Gogol Bordello has become an underground phenomenon in New York with its brand of Contrarian globalism….their sound is raucous, sweaty and recklessly vibrant like the punk and gypsy music that inspired them…Iggy Pop meets Kafka.

By using the fingers, or more specifically fingernails and/or fingertips, to pluck instead of a plectrum or bow, the performer can play polyphonic music. It is common to encounter classical guitar music that sustains two, three, or four musical lines or voices. The use of fingernails combined with some flesh of fingertips is generally the most accepted convention. However there are renowned players who do not utilise fingernails and prefer flesh over nail, examples include Fernando Sor and Francisco Tárrega (in his later years).

Using the right hand fingers to pluck the strings requires more space between the strings over the sound hole which in turn necessitates a fingerboard that is slightly wider than other guitars. Classical guitarists hold the instrument by raising the left leg (with a footstool), placing the guitar on that leg and holding the guitar in place with the right arm. Alternatively the left foot can be placed on the floor and a small support placed between the left leg and the guitar. Either of these positions support the guitar in a way that gives the player greater mobility and access to the strings and the fingerboard. The right hand is a classical guitarist’s voice similar to that of a string player’s bow. By using a combination of flesh and fingernail to pluck the strings, a classical guitarist is able to generate a wide variety of sounds.

The classical guitar’s most characteristic physical feature is the use of nylon strings (which have, largely, supplanted the use of gut strings), although since the mid 1990s carbon fibre or composite treble strings have gained popularity for their nylon-like sound and significantly better reliability. Nylon strings give the classical guitar a unique, varied and rich color palette. The size and shape of the classical guitar have been nearly standard for over 100 years. The finest guitars are built with a solid Western red cedar or spruce top, solid rosewood back and sides, traditionally a Spanish cedar or more recently a mahogany neck and an ebony fingerboard.

The company was founded in May 1962; in 1978 they were one of the first companies to introduce electro-acoustic models, where they pioneered the design of the preamp-equalizer component.

Miscellany

The entry-level ‘G-Series’ is renowned for offering good value for money.

There is a line of classical guitars, “Hirade”, named after a former employee.

Takamine’s US-American distributor, Kaman, also produces Ovation, a similar line of guitars (both are mostly electroacoustics, Takamines have a traditional “flatback” body, Ovations a round “plastic” body).

Takamine was sued by Martin Guitars in the early 1980s because Takamine’s acoustic guitars were supposedly nearly identical to Martin Models.

Nestled at the base of Takamine Mountain in Sakashita, Japan, Takamine Guitars have over 40 years of history dedicated to innovation and improvement to the art and craft of guitarmaking. What first began as a small family business has evolved into one of the leading guitar manufacturers In the world, depended upon by some of the best players and biggest names in the music industry.

So what’s the deal? Why are there so many Takamine players? We’d like to think that it’s because we’ve earned your respect. Takamine has made technological advancements that have surpassed other guitar makers. Takamine prides itself in their dedication and loyalty to fine luthiership and it is shown through each Instrument the company makes.

Takamine had its early beginnings while guitar playing and music was gaining popularity in Japan during the early 60’s. As their business grew they saw the need to develop their skills and attract design and manufacturing talent. One of the most important additions to the company was one Mr. Mass Hirade.

Hirade joined Takamine in 1968, and made great improvements upon design and build quality, and set forth with his staff to energize and strengthen the business. The factory began producing their world class “Classical” that to this day still carry the Hirade name. Through Hirade’s dedication and commitment to Takamine, he was able to begin an overseas trading business in 1975. Takamine Guitars were able to reach out to guitar players around the world. Takamine was finally placed in the hands of musicians who had only heard about their great sound and fine craftsmanship.

* Ace Musical Instruments
* Alembic Inc
* Alvarez Guitars
* Aria (guitar company)
* Avalon Guitars

B

* B.C. Rich
* Badass
* Bo-El
* Boss Corporation
* Brawley Guitars
* Burns London
* Burny

C

* Campbell Guitars
* Campbell american guitars
* Caparison Guitars
* Carl Thompson
* Carvin Corporation
* Charvel
* Clapton’s Guitar
* Cort Guitars
* Crafter
* Creston Electric Instruments

D

* Daisy Rock Guitars
* Danelectro
* Dean Guitars
* Dobro
* Duesenberg Guitars

E

* ESP Guitars
* Earthwood
* Eastwood Guitars
* Eko guitars
* El Degas guitars
* Eleca
* Ellis Guitars
* Epiphone
* Eshenabugh guitars

F

* Fender Custom Shop
* Fender Musical Instruments Corporation
* Fernandes Guitars
* First Act
* Fodera
* Framus
* Freshman Guitars
* FujiGen

G

* G&L
* Gibson Guitar Corporation
* Godin (Guitar Manufacturer)
* Gordon Smith Guitars
* Greco guitars
* Greg Bennett Guitars
* Gretsch
* Guild Guitar Company

H

* Hagström
* Halo Guitars
* Hamer Guitars
* Harley Benton Guitars
* Harmony Company
* Heritage Guitars
* Hondo (guitar company)
* Howe-Orme
* Höfner

I

* Ibanez

J

* Jackson Guitars
* Jerry Jones Guitars
* Johnson Guitars
* Jolana

K

* Kapok Guitar
* Kay Musical Instrument Company
* Kendrick Amplifiers and Guitars
* Korg
* Kramer Guitars
* KxK Guitars

L

* Lado Guitars
* Lakland
* Larrivée (guitar company)
* Line 6
* List of Epiphone products

M

* Market-Rite
* C. F. Martin & Company
* Maton
* Matsumoku
* Modulus Guitars
* Mosrite
* Music Man (company)

N

* National Reso-Phonic Guitars
* National String Instrument Corporation
* Novax Guitars

O

* Original Musical Instrument Company
* Ovation Guitar Company

P

* PRS Guitars

P cont.

* Parker Guitars
* Peavey Electronics
* Peavey Guitars

R

* Rainsong
* Reverend guitars
* Rickenbacker
* Roland Corporation

S

* S.D. Curlee
* Sadowsky
* Schecter Guitar Research
* Shergold
* Shine Guitars
* Sho-Bud
* Silvertone (instruments)
* Slingerland Drum Company
* Spector
* Squier
* Steinberger

T

* Tacoma Guitars
* Tagima
* Takamine Guitars
* Tanglewood Guitars
* Tatra Guitars
* Taylor Guitars
* Teisco
* Tobias (bass guitar company)
* Tonante
* Traben Bass Company
* Rick Turner
* Tōkai Gakki

V

* Valley Arts Guitar
* Vester Guitars
* Vox (musical equipment)

W

* Warwick (bass guitar)
* Washburn Guitars
* Waterstone Musical Instruments
* Weissenborn
* Welson
* Westone (guitars)
* Wishbass

Y

* Yairi
* Yamaha Corporation

Z

* Zemaitis Guitars
* Zon Guitars

There are many different variations on the construction of, and materials used in, steel-string guitars. More expensive guitars feature solid tonewood tops (often spruce), sides and backs (often rosewood, maple, or mahogany). Lower-priced guitars typically combine solid tops with laminated backs and sides. Entry-level guitars are usually made entirely of laminated wood. Necks are generally made of mahogany (either Philippine or Honduran) and fretboards are usually made of dense, tropical hardwoods such as rosewood or ebony. The various combinations of the different woods and their quality, along with design and construction elements (for example, how the top is braced), are among the factors affecting the timbre or “tone” of the guitar. Many players and builders feel a well-made guitar’s tone improves over time.

Typically, a steel-string acoustic guitar is built with a larger soundbox than a standard classical guitar. Because such instruments must withstand higher string tension than nylon-strung guitars, heavier construction is required overall. Steel-string guitars use different bracing systems from classical guitars, typically using x-bracing instead of the fan bracing used on classical and flamenco guitars. (Another simpler system, called ladder bracing, where the braces are all placed across the width of the instrument, is used on all types of flat-top guitars.)

Due to decreasing availability and rising prices of the premium-quality tonewoods, many manufacturers have begun experimenting with alternate species of woods or more commonly available variations on the standard species. For example, some makers have begun producing models with redcedar or mahogany tops. Some have also begun using non-wood materials, such as plastic or graphite. Most luthiers and experienced players agree that a good solid (as opposed to laminated) top is the most important factor in the tone of the guitar and that solid backs and sides can also contribute to a pleasant sound, although laminated sides and backs are acceptable alternatives. Some jazz players prefer laminated backs and sides.

See Guitar for more details on the construction of acoustic guitars.

Another style of acoustic guitar is the archtop guitar. This incorporates a top, either carved out of solid wood or heat-pressed using laminations, that is arched like instruments in the violin family, usually with f-holes rather than a round sound hole. These guitars are most commonly used by swing and jazz players and often incorporate electronics in the form of a pickup. However, many other kinds of acoustic guitars may incorporate these kinds of electronics as well.

There are several prominent American makers of steel-string acoustic guitars. Martin, Guild, Taylor, and Gibson are known for both the quality and price of their instruments. The Selmer-Maccaferri guitar is an unusual-looking instrument, distinguished by its “D”-shaped or longitudinal oval soundhole. It is usually played by those who follow the style of Django Reinhardt.

The standard tuning for an acoustic guitar is EADGBE (low to high), although many players, particularly fingerpickers, use alternate tunings (scordatura), such as “open G” (DGDGBD), “open D tuning” (DADF#AD), or “drop D” (DADGBE). A common mnemonic for standard tuning is “Eddie ate dynamite; good-bye Eddie”, which aids beginners in remembering the string tuning sequence from low to high.

One variation on the standard acoustic guitar is the 12-string guitar, which sports an additional doubling string for each of the traditional six strings. This guitar was made famous by artists such as Huddie Ledbetter (also known as Lead Belly), Pete Seeger, and Leo Kottke.

Luthiers have been experimenting with redesigning the acoustic guitar for these players. These flattop, steel-string guitars are constructed and voiced more for classical-like fingerpicking and less for chordal accompaniment (strumming). Luthiers such as Ervin Somogyi, Eric Schoenberg, Kevin Ryan, Stefan Sobell, and George Lowden have increasingly focused their attention on the needs of fingerstylists and have developed unique guitars for this style of playing.

Many other luthiers attempt to recreate the guitars of the “Golden Era” of C.F. Martin & Co. Bill Collings, Marty Lanham, Dana Bourgeois, Randy Lucas, Lynn Dudenbostel, and Wayne Henderson are but a few of the luthiers building guitars inspired by vintage Martins, the pre-World War II models in particular. As prices for vintage Martins continue to rise exponentially, upscale guitar enthusiasts have demanded faithful recreations and luthiers are working to fill that demand.

Since its creation, steel string acoustic guitars have evolved as well. Due to the metal composition of the steel strings, guitar manufacturers have created acoustic/electric guitars where pick-ups are added to the acoustic guitar, allowing the sound to be converted into an electrical signal for amplification and higher quality recording. Artists are also able distort and/or add effects to electronic audio signals.

A guitar recital often includes not only music written originally for the lute or vihuela by composers such as John Dowland and Luys de Narvaez, but also music written for the harpsichord by Domenico Scarlatti, for the baroque lute by Sylvius Leopold Weiss, for the baroque guitar by Robert de Visee or even Spanish-flavored music written for the piano by Isaac Albeniz and Enrique Granados. The most important composer who did not write for the guitar but whose music is often played on guitar is Johann Sebastian Bach whose works for solo violin and solo cello as well as those written for baroque lute have proved to be highly adaptable for the guitar. Indeed, they have become core repertoire for guitarists.

Of the music written originally for guitar the earliest important composers are from the classical period and include Fernando Sor and Mauro Giuliani both of whom wrote in a style strongly influenced by Viennese classicism. In the nineteenth century guitar composers such as Johann Kaspar Mertz were strongly influenced by the dominance of the piano. It is not until the end of the century that the guitar began to emerge with its own unique atmosphere. Francisco Tarrega was central to this incorporating flamenco, which has Moorish influences, into his romantic miniatures. Flamenco rhythmic patterns, the Phrygian mode and flamenco techniques such as rasgueado all emerge in his music. This was part of the phenomenon of musical nationalism that was part of the wider European mainstream in the late nineteenth century. The aforementioned piano composers Albeniz and Granados were central to this movement and their evocation of the guitar was so successful that guitarists have largely appropriated their music for piano to the guitar.

With the twentieth century and the wide-ranging performances of artists such as Andrés Segovia and Agustin Barrios-Mangore the guitar began to regain some of the popularity it had lost to the harpsichord and piano in the eighteenth century. It again became a popular instrument, but not always in its classical version. The steel-string and electric guitars, integral to the rise of rock and roll in the post-WWII era, became more widely played in North America and the English speaking world. The classical guitar also became widely popular again. Barrios composed many excellent works and brought into the mainstream the characteristics of Latin American music, as did the Brazilian composer Heitor Villa-Lobos. Andrés Segovia commissioned many works from Spanish composers such as Federico Moreno Torroba and Joaquin Rodrigo, Italians such as Mario Castelnuovo-Tedesco and Latin American composers such as Manuel M. Ponce of Mexico. Julian Bream of Great Britain managed to get nearly every British composer from William Walton to Benjamin Britten to Peter Maxwell Davies to write significant works for guitar. Bream’s collaborations with tenor Peter Pears also resulted in song-cycles by Britten, Lennon Berkeley and others. There are also significant works by composers such as Hans Werner Henze of Germany.