|
 |
carter steel guitars
Description
Steel Guitar builders providing professional quality pedal steel guitars at reasonable, factory-direct prices. These steel guitars are great for beginners and professionals.Steel Guitar, Pedal Steel Guitar, MSA, MCI, pickup, loafer, E9, C6, Universal, Bb6, Nashville, 10-String, 12-String, Double-10, Double-12, S-10, S-12, D-10, D-12, triple raise, triple lower. carbon composite, timeless timbers, birdseye maple, inlay, abalone, guitar strings
Keywords
Date
Feb 1, 2005
Contact name
Email
Link ID
688
Write a Review
Add to My Favorite
Refer it to Friend
Report Broken Link
Other links at Guitar, Bass... > guitar, bass builders and repairers
Campbell American Guitars was created to meet the growing demand for affordable, high quality, American-made instruments. The guitar is a brilliant mix of technology and old New England craftsmanship, Campbell American Guitars are built to exacting standards.
Campbell American has married technology and old New England craftsmanship in the production of affordable, precision six-string guitars.
The concept behind the Campbell American Precix was a simple one: Make an American guitar that is as good as it can be. We’ll make it as playable and versatile as possible, use the best components available, utilize a sensible design with logical controls, and make it affordable for everyone from students to professional musicians ...
Campbell American has married technology and old New England craftsmanship in the production of affordable, precision six-string guitars.
The concept behind the Campbell American Precix was a simple one: Make an American guitar that is as good as it can be. We’ll make it as playable and versatile as possible, use the best components available, utilize a sensible design with logical controls, and make it affordable for everyone from students to professional musicians ...
Category:
2. spalt garage
Richard Mermer Guitars:
Rich has been designing, building, and repairing fretted string instruments since 1983, after completing his studies at the Roberto-Venn School of Luthiery in Phoenix, Arizona. While attending the school, Rich was greatly influenced by master craftsman and instructor William Eaton (refer to Acoustic Guitar Magazine, N0.61, pp.64-67). It was from Bill, that Rich learned to let his creative juices flow, and not to worry about building "clones" of popular designs.
After leaving Roberto-Venn, Rich acquired additional experience while working for Fretted Instruments International (the parent company to Oscar Schmidt Autoharps and Washburn Guitars) and Philip Kubicki Guitar Technology of Santa Barbara, California.
Rich's shop is not geared towards mass production techniques, although jigs and tooling are certainly used to cut down on the time spent on the more tedious and repetitious steps in the construction process. Rich prefers to build from one to three instruments at a time, and usually completes from 12 - 16 instruments each year. These instruments are handcrafted works of art that are built to the specifications of the client. Rich does keep several instruments available as portfolio/demonstration pieces so that potential clients can experience the quality of his work.
Richs instruments have been featured in 'Guitar 2000: Today's State of the Art, Tomorrow's Innovations' (Acoustic Guitar Magazine, August 1998, Issue 68); and in 'The Holey Grail: Why Leading Guitar Makers Are Rethinking Traditional Soundhole Designs' (Acoustic Guitar Magazine, February 1999, Issue 74). Many artists are using Richs instruments in the studio and in live preformance, including Don Conoscenti, Cyril Pahinui, Brooks Williams, John Alevizakis, and Al Scortino ...
Rich has been designing, building, and repairing fretted string instruments since 1983, after completing his studies at the Roberto-Venn School of Luthiery in Phoenix, Arizona. While attending the school, Rich was greatly influenced by master craftsman and instructor William Eaton (refer to Acoustic Guitar Magazine, N0.61, pp.64-67). It was from Bill, that Rich learned to let his creative juices flow, and not to worry about building "clones" of popular designs.
After leaving Roberto-Venn, Rich acquired additional experience while working for Fretted Instruments International (the parent company to Oscar Schmidt Autoharps and Washburn Guitars) and Philip Kubicki Guitar Technology of Santa Barbara, California.
Rich's shop is not geared towards mass production techniques, although jigs and tooling are certainly used to cut down on the time spent on the more tedious and repetitious steps in the construction process. Rich prefers to build from one to three instruments at a time, and usually completes from 12 - 16 instruments each year. These instruments are handcrafted works of art that are built to the specifications of the client. Rich does keep several instruments available as portfolio/demonstration pieces so that potential clients can experience the quality of his work.
Richs instruments have been featured in 'Guitar 2000: Today's State of the Art, Tomorrow's Innovations' (Acoustic Guitar Magazine, August 1998, Issue 68); and in 'The Holey Grail: Why Leading Guitar Makers Are Rethinking Traditional Soundhole Designs' (Acoustic Guitar Magazine, February 1999, Issue 74). Many artists are using Richs instruments in the studio and in live preformance, including Don Conoscenti, Cyril Pahinui, Brooks Williams, John Alevizakis, and Al Scortino ...
Category:
Gitarrenatelier Traudt:
Die folgenden Seiten sollen einen kleinen Einblick in meine Arbeit als Gitarrenbaumeisterin geben. Jedes Instrument wird von mir in Handarbeit gefertigt und stellt ein Einzelstück dar, welches seine eigene “Persönlichkeit“ besitzt.
Es ist nicht meine Art, über meine Instrumente große Worte zu machen. Sie mögen für sich selbst sprechen, zur Freude der Musiker und Zuhörer.
Meine Aufgabe ist es, die Komponenten wie Klangvorstellung, Holzwahl, kunstfertige Verarbeitung und Ästhetik, mit Erfahrung zu einem charaktervollen Instrument zu komponieren.
Der Musiker “öffnet“ das Instrument, haucht ihm Leben ein. So wird das Instrument eine Quelle der Inspiration sein ...
The following pages should give a small look into my work as guitar luthier. Each instrument is built by hand and is a unique instrument which possesses its own "personality".
It is not in my style to use big words to describe my instruments. They may speak for themselves bringing joy for the musician and the listener.
My job is to take the components such as tone expectations, choice of woods, artistic and esthetic touch, together with experience, to compose an instrument of full character.
The musician "opens" the instrument and breathes life into it. Through this act the instrument becomes a well of inspiration ...
Die folgenden Seiten sollen einen kleinen Einblick in meine Arbeit als Gitarrenbaumeisterin geben. Jedes Instrument wird von mir in Handarbeit gefertigt und stellt ein Einzelstück dar, welches seine eigene “Persönlichkeit“ besitzt.
Es ist nicht meine Art, über meine Instrumente große Worte zu machen. Sie mögen für sich selbst sprechen, zur Freude der Musiker und Zuhörer.
Meine Aufgabe ist es, die Komponenten wie Klangvorstellung, Holzwahl, kunstfertige Verarbeitung und Ästhetik, mit Erfahrung zu einem charaktervollen Instrument zu komponieren.
Der Musiker “öffnet“ das Instrument, haucht ihm Leben ein. So wird das Instrument eine Quelle der Inspiration sein ...
The following pages should give a small look into my work as guitar luthier. Each instrument is built by hand and is a unique instrument which possesses its own "personality".
It is not in my style to use big words to describe my instruments. They may speak for themselves bringing joy for the musician and the listener.
My job is to take the components such as tone expectations, choice of woods, artistic and esthetic touch, together with experience, to compose an instrument of full character.
The musician "opens" the instrument and breathes life into it. Through this act the instrument becomes a well of inspiration ...
Category:
The Guitars of Jeffrey R. Elliott:
My instruments are based on the Torres/Hauser tradition in design, and are tailored to the individual. Aesthetics are important to me and are also addressed individually.
I consider the match between player and instrument a crucial relationship, and will work with the customer to achieve an instrument that is well suited musically, physically, and aesthetically. I also consider certain characteristics essential in all my guitars: sufficient power, volume, and projection for the large hall; a broad spectrum of dynamic responses, with a variety of colors, tones, and textures; crystalline clarity with good sustain; and evenness and balance throughout with good, clear separation string to string.
Jeffrey R. Elliott was born in Chicago, Illinois and grew up in Detroit, Michigan. He began playing guitar at age sixteen and immediately fell in love with the sound of the classical guitar. This led to performing folk music professionally while majoring in Fine Arts at Michigan State University. In 1964, a chance visit to Richard Schneider's workshop in Detroit opened the door to the world of lutherie, and two years later he began a six-year apprenticeship with Schneider. In 1973 he moved to Portland, Oregon where he now resides with fellow luthier, Cyndy Burton ...
My instruments are based on the Torres/Hauser tradition in design, and are tailored to the individual. Aesthetics are important to me and are also addressed individually.
I consider the match between player and instrument a crucial relationship, and will work with the customer to achieve an instrument that is well suited musically, physically, and aesthetically. I also consider certain characteristics essential in all my guitars: sufficient power, volume, and projection for the large hall; a broad spectrum of dynamic responses, with a variety of colors, tones, and textures; crystalline clarity with good sustain; and evenness and balance throughout with good, clear separation string to string.
Jeffrey R. Elliott was born in Chicago, Illinois and grew up in Detroit, Michigan. He began playing guitar at age sixteen and immediately fell in love with the sound of the classical guitar. This led to performing folk music professionally while majoring in Fine Arts at Michigan State University. In 1964, a chance visit to Richard Schneider's workshop in Detroit opened the door to the world of lutherie, and two years later he began a six-year apprenticeship with Schneider. In 1973 he moved to Portland, Oregon where he now resides with fellow luthier, Cyndy Burton ...
Category:
Main Category
11
2005
555
335
215
6
791
59
2257
363
411
190
140
211
22
2321
74
120
3
178
36
145
105
36
14
26
1038
159
234
98
273
9
1068
151
245
144
312
255
348
15
78
214
128
70
414
536
2604
91
Top 10
Statistics
Links: 17466
Categories: 1112
Unique Outgoing Hits: 4851846
Pagerank Statistics
