GUITAR TELECASTER

In 1946, radio repairman and instrument amplifier maker Clarence Leonidas Fender—better known as Leo Fender—through his eponymous company, designed the first commercially successful solid-body electric guitar with a single magnetic pickup, which was initially named the "Esquire". This was a departure from the typically hollow-bodied Jazz-oriented instruments of the time and immediately found favor with Country-Western artists in California. The two-pickup version of the Esquire was called the "Broadcaster". However, Gretsch had a drumset marketed with a similar name (Broadkaster), so Fender changed the name to "Telecaster".
Features of the Telecaster included: an ash body; a maple 25½" scale, 21-fret or 22-fret neck attached to the body with four-bolts reinforced by a steel neckplate; two single-coil, 6-pole pickups (bridge and neck positions) with tone and volume knobs, pickup selector switch; and an output jack mounted on the side of the body. A black bakelite pickguard concealed body routings for pickups and wiring. 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. Due to the earlier mentioned trademark issue, some of the first production Telecasters were delivered with headstock decals with the Fender logo but no model identification. These are today very much sought after, and commonly referred to by collectors as "Nocasters".
In 1954, Fender introduced the Fender Stratocaster, or "Strat." The Stratocaster was seen as a deluxe model and offered various product improvements and innovations over the Telecaster. These innovations included a well dried ash or alder double-cutaway body design for bridge assembly with an integrated spring 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 guitar called the Fender Precision Bass, introduced in 1951.

[edit] Vox
In 1962 Vox introduced the pentagonal Phantom guitar, originally made in England but soon after made by Alter EKO of Italy. It was followed a year later by the teardrop-shaped Mark VI, the prototype of which was used by Brian Jones of The Rolling Stones, and later Johnny Thunders of the New York Dolls. Vox guitars also experimented with onboard effects and electronics. In the mid 1960s, as the sound of electric 12-string guitars became popular, Vox introduced the Phantom XII and Mark XII electric 12-string guitars as well as the Tempest XII which employed a more conventional Fender style body and thus is often overlooked as a Vox classic from the Sixties. The few that were manufactured also came from Italy. Vox also produced other traditional styles of 6- and 12-string electric guitars in both England and Italy, The 12-string electric guitars had a much larger neck and body and averaged at the weight of 26.4 pounds(11.9kg), they were also played on tables such as a piano or other sit down instrument.

[edit] Compared with an acoustic guitar, which has a hollow body, electric guitars make comparatively little audible sound simply by having their strings plucked, and so electric guitars are normally plugged into a guitar amplifier, which makes the sound louder. When an electric guitar is strummed, the movement of the strings generates (i.e., "induces") a very small electrical current in the magnetic pickups, which are magnets wrapped with coils of very fine wire. That current is then sent through a cable to a guitar amplifier.[9] The current induced is proportional to such factors as the density of the string or the amount of movement over these pickups. That vibration is, in turn, affected by several factors, such as the composition and shape of the body.Some electric guitars have a tremolo arm (sometimes called a "whammy bar" or a "vibrato bar"[11] and occasionally abbreviated as trem), a lever attached to the bridge which can slacken or tighten the strings temporarily, changing the pitch, thereby creating a vibrato or a portamento effect. Early tremolo systems, such as the Bigsby vibrato tailpiece, tended to be unreliable and cause the guitar to go out of tune quite easily, and also had a limited range. Later Fender designs were better, but Fender held the patent on these, so other companies used Bigsby-style tremolo for many years.In the 1970s, as effects pedals proliferated, their sounds were combined with power-tube distortion at lower, more controlled volumes by using power attenuators such as Tom Scholz' Power Soak as well as re-amplified dummy loads such as Eddie Van Halen's use of a variac, power resistor, post-power-tube effects, and a final solid-state amp driving the guitar speakers. A variac is one approach to power-supply based power attenuation, to make the sound of power-tube distortion more practically available.