Geni Swing Guitars

Celluloid Trapezoid

The 3 main parts of the electric guitar are called the body, the neck, and the headstock.

The body of the guitar is the largest part and where the strumming hand is positioned and can be made of various types of wood. Electric guitar bodies can be solid, hollow, or semi-hollow. Solid-bodies are usually 2-3 shaped pieces of solid wood glued together.

Hollow-bodies, like acoustics, have a completely open resonance chambers usually with f-hole shaped openings. Semi-hollowbodies look like hollow bodies from the outside, however, will have a solid block of wood through the center of the resonance chamber. Body shapes can vary widely from the classic 'Stratocaster' and 'Les Paul' shapes to the radical 'flying v' and 'explorer' shapes. The sides that make up the body of a guitar are referred to as the top, back, and sides. The top of the body can be flat or carved (curve shaped). The upper bout and lower bout of the body refer to the head-facing or feet-facing halves of the body, respectively, when in the playing position. The horns of the body are the wooden protrusions found on either side of the neck on a Stratocaster shaped guitar. Guitars may contain a binding made of celluloid, plastics, or wood that outlines the sides of the body, headstock, and sometimes neck.

The neck on a guitar is the long midsection where the fretted hand is positioned and can be a single piece of wood or 2-3 glued pieces. The neck joint is where the neck joins the body. Neck joints are categorized as either bolt-on, set neck (glued in place), or neck-thru style where the neck continues through to the body in a single solid piece. The heel describes the flattened area on the back of the neck that rests right next to the neck joint. The fretboard or fingerboard refers to the wooden face on the top of the neck usually made from maple, rosewood, or ebony. The frets are the wire dividers on the fingerboard. Fretmarkers are placed at set positions on the fingerboard and are commonly made of mother-of-pearl or ink inlays. These inlays are most commonly shaped like round dots or trapezoids. Most electric guitar necks will have an adjustable truss rod running through the center of the neck as a reinforcement and counterbalance to the string tension.

The headstock is the portion at the end of the neck. The shape and markings on the headstock are indicative of the brand of guitar. Guitar brands can be instantly recognized by the signature shape of their headstocks. Furthermore, headstocks will usually have the guitar brand name imprinted or inlayed on the top and have the serial number and other company information on the back. The headstock may have a plastic truss rod plate covering the adjustable end of the neck's truss rod. The tuners, pegs, gears, and keys all refer to the string winding hardware located on the headstock.

The hardware on an electric guitar refers to the usually metal pieces visible on guitars body and headstock. The bridge is the string stop apparatus on the body of the guitar. Guitar bridges contain a saddle for each individual string and may have a spring mechanism called a tremolo to change the string tension while playing the guitar. The handle used to manipulate the tremolo is known as the tremolo arm or whammy bar. Some guitar bridges will contain fine tuner knobs as well. The strings on some guitars will extend past the bridge and anchor to a tailpiece or pass through to the back of the body in a string-through-body design. The nut refers to the string stop piece located at the junction of the neck and the headstock. Nuts can be made of wood, ivory, bone, or metal. Strap buttons are located on the body and sometimes heel of the guitar and provide tether spots for the guitar strap to hang.

Guitar electronics refer to the pickups and controls. Pickups are wound magnet devices that detect string vibration and sends it to the amplifier to produce sound. They can be a single-coil type or paired as a humbucker type. Pickups can be passive or active if they have a battery powered preamp. Electronic controls are the volume and tone knobs or pots (potentiometers) and the pickup selector switch or toggle switch. The input jack is where you plug the guitar into the amplifier. The electronic components of a guitar are usually set inside of a routed out compartment in the body of the guitar and is often covered with a plastic pickguard or scratch plate on the top of the body or a backplate on the back of the body.

The finish on a guitar refers to the painting techniques used to give the guitar its appearance. Some guitars will have a natural finish that showcase the beauty of the wood grain used while other will have a solid paint color. One popular technique is to use a translucent finish that both colors the guitar while also showing off the underlying wood grain. These guitars are regarded as having highly flamed tops or figured tops as opposed to the little or no grain displaying plain top translucent finishes. One special type of wood grain translucent finish that shows a distinct square-like pattern is known as a quilt-top finish. Another popular technique which uses a gradual grading of 2-3 colors is known as a burst finish as seen in the popular sunburst, honeyburst, and silverburst finishes. Many guitars will have a high gloss clear coat finish of lacquer or nitrocellulose while other will have a flat matte, smooth, and freshly sanded feeling satin finish.

I hope this article will give you a better understanding of the various guitar parts and the terminology used to describe them. Visit http://www.2ndstringguitars.com for the best value in new and used guitars, factory 2nds, and refurbished instruments at cheap guitar prices.

E. Lucktong

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Isosceles Trapezoid $70.1 High Quality Content by WIKIPEDIA articles An isosceles trapezoid (isosceles trapezium in British English) is a quadrilateral with a line of symmetry bisecting one pair of opposite sides, making it automatically a trapezoid. Some sources would qualify all this with the exception: excluding rectangles. Two opposite sides (bases) are parallel, the two other sides (legs) are of equal length. The diagonals are of equal length. An isosceles trapezoids base angles are equal in measure. Any quadrilateral with exactly one axis of symmetry must be either an isosceles trapezoid or a kite. Author: Surhone, Lambert M./ Tennoe, Mariam T./ Henssonow, Susan F. Binding Type: Paperback Number of Pages: 90 Publication Date: 2010/08/16 Language: English Dimensions: 6.00 x 9.02 x 0.22 inches

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Celluloid Soldiers $65 During the 1930s many Americans avoided thinking about war erupting in Europe, believing it of little relevance to their own lives. Yet, the Warner Bros. film studio embarked on a virtual crusade to alert Americans to the growing menace of Nazism. Polish-Jewish immigrants Harry and Jack Warner risked both reputation and fortune to inform the American public of the insidious threat Hitler's regime posed throughout the world. Through a score of films produced during the 1930s and early 1940s-including the pivotal Sergeant York -the Warner Bros. studio marshaled its forces to influence the American conscience and push toward intervention in World War II. Celluloid Soldiers offers a compelling historical look at Warner Bros.'s efforts as the only major studio to promote anti-Nazi activity before the outbreak of the Second World War.

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Celluloid Sermons $39 Christian filmmaking, done outside of the corporate Hollywood industry and produced for Christian churches, affected a significant audience of church people. Protestant denominations and individuals believed that they could preach and teach more effectively through the mass medium of film. Although suspicion toward the film industry marked many conservatives during the early 1930s, many Christian leaders came to believe in the power of technology to convert or to morally instruct people. Thus the growth of a Christian film industry was an extension of the Protestant tradition of preaching, with the films becoming celluloid sermons. Celluloid Sermons is the first historical study of this phenomenon. Terry Lindvall and Andrew Quicke highlight key characters, studios, and influential films of the movement from 1930 to 1986osuch as the Billy Graham Association, with its major WorldWide Pictures productions of films like The Hiding Place, Ken Curtis' Gateway Films, the apocalyptic "end-time" films by Mark IV (e.g.Thief in the Night), and the instructional video-films of Dobson's Focus on the Familyoassessing the extent to which the church's commitment to filmmaking accelerated its missions. Surprisingly, the volume demonstrates that these filmic endeavors had the unintended consequence of contributing to the secularization of liberal denominations. Terry Lindvall is C. S. Lewis Professor of Communication and Christian Thought at Virginia Wesleyan College. His book Sanctuary Cinema: Origins of the Christian Film Industry (NYU Press) won the 2008 Religious Communication Association Book of the Year Award. Andrew Qu ick e is Professor in the Communication and the Arts Department at Regent University and the author of several books, most recently (with Andrew Laszlo) Every Frame a Rembrandt: The Art and Practice of Cinematography.

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