Violin tailpieces come in various shapes. Some resemble a tulip or a goblet. The common Hill style has a central longitudinal ridge that gives it a faceted appearance. Some violin tailpieces feature decorative elements, as shell inlays or ornate stylized or figurative carvings.
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Violin tailpieces are typically made of wood: ebony, rosewood, boxwood, or rarely pernambuco. Other materials include cast light metal, and composites including plastic. Choice of material may have more than just cosmetic effect; a well-made instrument is sensitive to tailpiece weight, mass distribution, and tailgut placement on the saddle. Fretted string instrument tailpieces are typically made of metal.
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Some electric guitar tailpieces feature a vibrato bar, which a player uses to alter the pitch of all strings at once for various musical effects.
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Mandolin tailpiece, which simply anchors the strings solidly The tailpiece anchors the strings, so it must be strong enough to withstand their combined tension. Tailpieces of the violin family or viol families of instruments, including double basses, are attached by a "tailgut" looped around the tailpin or end button, which is let into the bottom bock of the instrument. Originally made of animal gut and adjusted with difficulty by means of a knot, tailguts are now usually made of wire or nylon monofilament, and easily adjusted with threaded collars, usually made of brass, on the ends. Tailpieces are made of many materials.
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The trefoil is an anchor point, and instruments have different ways to anchor to it. Some clearly show violin style tailpieces tied to it and some citoles have a circle where the tailpiece should be, perhaps a ring to which the strings are fastened or a hole.
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The codex contains a complete text of the Gospels on 297 parchment leaves (14.8 cm by 11.7 cm). The text is written in one column per page, 19 lines per page in minuscule letters. The initial letters are in gold. Simple headpieces and tailpieces are in gold.
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Gibson released the Memphis ES-Les Paul in 2014. It is a semi-acoustic model with f-holes and most with two Alnico humbuckers. There was a limited Custom Shop run of VOS Black Beauty ES Les Pauls with three humbuckers. Some of these limited run guitars were also fitted with Bigsby tailpieces.
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Tailpieces used are usually trapeze or Bigsby vibrato tailpieces. Due to its lack of popularity compared to the other Gibson thinline guitars (such as the ES-335, ES-345, and ES-355), the ES-330 was discontinued by Gibson in 1972. Since then, it has been reissued a few times by the Gibson Custom Shop division. Famous ES-330 players include Emily Remler, B.B. King, Slim Harpo, Grant Green, William Reid, Roky Erickson, Chris Bell, Zoot Horn Rollo, Brian Jones, Brad Simpson of The Vamps, Elliott Smith and Mafuyu Sato. It is notable that the ES-330 has a nearly identical cousin, the Epiphone Casino (Epiphone was and is a subsidiary of Gibson), which was played in particular by the Beatles’ John Lennon, George Harrison, and Paul McCartney, and The Rolling Stones’ Keith Richards.
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9 The specifications remained the same during the period the guitars were manufactured, with the exception that in 1959 a few guitars were made with separate trapeze-style tailpieces and floating Tune-o-matic bridges. When the guitar was initially marketed it was the first thinline hollowbody guitar Gibson had produced, preceding the Byrdland and ES-350T models.Duchossoir A R (1981). Gibson Electrics.
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In 1995, Hans-Peter Wilfer (son of founder Fred Wilfer) revived the Framus name to produce musical instruments as part of Warwick GmbH & Co Music Equipment KG in Markneukirchen, Germany. Along with a range of electric guitars, the company produces replacement parts (such as knobs, tuners, bridges, and tailpieces) for their vintage models, and a small range of high-end tube amplifiers.
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Some of the smaller objects do not have entries, but are reproduced as unnamed headpieces or tailpieces. There are about 619 copperplate engravings, some double, 836 vignettes and 540 illuminated letters designed by Luigi Vanvitelli and engraved by Carlo Nolli. The organization was based more on aesthetics than on explaining the context of the Roman site. The first volume contains the largest and most beautiful images.
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The first Fender vibrato unit (1954) was called "tremolo", and some later Fender tremolo arms were called "vibrato tailpieces" or similar. But the terms that became established were "tremolo arm" and "vibrato unit", both contrary to standard usage, with the result that electric guitarists traditionally use the terms "vibrato" and "tremolo" in the opposite senses to all other musicians when describing these hardware devices and the effects they produce.
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John Mann first met Paul in 1978 when he wanted to have a trashed Gibson SG refinished. At that time, John worked at Westinghouse, a large research and development engineering facility for the Navy on the outskirts of Annapolis, Maryland. Mann built many components for the early guitars such as the 4-spring vibrato tailpieces. John Mann and Paul Reed Smith made history together when their PRS vibrato/tuning system received its U.S. patent.
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Page's also has one-piece mahogany necks rather than the current three-piece maple, and has tailpieces positioned near the bottom of the body, reportedly increasing sustain, and Patent No. or T-Top humbucking pickups. Page's influence was such that after him other guitarists picked up the EDS-1275, including Alex Lifeson of Rush, who used it to play the song "Xanadu" live. Eddie Van Halen also has one in his collection.
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19th-century English flute made of boxwood (detail) Due to its high density, resistance to chipping, and relatively low cost, boxwood has been used to make parts for various stringed instruments since antiquity.See Theocritus Idyll 24.110, where Heracles is taught to play a boxwood lyre. It is mostly used to make tailpieces, chin rests and tuning pegs, but may be used for a variety of other parts as well. Other woods used for this purpose are rosewood and ebony.
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An edition published in Britain and America by The Bodley Head in 1899 featured halftone black-and-white artwork by Maxfield Parrish – 19 full-page illustrations and twelve tailpieces. The full-page pictures were a frontispiece and one accompanying each of the eighteen chapters. In 1904 Lane published another edition with new photogravure reproductions of the Parrish pictures, matching the first illustrated edition of Dream Days (1902).Coy Ludwig, Maxfield Parrish, New York, Watson-Guptill, 1973; pp.
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Codas, when present, vary considerably in length, but like introductions are not part of the "argument" of the work. The coda will end, however, with a perfect authentic cadence in the original key. Codas may be quite brief tailpieces, or they may be very long and elaborate. An example of the more extended type is the coda to the first movement of Beethoven's Eroica Symphony, and an exceptionally long coda appears at the end of the finale of Beethoven's Symphony No. 8.
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In the 16th—19th centuries the best furniture was made of Ceylon ebony. The wood was preferred for making door and window handles, table-ware shanks, while the cutting was used for knitting needles and hooks or razor handles making. Today the wood is perfectly used in handmade artwork and for producing some parts of musical instruments (for example, grand piano keys, necks, fingerboards for fretted and bowed instruments, pegs, tailpieces, string holders and tripods for instruments), turnery (including chess pieces), knife hafts, brush holders and chopsticks. Also it is good for decorative wooden inlay.
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Current company historians "can document only 47 steels, six standard guitars, one tenor guitar, two double neck guitars, two mandolins and six neck replacements that are still around today" that were authentic Paul Bigsby constructions. For many decades, the brand was only used for its vibrato tailpieces, though periodically limited runs of guitars, mostly of replica models of Paul Bigsby's original designs, have been produced. Until recently, the company offered seven different solid body electric guitar models. In January 2019, Fender Musical Instruments Corporation announced the acquisition of the Bigsby brand and its assets from Fred Gretsch Enterprises.
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Gibson L5S The Gibson L5S is a solid-body electric guitar model produced by the Gibson Guitar Corporation. Introduced in 1972, the Gibson L5S was essentially a smaller, thinner solid-body version of the popular Gibson L-5 hollowbody. Like the L-5, it featured multiple binding on the single-cutaway body, neck, and headstock, and also featured an ebony fingerboard with block inlays. The headstock featured a flower-pot inlay similar to the L-5 archtop and most L5S models featured the L-5 trapeze tailpiece (though some had stop- bar or TP-6 fine-tuning tailpieces).
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It has a fixed bridge rather than the Fender floating tremolo used on the Bass VI and nearly all other Jaguar models. Of the Jaguar range, only the Baritone Custom, its Japan-only variant the Fender Bottom Master, the Fender Jaguar Baritone Special HH and some models of the Fender Jaguar Special HH lack the floating tremolo. All of these have separate and similar belly-mounted bridges and tailpieces. 2005 Fender Jaguar Baritone Custom, in a Fender Jazz Bass case The Jaguar Baritone Custom is a Crafted-In- Japan model, and is almost identical to the Japanese-market Fender Jaguar Bottom Master.
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Unusual for Fender at the time, the Coronado's pickups were made by DeArmond; a company whose pickups were more usually found on Gretsch guitars, and the bridge was a free-floating, non anchored, 'tune-o-matic' style bridge, with a suspended tailpiece. Tremolo tailpieces were also available at extra cost from 1966 until the ceasing of the Coronado's production. The wiring harness used in the Fender Coronado line was manufactured by Rowe Industries of Toledo, Ohio and delivered as a completely pre-assembled set. The Coronados all came in cases made by the Victoria Luggage Co, and were made in the USA.
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As with The Golden Age, the first edition of Dream Days was un-illustrated; again like the prior volume, a subsequent edition of Dream Days was published with illustrations by Maxfield Parrish, also from John Lane. Lane's first intention was to print colour plates but he was not satisfied with the colour reproductions of Parrish's pictures. Instead Lane chose a new photogravure reproduction process that produced black-and-white results superior to the halftone images in the 1899 edition of The Golden Age. The Parrish-illustrated edition of Dream Days was issued in London and New York by The Bodley Head in 1902; it contained ten full-page illustrations (one for each of the eight selections plus frontispiece and title page) and six tailpieces.
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In later years these miniature scenes came to be more highly regarded than the figures they accompany." Dissenting from the general tone of praise for Bewick, Jacob Kainen cites claims that "many of the best tailpieces in the History of British birds were drawn by Robert Johnson", and that "the greater number of those contained in the second volume were engraved by Clennell. Granted that the outlook and the engraving style were Bewick's, and that these were notable contributions, the fact that the results were so close to his own points more to an effective method of illustration than to the outpourings of genius." Kainen argues that while competent, Bewick "was no Holbein, no Botticelli—it is absurd to think of him in such terms—but he did develop a fresh method of handling wood engraving.
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This design continued until 1971, when variations of the SG were sold with a raised Les Paul style pickguard and a front-mounted control plate. The low-end SG-100 and the P-90 equipped SG-200 appeared during this time, as well as the luxurious SG Pro and SG Deluxe guitars. Vibrato (tremolo arm) tailpieces were also introduced as options. In 1972 the design went back to the original style pickguard and rear-mounted controls but with the neck now set further into the body, joining roughly at the 20th fret. By the end of the seventies, the SG models returned to the original sixties styling, and modern (1991-present) standard and special models have mostly returned to the 1967–1969 styling and construction, with a few exceptions; various reissues and other models of the SG still retain the original 1961–1967 styling.
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Laurence Wright called the vielle and the citole "a symmetrical pair", saying that the two are not only frequently illustrated as playing together, but that they are also commonly listed together in literature. He also pointed out that when shown together, they frequently have similar tailpieces, similar fingerboards that extend onto the soundboard of the instruments, and similar fretting (which were rare for vielles but more common in art when playing with citoles).. Another overlap between the two instruments was mentioned by Mauricio Molina in his article "Li autres la citole mainne Towards a Reconstruction of the Citole’s Performance Practice," was that two documents exist that provide for the citole being tuned in octaves, fifths and fourths like the vielle. Molina put some thought into the reason for the pairing of the two instruments. He pointed out that dance music was common, and that the citole almost always had the vielle to accompany.
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