gibson designed two ‘modernistic’ guitars intended to compete with Fender’s popular solid guitars, the Explorer and Flying V, both of which were introduced in 1958. A third ‘modernistic’ series model, the Moderne, was patented and prototypes might have been constructed but no actual verified examples have ever come to light, let alone reached the vintage collector market. The Moderne has become something of a myth and an original 1950s example is seen by many collectors as the ‘Holy Grail of guitar collecting’. Gibson (re‑)issued a Moderne in small numbers in the early 1980s and again occasionally since.

While the futuristic Flying V and Explorer models were well ahead their time, sales of these radical instruments was very poor. In 1958, Gibson sold only 81 Flying Vs and 19 Explorers. The following year (1959), only 17 Flying Vs and 3 Explorers were sold. It is hardly surprising then that both models were withdrawn by 1959-1960. A few further examples were constructed in the early 1960s from parts. As only small numbers of the original release Explorers and Flying Vs were made, they have become very highly sought after and valued. Gibson, however, would return to these original designs and has successfully reissued both the Flying V and Explorer many years later.

Like Fender, Gibson recognised that they had to cater for the lower end of the market in order to attract new and younger players to the fold. In order to make budget guitars accessible without affecting sales of their premium models, Gibson introduced a range of simple low cost ‘student’ guitars, called the Melody Maker, from 1959. The basic Melody Makers, featuring distinctive narrow headstocks, slab bodies and all‑new Fender‑like narrow single coil pickups, were produced in large numbers at Gibson’s Kalamazoo plant alongside the classics. The Melody Maker’s body shape went through four incarnations during its lifetime, with only 2 bearing a similarity to existing Gibson electrics. Although the Melody Makers proved very popular and sold in large numbers, they were nevertheless withdrawn by 1971. Gibson has re‑used the Melody Maker name on a number of occasions since the original models.

Despite the now‑legendary reputation of the Les Paul Standard, sales of the model remained relatively stagnant and, in 1961, Gibson were forced to take action. Effectively, production of the Les Paul ceased and a new design was introduced in 1961, even though it retained the ‘Les Paul’ moniker.  The new model was another design shift with a thin double cutaway mahogany body with contoured upper bouts and pointed ‘devil’ horns. Allegedly, Les Paul didn’t favour the guitar’s design and no longer wanted to be associated with it. In addition, Les Paul separated from his wife Mary Ford and the divorce settlement may also have been a pecuniary factor in his decision to drop his name from the guitar. By 1963, after Les Paul’s name was removed, the model was re‑designated the Gibson SG (standing for ‘Solid Guitar’). The Gibson SG has remained in continuous production since 1961 and, ironically, it has become the company’s most commercially successful model in Gibson’s long history. Like the single cutaway Les Paul before it, the SG model came in a number of variants, the single‑P90 Junior, the dual‑P90 Special, dual‑humbucker Standard and 3‑humbucker Custom.

The single cutaway Gibson Les Paul may have gone but it was not forgotten. It reappeared in 1968, and then only after second hand guitars became popular at around the time of the British blues explosion, led by guitarists such as Eric Clapton and Peter Green, as well as other contemporary musicians of the time, including Jeff Beck, Jimmy Page and Paul Kossoff. The Les Paul has had numerous variants over the years including notable models such as the Les Paul Deluxe, Professional, Recording, Artisan and Studio models, and many guitarists have had signature models released to celebrate the artists’ association with the company.  Since its reintroduction in the late 1960s, the Les Paul has remained in continuous production and, along with the Fender Stratocaster, it has become one of the most recognisable design icons of modern‑day guitar music.

Gibson continued to innovate into the early 1960s, introducing more convention‑busting designs. McCarty, hired famed car designer Ray Dietrich (1894‑1980) to cash in on the American automotive craze of the time. The new model was called the Firebird, which featured a more rounded‑off Explorer‑like outline, through‑body construction and rear‑facing banjo tuners. These first Firebirds, produced in 1963‑1964, were known informally as ‘reverse’ bodied because the upper treble bout was more pronounced than the bass bout. Again, due to poor sales and high manufacturing costs, Gibson simplified the fundamentals and ‘flipped’ the body to produce the ‘non‑reverse’ Firebird, made between 1965 and 1969, when it was withdrawn. As with many of other unsuccessful early Gibson solid body designs, the company has reissued the Firebird in both ‘reverse’ and ‘non‑reverse’ formats since. Other variants were made including the 12‑string Firebird XII and the Thunderbird bass.

McCarty stood down from Gibson in 1966 and became president of Bigsby Guitars. McCarty later collaborated with, influenced and mentored up‑and‑coming ambitious American luthier Paul Reed Smith of PRS Guitars. Smith honoured McCarty’s contribution to guitar building by dedicating him with a PRS McCarty model. McCarty died in 2001 at the age of 91.

As with competitors, Fender, Gretsch and Rickenbacker, the 1970s was a period of controversial experimentation while under ‘corporate’ ownership. Gibson produced many other solid body electric guitars than have been mentioned so far. Among the many ‘forgotten Gibsons’ of the period, there are some notable examples, including the Challenger, Corvus, Firebrand, Invader, L6-S, Marauder, RD series, S‑1, Sonex‑180 and the Victory.

While Gibson may have had considerable success with guitars, it has never quite found the same formula for basses, amps and acoustics as some of its competitors, including Fender. That doesn’t mean to say they haven’t made notable examples; they have, it’s just that they haven’t had the popular impact and longevity to warrant mainstream success alongside the recognised ‘classics’.

After McCarty’s departure, Gibson came under increasing commercial pressure. Things came to a head in 1969, when Gibson’s parent company, Chicago Musical Instruments Ltd (CMI) was taken over by a South American brewing company called ECL and then became a subsidiary of Norlin Musical Instruments in 1974. In the same year, Norlin shifted production of Gibson guitars from its long‑term home in Kalamazoo, Michigan to Nashville, Tennessee. In 1984, Gibson finally closed its old factory at Kalamazoo.

Following a similar pattern to Fender’s travails at the time, Gibson underwent a period of poor quality control and severe financial difficulties, often blamed on corporate interference by executives who knew little about, and cared little for, the company’s pedigree and its customer base. Ultimately, as happened with Fender, the company returned to private ownership in January 1986 to focus on its core business. The Gibson Guitar Corporation was close to liquidation when it was bought by three businessmen, Henry E. Juszkiewicz, David H. Berryman and Gary A. Zebrowski. Under the new management, the business was once again repositioned as a maker of high quality professional musical instruments.

While production of Gibson’s sold body guitars remained in Nashville, further production plants were also opened in Memphis, Tennessee (1984) for semi‑hollow models, as well as Bozeman, Montana (1989) for acoustic guitars. After having bought out its main American competitor Epiphone in 1957, Gibson strategically repositioned Epiphone as a budget brand and relocated production of Epiphone guitars to Japan in 1970 and then to Korea in 1983, mainly producing low‑cost versions of famous Gibson models.

In order to cater for the more exclusive end of the market, Gibson produced select instruments under an in‑house Custom Shop operation. Juszkiewicz built on the internal Custom Shop operations, the roots of which date back to around 1984 (3 years before Fender established its Custom Shop), and which became a separate facility based in Nashville from October 1993.

The Gibson Guitar Corporation, still a private company, has its headquarters based in Nashville, Tennessee and continues to develop and produce high quality instruments into the 21st century. However, it hasn’t all been plain sailing for Gibson. In May 2018, after a period of unsuccessful diversification into peripheral consumer electronics products and rapidly rising debts, Gibson entered Chapter 11 bankruptcy protection in the U.S. The widely anticipated move was intended to give the company sufficient time to restructure the business, with Henry Juszkiewicz still as CEO. Gibson intends to focus on profitable core musical instrument products, while divesting itself of the remainder of its ill‑fated and loss‑making lifestyle ventures. It is likely that Gibson’s rationalisation programme will succeed and the company will avoid liquidation. Like the phoenix symbolised on its Firebird guitars, Gibson will surely rise again from the ashes and achieve long‑term financial security.

Many vintage Gibson solid body electric guitars are highly regarded by collectors, musicians and enthusiasts alike, with many key models reaching high or very prices on the vintage guitar market with the 1959 sunburst Gibson Les Paul Standard is held in particularly high esteem. It will be interesting to see if a resurgent Gibson will be able to recapture the pinnacles of past glory. Watch this space…

Other Major American Electric Guitar Brands

While it might seem from the previous two sections that Fender and Gibson were the only companies responsible for all the key milestones in the solid guitar’s evolution, this is in fact far from reality. There have been innumerable manufacturers from around the globe that have been highly influential in shaping the market.

Epiphone – Epiphone’s illustrious history dates back to 1873 when the Stathopoulo family emigrated from Greece, via Turkey, and arrived in New York in 1903. The family set up a business in America making banjos and mandolins. By the end of WWI, the company became ‘The House Of Stathopoulo’, then changed its name to the ‘Epiphone Banjo Company’ in 1928, the same year that they started producing acoustic guitars. The name Epiphone derived from a combination of owner Epaminondas Stathopoulo’s nickname, ‘Epi’, and the Greek word ‘phon-’ meaning ‘sound’ or ‘voice’. In addition to musical instruments, Epiphone started producing amplifiers in 1935. Epiphone was Gibson’s main competitor in the production of high‑quality instruments, particularly archtop guitars in the 1930s and 1940s, such as the De Luxe, Broadway and Triumph models. It was only after World War II that Epiphone began to struggle, eventually resulting in its acquisition by Gibson in 1957. Initially, the new generation of Epiphone guitars were still made in Gibson’s American facilities, even though many of their instruments were re‑branded Gibson models. During the 1960s, Epiphone’s Casino, which was effectively their version of the Gibson ES-330, became particularly famous because of an association with English pop/rock band The Beatles. In recent decades, the Epiphone brand has come to represent the affordable end of Gibson’s output, complementing the parent company’s product lines. In the early 1970s manufacturing was migrated to the Far East, first in Japan, then Korea and, since 2004, Epiphone guitars have been made in a dedicated factory in Qingdao, China. Other well‑known model Epiphone names from their past include Emperor, Riviera, Sheraton, Olympic, Wilshire and Crestwood.

Gretsch – Another famous manufacturer with a long history dating back to 1883 is Gretsch. The company was founded by Friedrich Gretsch (c.1856-1895). Gretsch arrived as a 17 year old German immigrant to the United States in 1872. By 1883, aged 27, Gretsch was manufacturing banjos, tambourines, and drums from a modest shop in Brooklyn, New York. It wasn’t until the big band era of the 1930s that guitars became part of Gretsch’s core business with models like the Synchromatic and Electromatic. Gretsch became hugely successful with the explosion of blues, country and rock ‘n’ roll music in the 1950s. The man behind many of Gretsch’s iconic designs including the flamboyant White Falcon was guitarist Jimmie Webster (1908‑1979), who worked as sales and demonstration representative for Gretsch. NB. Webster was known as the inventor of the ‘Touch System’ of playing in the 1950s, popularised by Van Halen as ‘two‑hand tapping’ in the late 1970s. The demand for Gretsch guitars during this period enabled Gretsch to compete head on with Gibson and Fender. Gretsch’s association with guitarist Chet Atkins propelled their now‑iconic 6120 from 1955 to massive popularity. Like many other companies in the 1960s, Gretsch struggled and was bought out by Baldwin Pianos in 1967. By 1981, after a period of significant decline Baldwin finally wound up production of Gretsch instruments. Fred W. Gretsch purchased the brand name in 1985 and several attempts were made to restart production, including manufacturing in the Far East. Gretsch has been under Fender patronage since 2002 with Fender having the controlling interest and the Gretsch family retaining ownership. A rejuvenated Gretsch company, with Fender’s support and endorsement from rockabilly guitarist Brian Setzer has, once again, become successful. Well‑known model Gretsch names from their history include the White Falcon, Country Gentleman, Tennessean, Viking, Anniversary, Jet and Corvette, often carrying obscure and confusing numerical model numbers.

Rickenbacker – Rickenbacker’s history is shorter than some of its competitors and has been widely covered in other parts of the guitar’s story. Rickenbacker only emerged in the early 1930s first as Ro‑Pat‑In then as Electro before formally adopting the Rickenbacker name. Rickenbacker was crucial in the early development of the electric guitar. However, it wasn’t until the late 1950s that Rickenbacker’s fortunes found a new lease of life and took a major upturn that would lead to the current day. In 1953, Adolph Rickenbacker sold his company to music industry businessman F.C. Hall (1909‑1999), founder and CEO of media company Radio-Tel. Under Hall’s ambitious leadership, the company introduced a number of innovative guitar models, which proved popular with many bands during the nascent rock ‘n’ roll era. In an inspired move, Halll hired illustrious guitar maker Roger Rossmeisl (1927-1979) in 1954. Rossmeisl was responsible for the design of Rickenbacker guitars including a number of iconic instruments released in the late 1950s, including the ‘Capri’ 300 series guitars from 1958 and the equally influential 4000 series basses from 1957. Both of these designs, along with a number of others, are still in production today. Rickenbacker’s artist association with, particularly, The Beatles and The Byrds in the 1960s, cemented the brand’s rightful place in guitar history.

Danelectro – While it may not be an obvious choice for coverage, it is worth mentioning Danelectro. The company was founded in 1947 by Lithuanian immigrant Nathan ‘Nat’ Daniel (1912-1994) and based in New Jersey. The company started out by making guitars, basses and baritones for other companies including Silvertone models for the Sears & Roebuck department stores and mail order, and Airline models for Montgomery Ward. The strategy enabled Danelectro to start making guitars using its own name by 1954. Daniel innovated by using unorthodox materials and construction techniques, at least hitherto unusual in the guitar building industry. The resulting instruments have a distinctive look and sound that also enabled the company to produce no-frills instruments at competitive prices for the mass market. In a clever move under the Silvertone brand, they produced guitars with a valve amp built into the guitar case, so customers could buy everything they needed in one convenient, portable package. The brand is important historically because it enabled many young aspiring musicians to buy instruments at low cost. The unique approach also attracted many professional players to use Danelectro instruments, including guitarists like Jimi Hendrix, Rory Gallagher, Jimmy Page and Beck. Like many other American companies, including Fender and Gibson, Danelectro struggled in the 1960s and was sold to industry giant MCA in 1966, only for the factory to be closed down in 1969. The brand was resurrected and started making guitars again in 2006.

PRS – Compared to some of the well established brands that have been around much longer, PRS Guitars is really the new‑kid‑on‑the‑block, founded by American luthier Paul Reed Smith in Annapolis, Maryland in 1984. In a relatively short period of time, PRS has gained an enviable reputation for high quality instruments and amps, cleverly finding a niche in the market that is different from their competitors. Taking design influences from Fender and Gibson amongst others and adding something new and fresh of their own, PRS managed to build substantial market share rapidly from seemingly nowhere.  Having guitarist Carlos Santana on board from the start and bringing in ex‑Gibson president Ted McCarty as Smith’s mentor didn’t harm the company’s credibility either. PRS introduced stunning instruments, starting with the Standard and Custom, recognised for their immaculate craftsmanship. Many PRS instruments have distinctive features including exquisite highly figured tone woods, superbly engineered hardware and distinctive unique ‘bird’ fingerboard inlays. The company grew swiftly; relocating to a major new American factory in 1996 and from 2003 PRS established a range of more affordable SE (standing for ‘Student Edition’) models manufactured in Korea. PRS’s success demonstrates that the industry’s barriers to entry are not insurmountable and with the right strategy, it is still possible to enter the market and to grow market share despite well‑established competition, and without being straightjacketed by historical constraints.

Other Guitar Brands From Around the World

Guitar design, production and sales are not restricted to just a few large American companies. In America alone, there are many thousands of guitar manufacturers past and present. Many names will be familiar, such as Ernie Ball/Music Man, Peavey, Guild, Jackson, Dean, BC Rich, Ovation, Supro, National, Kay, Harmony, etc., through to innumerable custom and boutique luthiers. Some of these manufacture instruments in the U.S. while others are American companies that source part or all of their guitars from the Far East. A quick look around the globe highlights many other fertile guitar making territories…

Europe – Particularly following World War II when embargoes and tight trade restrictions limited exports of guitars from America, a combination of high demand for guitars and low supply provided an opportunity for some enterprising European companies to fill the gap. Many of these guitars followed the influence of American designs in the knowledge that young people in Europe aspired to emulate their American counterparts. Britain and continental Europe have produced many guitar brands over a long period of time including from illustrious companies such as Burns, Duesenberg, Eko, Framus, Hagstrom, Höfner, Hohner, Patrick James Eggle, Shergold, Gordon Smith, James Trussart, Vigier, Vox, Warwick, Watkins, Zemaitis, etc.

Far East – The Far East isn’t only responsible for producing low cost guitars for American and European guitar brands. During the 1970s, Japanese firms were producing affordable, high quality copies of American guitars, taking advantage of high labour prices and poor quality control in the U.S. However, there has also been a notable history of guitar manufacture in its own right, including some very quirky and idiosyncratic models. Many of the big names from Japan include, Aria, ESP/LTD, Ibanez, Italia, Teisco Tokai, Yamaha, etc.

Eastern Bloc – While not widely recognised as a guitar‑making region, largely because of its nationalistic political regime and economic protectionism, the Eastern Bloc countries have produced a diverse range of instruments over an extended period of time. There is a vast array of models bearing many unfamiliar names such as, Aelita, Formanta, Jolana, Migma, Tokina, etc.

As you might expect, the fascination with the world’s favourite instrument is genuinely global and they have been made in every corner of the world, including Australia, Canada, South America and, to a lesser extent, the middle east (where the guitar’s story began after all!) and Africa.

Other Factors

Although this section focuses on electric guitar production, it is worth remembering that acoustic guitar manufacturing is also thriving in the 21st Century with famous specialist brands such as Martin (based in Pennsylvania since 1833) and Taylor (based in California since 1974) at the forefront of innovation and technological development. Of the major American electric guitar makers, it is only really Gibson that also has a reputable range of professional acoustic instruments. Elsewhere, Yamaha has a strong range of Far Eastern acoustic guitars. There are numerous other manufacturers to be found producing fine acoustic guitars at all price points in the market.

The 21st Century landscape of guitar production is one of global diversity and differentiation. Modern guitars may have been hugely influenced, if not defined, by a small number of American companies but it is by no means a monopolistic industry; quite the opposite in reality. The long‑term viability of guitar making is inextricably linked to the music industry and what happens will rely heavily on musical trends and influences.

There have been many challenges to the dominance of the electric guitar, notably during the 1980s and 1990s with proliferation of synthesizers and in the 2000s as home production of electronic music became affordable and accessible. However, the popularity of the guitar seems (relatively) assured, despite many cynical commentators regularly proclaiming ‘the death of guitar music’. Digital technology is bringing a new challenge to guitar makers, so it will be up to countless luthiers around the world to rise to the challenge, seek new opportunities, adapt the guitar and make it truly a universal instrument and secure its future success for generations to come.

End of Part VI

Over these last six instalments, I have covered the guitar’s history from its vestigial beginnings in the ‘Cradle of Civilisation’ to the birth and proliferation of the electric guitar. There is just a little of the long and winding path left to travel and I hope you’ll join me for the remainder of the story. The next article has yet to be written, due to personal circumstances. While I hope to publish it next month, it is by no means certain. Fingers crossed. Until next time…

CRAVE Guitars ‘Quote of the Month’: “Contrary to popular opinion, great minds most definitely do not think alike. Similarly, great musicians do not play or sound alike.”

© 2018 CRAVE Guitars – Love Vintage Guitars.

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August 2017 – A Peak into the Pandora’s Box of Guitars

posted in: Observations, Opinion | 0

Over the last 30 months or so, I’ve been going on and on about the mainstay of CRAVE Guitars ‘work’, which is to share with you not only stuff about music and stuff about guitars generally but also specifically stuff about Cool & Rare American Vintage Electric Guitars. If you’ve taken a look at the web site, you’ll know that the focus tends to be on mainstream U.S. brands and, within that, if possible, some cool variations of well-established guitar models. However, perhaps stating the bleeding obvious, the guitar world is much bigger than that.

This month I’m dipping a toe in the water of some of the other guitar treasures out there. When one looks across the whole guitar landscape, antique, vintage, old, used, new, American, European, Eastern bloc, Asian, mass manufacture, boutique makers, unique luthiers, home‑made, traditional, basic, hi-tech, innovative and whacky, there is infinite variety and a veritable cornucopia of interesting and wonderful instruments to appreciate. The same goes for amps and effects of course (as colleagues into those things keep reminding me) but there’s not enough room in a single article for those as well. Besides, although I don’t claim to be an expert on guitars, I’m even less well‑acquainted the minutiae of amps and effects – that’s another ballgame altogether. The focus of this article is essentially on electric instruments.

When researching this article, it became ridiculously clear that I simply can’t do justice to every aspect of this enormous topic. I can only mention a figurative iceberg’s tip of what’s out there and I apologise in advance for the probable monumental omissions herein. Before we get going, none of the guitars covered in this article are part of the CRAVE Guitars’ family. In order to illustrate the diversity, I’ve resorted to using pictures sourced from Google Images – I acknowledge all guitar owners and photographers.

Let’s face it, love them or loathe them, the centre of the guitar universe remains occupied by the American ‘Big Two’, Fender and Gibson, along with their subsidiary companies including, respectively, Epiphone and Squier that concentrate on the budget end of the market. Incidentally, Fender and Gibson also own a number of other iconic brands that come under their wing. For instance, did you know that Fender own Gretsch, Jackson, Charvel, DeArmond and Tacoma, and Gibson own Baldwin, Kramer, Steinberger, Tobias and Wurlitzer? Until the mid-2010s, Fender also owned Guild and Ovation guitar brands.

It would be easy to fall into the trap of thinking that Fender and Gibson are massive multinational industrial giants, but in actuality, they are pretty modest business concerns compared to the sheer scale and scope of some truly global companies. Fender and Gibson are, above all, very successful brands with a strong identity, whose reach extends well beyond the music industry. This general public awareness helps to shield them from some of the economic, social and technological pressures facing them. Business fortunes, however, go in cycles and the ‘Big Two’ have had their ups and downs. Both companies, along with many others, were taken over in the 1960s, leading to a period of corporate complacency and weakness that opportunistic competitors were able to exploit. While they have been able to rejuvenate their image, they are now dealing with a radically different global context.

While the ‘Big Two’ are fortunate to have genuinely iconic products including Fender’s Stratocaster, Telecaster and Precision bass, and Gibson’s Les Paul, SG and ES-335 (among others), this otherwise enviable position can also constrain them operationally. It has proved very difficult for them to innovate and stretch too far from the proverbial straightjacket imposed by their core instruments. Existing models are scrutinised minutely and often face intense criticism if they move away from the accepted recipe. At the same time, it is difficult for them to introduce all-new models, as they are often compared unfavourably with the classic mould. Without sustainable growth in a finite market, these companies are commercially vulnerable and their potential success is increasingly limited by their past. This strategic conundrum for Fender and Gibson actually creates fertile ground for other smaller firms to grasp opportunity to enter the market through differentiation, diversification and innovation, as well as imitation.

Circling around the ‘star’ of the Big Two, there are the other recognisable brands such as Rickenbacker, Danelectro, Guild, Ovation, Music Man (now part of the Ernie Ball corporation), G&L, and, as well as the aforementioned Gretsch (the Gretsch family retains major influence as part of Fender) and relative newcomers such as PRS. There are other companies that don’t immediately spring to mind but which have enormous presence in the industry. I include Peavey here, as one of the world’s largest musical manufacturing company. Then there are the other recognisable ‘independent’ American manufacturers that tend to focus on niche markets, such as BC Rich, Dean, Jackson, Alembic, Carvin, Schecter, Steinberger, Suhr, Parker, Heritage, etc. At the same time, some major US guitar companies focus predominantly on acoustic guitars, such as Martin and Taylor.

There is an incredible history surrounding brands that have either disappeared completely or those that have gone, some of which have now been resurrected, e.g. Supro, Airline, National, Dobro (acoustic, now part of Epiphone), Bigsby, D’Angelico, D’Aquisto, Silvertone, Kalamazoo, etc. American guitar manufacturers suffered particularly badly in the 1960s and 1970s as a result of multiple pressures including falling production quality, increasing manufacturing costs (including union labour), and hostile competition from high quality cheap imports from the Far East.

As you might expect, the history of many of the brands already mentioned goes back to the early-mid 1900s (or even further), which means that there are plenty of very cool vintage guitars floating around. In the guitar world, age doesn’t mean valuable – it is the combination of age, rarity, quality originality and current condition that matter for those with an eye on the dollar value. While the Big Two tend to command the premium prices, pretty much across the board, there are plenty of bargains to be had by looking more broadly at these, sometimes ephemeral makes. I recently come across an early 1960s U.S. Airline in all‑original clean condition that went for a little over £300GBP. These never were top‑of‑the‑range instruments back in the day, and they can be picked up as bargain vintage instruments now. Some of these leftfield guitars present low-risk options for entry into the vintage market if you research carefully and don’t expect too much. History suggests that, in all likelihood, they won’t accumulate vintage value very quickly without major artist association. Look around and there are gems to be found from under-the-radar guitar makers. Some are very nice, including Washburn, Hondo (mainly copies), Mosrite, Harmony, Kay, Valco (maker of a number of other brands), etc.

Moving away from the American continent, Europe also has a long tradition of great musical instrument manufacture, with brands such as Vox, Höfner, Baldwin, Burns, Watkins, Framus, Hagstrom, Hohner, Shergold, Hoyer, Wandre, Bartolini, Levin, Goya, Welson, along with newer entrants such as Warwick, Duesenberg and Vigier, Some of these were prolific during the ‘golden years’, capitalising on the rapidly moving musical paradigms of the 1960s and 1970s. A post-war embargo on American guitar imports certainly helped European brands (and bands) get a foothold and to prosper up to the early-mid 1960s. While, as in other markets, the quality of European guitars varied considerably, many models have become synonymous with the period and, as a result, highly collectable, for instance, the teardrop Vox guitar used by Brian Jones of The Rolling Stones or the Höfner violin bass used by Paul McCartney of The Beatles.

Even further away from America, the Japanese companies competed head on with the American brands in the 1970s. Plenty of the budget guitars were blatant copies of American guitars, which resulted in protracted litigation to protect U.S. patents and trademarks. Many ‘older’ guitarists may remember copies from the likes of CSL and Columbus, as well as Ibanez. Japanese firms didn’t just replicate American designs; some also produced original designs and have retained a credible reputation over time for quality and consistency, including their dominant brands – Yamaha and Ibanez. Takamine, which focuses predominantly on acoustic guitars, is also Japanese. There have been plenty of Japanese names that are or have been familiar, including ESP (and subsidiary LTD), Roland, Italia, Aria, Tokai, Teisco, Greco, Guyatone, Apollo, Kawai, Kent, Westone, etc. Many of the instruments made by Japanese companies in the 1960s and 1970s (including some copies) are now becoming very collectable in the off‑the‑beaten‑track vintage niches. If you want some truly whacky vintage designs at reasonable prices, take a look at Japanese guitars. Plenty of people now specialise in conserving these vintage Japanese/Asian instruments.

The old Eastern Bloc countries have also produced a wide range of brands catering for home-grown musicians. The strategy of government-owned manufacture was partly nationalistic, in that they were required to protect their home market from capitalist imports from both the west and east. Many of these guitars were typically utilitarian with little in the way of flamboyance. Many of these brands will be little known in the western world, even now. As you might expect, there are experts who concentrate on collecting these communist bloc guitars for posterity. The ones that have penetrated the western markets offer something different from, and cheaper than, the mainstream names. Look out for names like Aelita, Elgava, Formanta, Migma, Musima, Odessa, Stella, Tonika, Marma (East Germany), Jolana (Czechoslovakia), etc.

There are a few other territories that have developed their own guitar manufacturing, including Godin and Eastwood in Canada and Maton in Australia. In addition, there are a large number of unmarked guitars out there with no means of identifying age or source. Some can be traced back to similar designs by known manufacturers while the creators of others are lost in the mists of time and geography. These ‘pawn shop’ guitars are often poorly made and may be considered curios, although, there are aficionados looking to conserve the more vernacular heritage.

The modern-world picture is far more complicated and can’t be talked about in terms of familiar regional territories. Some multi-national companies, including Fender and Both Fender and Gibson have their headquarters in the US and produce large numbers of their subsidiary ranges in other countries. Some brands are designed in the US and constructed offshore. Some are assembled and quality checked in the US from parts made elsewhere. Larger companies have international distribution operations that channel product to dealership networks within economic regions, e.g. Fender UK servicing the European Union (at the moment!). Others have to manage distribution through networks of independent dealers. Some smaller companies have to rely either on local markets or alternative methods of distribution, direct or indirect. Some companies make instruments that are branded by one or more retail chains. A classic example is Silvertone whose instruments were made by Danelectro, Kay and others, sold through Sears & Roebuck department stores and mail order (remember that?). Similarly, many of the diverse Japanese brand names were actually made by a relatively small number of manufacturers, e.g. Kawai and Teisco.

Another feature of new millennium guitar building is the explosion in bespoke guitar building, either by small specialist companies or individual luthiers. Low volumes, creative designs, alternative materials, custom features, and high quality tend to characterise the sub-industry but there are always exceptions to the rule. There have, pretty obviously, always been bespoke builders catering for the well‑heeled or professional musicians’ need and this has led to further opportunities that are difficult for the mass manufacturers to match. In response, the larger manufacturers, including Fender and Gibson, created custom shop operations to provide tailored services for individual clients. Custom shops also heralded the explosion in vintage-styled recreations and the more recent craze for relic finishes, both building on the growth of interest in vintage guitars.

Remember, even the (now) big companies had to start somewhere, usually with an inspirational leader, visionary pioneer or commercial entrepreneur at the helm, often working on their own or in a small workshop. Many of today’s big brands started out with some names you might just recognise, including Friedrich Gretsch and son, Fred Gretsch Jr, Orville H. Gibson, Christian Frederick Martin, Adolph Rickenbacker, Nathan Daniel (Danelectro), Epaminondas Stathopoulo (Epiphone), and one Clarence Leonidas ‘Leo’ Fender. More recently, Paul Reed Smith has earned a place amongst this exlusive group. Even these industry giants relied on other key individuals and their skills including John Dopyera, George Beauchamp, Lloyd Loar, F.C. Hall, Les Paul, Ted McCarty, George Fullerton, Ray Dietrich, Roger Rossmeisl, etc.

Other well-known names span out of larger companies, for instance, Travis Bean, well known for metal-neck guitars, split from Kramer. Kiesel Custom Guitars is another example, producing some astounding instruments having been formed following the splitting up of American company Carvin in 2015. Perhaps the most successful modern entrepreneur is Paul Reed Smith of PRS Guitars, based in Maryland USA since 1985. While growing his reputation, Smith wisely sought advice from Gibson’s ex‑president Ted McCarty to mentor him, and several PRS models now proudly bear McCarty’s name. The tradition continues with renowned luthier Joe Knaggs setting up his own prestigious guitar company after leaving PRS, producing some wonderful instruments in relatively small numbers.

One of the most celebrated and influential craftsmen to exploit niche demand in the 1960s was Lithuanian immigrant to the UK, Tony Zemaitis who made some very remarkable guitars for some very remarkable guitarists. Zemaitis’ legacy can clearly be seen in other current models from the likes of Duesenberg and Teye, as well as the Japanese company that currently carries on Zematis’ illustrious name.

There have been many excursions into the application of alternative materials to wood. The use of metal in guitar production was pioneered by the likes of National and Dobro in their resonator guitars as a means of producing more volume from acoustic guitars in the pre‑electric era of the 1920s and 1930s. In the 1960s, Valco used fibreglass (coined Res‑o‑Glas) for futuristic designs in the 1960s, such as the stunning National Newport. More recently, acoustic maker, Ovation, used a variation of fibreglass (lyrachord) on its bowlback instruments. Zemaitis experimented with other materials in his guitar construction and many others have followed suit, including the aforementioned Kramer/Travis Bean. Around the same time, there was a ‘fad’ for acrylic guitar bodies, perhaps the most well-known proponent being Dan Armstrong who used acrylic for parent company Ampeg.

On this side of the Atlantic, another luthier has set the bar for innovative use of metal; French luthier, James Trussart, Italian company XoX Audio are making some nice instruments out of carbon fibre. 3D printing also presents opportunities for greater use of plastics and metals in guitar production. Some luthiers have experimented with stone as part of the construction but it is not common – or very practical. With ever increasingly stringent restrictions on sourcing, use, sale and movement of hardwoods commonly used in guitar production, expect wider use of alternative sustainable materials in the future.

There are hundreds if not thousands or even tens of thousands of guitar makers out there, all wanting a proportion of the overall demand for great guitars. Here are a very few notable names from all around the world to keep an eye on, including (in no particular order); Collings, Stone Wolf, Flaxwood, Palm Bay, Hutchinson, Emerald, Ed Roman, Suhr, Mayones, Nik Huber, Matt Artinger, Tom Anderson, Patrick James Eggle, Fano, Gus, Goulding, Prisma, Frank Hartung, Michael Spalt, Michihiro Matsuda, TK Smith, Rick Toone, Carillion, McSwain, John Backlund, Reverend, Ron Thorn, John Ambler, Mule, Tony Cochran, Walla Walla, Ezequiel Galasso, Langcaster… The list could be endless as there are just too many great guitar buillders out there to mention and apologies to those I’ve left out and, sorry, I can’t post pictures of every one – I wish I could. The point, I guess, is to broaden one’s perspective and perhaps open one’s mind to a wide range of other possibilities beyond the obvious in-your-face guitar shop fare. I don’t usually proffer advice but on this occasion, I would simply just say, take a look out there and you might just find something weird and wonderful that you probably didn’t know existed. I regularly feature some of this wonderland of goodies on Twitter for those that may want to take a look (@CRAVE_guitars).

For the amateur hobbyist or artisans with aspirations of becoming the next notable designer, there are now plenty of DIY kits for everything from generic product to some quite fancy customised guitar construction. Access to information the Internet provides plenty of plans and specifications for people to design and build almost any type of instrument without the need to track down books or luthiers willing to share their knowledge. Experimenting in this way can present all sorts of opportunities to be taken. What about you?

Renovation ‘husk’ projects are probably best avoided unless you really know what you’re doing, as there’s probably a reason why they are in that state to begin with. For some, though. a ‘bitsa’ guitar may make an ideal low cost player’s guitar. My lack of practical skills prevents me from trying out a DIY (re-)build beyond my limited capabilities. Besides, given CRAVE Guitars’ fundamental raison d’être, I simply can’t create an authentic American vintage guitar.

I hope that this article has given a tiny indication of the beauty and multiplicity of guitars out there. That’s without going into oddities with unconventional string configurations, double (or more) necks, hybrid instruments, etc. It is this fascination with making things different while also keeping things the same that is quite inspirational and, I think, pretty unique to guitars, at least on this sort of scale. We are blessedly spoilt for choice and there are some ridiculously good guitars out there for very reasonable prices without experiencing the diminishing returns associated with esoteric exotica. Ultimately, this clearly indicates that there is something for everyone with an interest in the world’s favourite musical instrument.

So… you may ask… what’s my favourite out of everything covered here? Truthfully, I can’t say; I find guitars endlessly beguiling and preferences vary continuously. It would be unfair to single any one brand or model from the others. As my obsessive quest for ‘Cool & Rare American Vintage Electric Guitars’ continues, the CRAVE name gives a hint of bias but that is not so dogmatic that I can’t appreciate all aspects of the luthier’s art and craftsmanship. MY position is firmly ‘on the fence’. If any of the names mentioned wish to persuade me off the fence with a prime example of their product(s), I am more than happy to accommodate them (f.o.c. of course!). I optimistically await a swathe of e-mails to that effect (hint, hint).

Me? I’m off to plink a new CRAVE Guitars’ plank. The new addition to the family is something both very recognisable and very unusual at the same time. All being well, I’ll try to cover it in next month’s article. All I’ll say at this juncture is that it is definitely one that fits the Cool & Rare American Vintage Electric Guitar bill very aptly while also strongly dividing opinion. Intrigued? The lengths we go to, to bring you guitar ‘stuff’. Watch this space…

CRAVE Guitars ‘Quote of the Month’: “There is a finite limit to the amount you can know, there is no limit to the amount you can imagine.”

© 2017 CRAVE Guitars – Love Vintage Guitars.

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