acoustic-electric guitar
Illustration — Fender DG-41SCE guitar. An acoustic-electric guitar, also called an electro-acoustic guitar, is an acoustic guitar fitted with a microphone, or a magnetic or piezoelectric pickup. They are used in a variety of music genres where the sound of an acoustic guitar is desired but more volume is required, especially during live performances.
Also recorded as electroacoustic guitar · electro-acoustic guitar
acoustic-electric guitar
Claude-Étienne Armingaud - Claudé · My own guitar · CC BY-SA 3.0
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Illustration — Fender DG-41SCE guitar. An acoustic-electric guitar, also called an electro-acoustic guitar, is an acoustic guitar fitted with a microphone, or a magnetic or piezoelectric pickup. They are used in a variety of music genres where the sound of an acoustic guitar is desired but more volume is required, especially during live performances.
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The design is distinct from a semi-acoustic guitar, which is an electric guitar with the addition of sound chambers within the guitar body. Usually, acoustic-electric guitars are fitted with piezoelectric pickups, requiring a preamplifier incorporated into the guitar body to amplify the signal before it travels to the main guitar amplifier. These preamps may also come with an integrated tuner and tone controls of varying types; equalizers with up to six frequency bands may be used. • Illustration — Acoustic-electric guitar with slotted headstock and an electric sound hole pickup.
In the 1920s, guitarists like Eddie Lang transitioned the acoustic guitar from a primarily solo instrument to use in big bands. However, in a big band, the guitar was outplayed by the horn section and drums, and the need for amplification became apparent quickly. Various experiments at electrically amplifying the vibrations of a string instrument date back to the early part of the twentieth century; patents from the 1910s show telephone transmitters adapted and placed inside violins and banjos to amplify the sound. Hobbyists in the 1920s used carbon button microphones attached to the bridge, but these detected vibrations from the bridge on top of the instrument, so the resulting signal was weak. The first person to create the modern electric pickup for the acoustic guitar was Lloyd Loar, who in the 1930s left Gibson and founded his own company, Vivi-Tone. Electronics were mounted in a removable drawer that slid out of the bass rim of the guitar. The signal was then transferred from a wooden bridge to a metal plate which allowed for an electric output and thus amplification. The first commercially available electric pickup however were Harry DeArmond's FHC pickups, released in the 1930s. They were widely adopted because they did not require any modification of the guitar. In 1954, Gibson released the first commercially successful flattop acoustic-electric guitars, the J–160E and CF-100E. Notable 1970s companies include Ovation and Takamine. During their MTV Unplugged performance, Nirvana frontman Kurt Cobain notably used an acoustic-electric guitar in order to calm his nerves on being on a show known for its use of acoustic instruments, allowing for him to run his guitar through his pedal board and amp for a more familiar sound.
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These works are cited by the source article, in its own numbering. They are recorded as its citations, not as sources VALÉORINE has verified.
- 1.Michael Koch: Kindergitarren, Schülergitarren – allgemeine Informationen. (PDF; 87 kB) European Guitar Teachers Association, Sektion Deutschland; abgerufen am 20. Dezember 2012
- 2.Peter Päffgen: Eine Gitarre entsteht (1985), S. 20–22.
- 3.Peter Päffgen: Eine Gitarre entsteht. Beobachtungen von Peter Päffgen. In: Gitarre & Laute. Band 6, Heft 6, 1984, S. 20–24 (Teil 1), und Band 7, Heft 1, 1985, S. 20–24 (Teil 2), sowie Heft 3, S. 24–26 (Teil 3); hier: Teil 1 (1984), S. 22: „Daß aber die Zeder, die für den Instrumentenbau verwendet wird, eigentlich gar keine ist, sondern eine »unechte« Zeder (eine Thuja-Art, auch als Red Cedar bezeichnet) ist vielen nicht bekannt“.
- 4.Vgl. Jürgen Richter: Taylors BTO-Program: Mehr als ein Custom-Shop. In: guitar. Band 112, Nr. 9, 2009, S. 118–121, hier: S. 120 (Holz und Klang).
- 5.Gerhard Graf-Martinez: Flamenco-Gitarrenschule. Band 1. B. Schott’s Söhne, Mainz u. a. 1994 (= Edition Schott. 8253), ISBN 3-7957-5083-0.
- 6.Gerhard Graf-Martinez: Die Holzarten der Flamecogitarre.
- 7.Ivor Mairants: The Flamenco Guitar. A complete method for playing flamenco. Latin-American Music Publishing, London 1958, S. 2.
- 8.Ehrenhard Skiera: Flamenco-Gitarrenschule. Ricordi, München 1973.
- 9.James Tyler: A guide to playing the baroque guitar. Indiana University Press, Bloomington/Indianapolis 2011, ISBN 978-0-253-22289-3, S. 24 (Campanelas; italienisch campanelle) und 34–36.
- 10.Tony Bacon, Paul Day: The Ultimate Guitar Book. Hrsg. von Nigel Osborne, Dorling Kindersley, London/New York/Stuttgart 1991; Neudruck 1993, ISBN 0-86318-640-8, S. 46 f.
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