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Check out this review:
No joke, when I was looking for Fender Classic Design Series CD110CE Dreadnought Cutaway Acoustic-Electric Guitar. Black the other day, I was having one heck of a time finding it online. When I did finally find it, I made sure I bought it quickly. What follows is my review.
I was impressed with Fender Classic Design Series CD110CE Dreadnought Cutaway Acoustic-Electric Guitar. Black plain and simple. When I placed my order, I had in in my hands within 3 days and that’s no joke. The key is looking for a seller with over a 100 feedback rating on Ebay. I’ve even included an Ebay listing to Fender Classic Design Series CD110CE Dreadnought Cutaway Acoustic-Electric Guitar. Black in this review to make it even easier on you.
George Beauchamp invented the electric guitar or some may call the lap steel guitar. Initially, electric guitars consisted primarily of hollow archtop acoustic guitar bodies to which electromagnetic transducers had been attached.
Early years
Sketch of Rickenbacker “frying pan” lap steel guitar from 1934 patent application.
Electric guitars were originally designed by an assortment of luthiers, electronics enthusiasts, and instrument manufacturers, in varying combinations. Some of the earliest electric guitars, then essentially adapted hollow bodied acoustic instruments, used tungsten pickups and were manufactured in the 1930s by Rickenbacker. In 1935, a Soviet scientist working separately from his western colleagues was known to have produced an electric Russian guitar called the “Kuznetsov electromagnetic guitar”. It was exhibited at a technology expo in Moscow, but its development was halted since the Stalin regime was hostile to guitar music[citation needed].
At least one company, Audiovox, built and may have offered an electric solid-body as early as the mid-1930s. Rickenbacher, later spelled Rickenbacker offered a cast aluminum electric guitar, nicknamed The Frying Pan or The Pancake Guitar, beginning in 1933.
Another early solid body electric guitar was designed and built by musician and inventor Les Paul in the early 1940s, working after hours in the Epiphone Guitar factory. His log guitar (so called because it consisted of a simple 4×4 wood post with a neck attached to it and homemade pickups and hardware, with two detachable Swedish hollow body halves attached to the sides for appearance only) was patented Fender Classic Design Series CD110CE Dreadnought Cutaway Acoustic-Electric Guitar. Black and is often considered to be the first of its kind, although it shares nothing in design or hardware with the solid body “Les Paul” model sold by Gibson.
Fender
Main article: Fender Musical Instruments Corporation
Sketch of Fender lap steel guitar from 1944 patent application.
In 1950 and 1951, electronics and instrument amplifier maker Leo Fender through his company, designed the first commercially successful solid-body electric guitar with a single magnetic pickup, which was initially named the “Esquire”. The two-pickup version of the Esquire was called the “Broadcaster”. The bolt-on neck was consistent with Leo Fender’s belief that the instrument design should be modular to allow cost-effective and consistent manufacture and assembly, as well as simple repair or replacement.
In 1954, Fender introduced the Fender Stratocaster, or “Strat”. It was positioned as a deluxe model and offered various product improvements and innovations over the Telecaster. These innovations included an ash or alder double-cutaway body design for badge assembly with an integrated vibrato mechanism (called a synchronized tremolo by Fender, thus beginning a confusion of the terms that still continues), three single-coil pickups, and body comfort contours. Leo Fender is also credited with developing the first commercially-successful electric bass called the Fender Precision Bass, introduced in 1951.
Gibson
Main article: Gibson Guitar Corporation
Gibson, like many guitar manufacturers, had long offered semi-acoustic guitars with pickups, and previously rejected Les Paul and his “log” electric in the 1940s. In apparent response to the Telecaster, Gibson introduced the first Gibson Les Paul solid body guitar in 1952 (although Les Paul was actually brought in only towards the end of the design process for expert fine tuning of the nearly complete design and for marketing endorsement ). Features of the Les Paul include a solid mahogany body with a carved maple top (much like a violin and earlier Gibson archtop hollow body electric guitars) and contrasting edge binding, two single-coil “soapbar” pickups, a 24″ scale mahogany neck with a more traditional glued-in “set” neck joint, binding on the edges of the fretboard, and a tilt-back headstock with three machine heads (tuners) to a side. The earliest models had a combination bridge and trapeze-tailpiece design that was in fact designed by Les Paul himself, but was largely disliked and discontinued after the first year. Gibson then developed the Tune-o-matic bridge and separate stop tailpiece, an adjustable non-vibrato design that has endured. By 1957, Gibson had made the final major change to the Les Paul as we know it today – the humbucking pickup, or humbucker. The humbucker, invented by Seth Lover, was a dual-coil pickup which featured two windings connected out of phase and reverse-wound, in order to cancel the 60-cycle hum associated with single-coil pickups; as a byproduct, however, it also produces a distinctive, more “mellow” tone which appeals to many guitarists. The more traditionally designed and styled Gibson solid-body instruments were a contrast to Leo Fender’s modular designs, with the most notable differentiator being the method of neck attachment and the scale of the neck (Gibson-24.75″, Fender-25.5″). Each design has its own
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Fender T-Bucket 300 CE Cutaway Acoustic-Electric Dreadnought Guitarhttp://guitars.musiciansfriend.com/product/Fender-TBucket-300-CE-Dreadnought-Cutaway-Acoustic-Electric-Guitar?sku=530011Fender Fender Classic Design Series CD110CE Dreadnought Cutaway Acoustic-Electric Guitar. Black Classic Design Series CD110CE Dreadnought Cutaway Acoustic-Electric Guitarhttp://guitars.musiciansfriend.com/product/Fender-Classic-Design-Series-CD110ce-Dreadnought-Cutaway-Acoustic-Electric-Guitar?sku=519315
Buying Fender Classic Player Telecaster Thinline Deluxe was one of the best investments I ever made. I highly endorse it.
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Buying American Standard Stratocaster HSS. Rosewood Neck. Sienna Sunburst was one of the best investments I ever made. I highly endorse it.
June 28, 2009
Playing guitar in a soul band demands special chops. First and foremost, you’ve got to be tight. And tasty. And tight. And fluid. And tight. Also, did I mention you have to be tight? As in air-sealed. Ezra Sauter, with hip-hop/R&B juggernaut Soulacious, cleanly fills the bill.
Accordingly, he’s intrinsic to the sound on Soulacious’s successful debut CD Strange Love, breaking bad along side bandmates Jarrod Anderson (vocals), Kandii Matthews (vocals), Dan Knoflicek (bass), and Ryan Scribner (drums). By the way, they kill like cold-blooded murder.
On “Sittin’ on Top of the World” (a band original, not the blues standard), Sauter goes from screaming, rock-drenched lead to chicken-scratch economy and back, in his own style. For the title tune, he revisits the Steve Cropper school, strumming a little bit loose, still dead-on. “Lookin’ for a Better Place” gives an excellent idea of what Sauter does across the album. Mixing and matching styles and techniques, keeping your ear all American Standard Stratocaster HSS. Rosewood Neck. Sienna Sunburst the way. His playing brings to mind Wild Cherry’s old wise-cracking refrain, “Play that funky music, white boy.” It’s a plain fact: Ezra Sauter got serious chops.
Dwight Hobbes: What guitars do you have and why’d you pick them?
Ezra Sauter: My main guitar is a Gibson Les Paul Studio. My preference in guitars, for better or worse, has been greatly dictated by my amp rig. Every show, I lug around my Fender Super Reverb and Marshall JCM 800. Tonally, the Les Paul through a Marshall amp has the sound like the two were made to be played together. No question. There is something about the warm, sensual, and responsive tonality you get when the Les Paul is played through a Fender Super Reverb. My backup is an American Fender Stratocaster. I played only that guitar for years. Over time the single coil response became too tinny for my taste.
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Your strongest influences?
John Frusciante of the Red Hot Chili Peppers has been my biggest influence. When I first started really getting into the electric guitar, Jimi Hendrix. Right now, my influences are all about neo-soul artists like D’Angelo, Musiq Soulchild, and Anthony Hamilton. The older I get, the more I’ve gotten into the blues as well. Styles from B.B. King, Stevie Ray Vaughn, and Albert King. Living in Minneapolis and playing R&B is pretty conducive to getting hooked on artists like Prince and the Time, but I’m completely obsessed with and influenced by the local scene and bands that I’m lucky enough to share the stage with. Local groups and artists like Just.Live, Dan Rodriguez, the New Congress, and Copasetic totally floor me.
How’d you get involved with Soulacious?
In 2006, I was in a rock band that broke up. I didn’t have a very wide social network at the time. I’d been living in the city for a little over a year. Long story short, I posted an ad [online] looking for a drummer. I met Ryan. After more ads, auditions, and jam sessions we met Jarrod. That was memorable. Ryan and I could immediately tell he had a great, bold personality. Jarrod and Kandii were friends since high school so he eventually brought her into the group a couple months later. Lastly, we finally found Dan.
How do you like working in the band?
Working with this band has been the most musically gratifying experience I’ve ever had. There is something valuable about a group of strangers coming together to pursue a common goal. Most bands that I know or that I’ve played with seem to spawn from a couple of friends with a strong personal connection already established. They decide to jam together. Many of these groups use this personal connection to derive a greater meaning for their music. That’s cool. I respect it—although in these situations, personal feelings can really get in the way of not only how you run your band as a business, but also what an individual truly wants to get out of the group on a musical level.
Any plans for a solo project?
Not at the moment. I prefer the group thing.
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