Συνώνυμα & Αναγραμματισμοί | Αγγλικά λέξη ARCHTOP

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Παραδείγματα χρήσης ARCHTOP σε μια πρόταση

• The most common type is often called a flat top guitar, to distinguish it from the more specialized archtop guitar and other variations.
• Seven-string semi-acoustic archtop guitars were used by jazz-guitarist Ralph Patt after he began exploring major-thirds tuning in 1964.
• From the 1930s through to the early 1950s, Epiphone produced a range of both acoustic and (later) electrified archtop guitars that rivalled those produced by Gibson and were the instruments of choice of many professionals; a smaller range of flat-top guitars were also produced, some designations of which were later continued during the Gibson-owned era for the company.
• Semi-acoustic guitars may have a fully hollow body, making them essentially archtop acoustics with the pickups permanently mounted into the sound board, such as the Gibson ES-175.
• Patt purchased six-string archtop hollow-body guitars that were then modified by luthiers to have wider necks, wider pickups, and eight strings.
• Les Paul built the model using a recycled 4x4 fence post as the neck and body core, and mounted the disassembled parts of an Epiphone and Gibson archtop guitar onto it.
• Instruments under the Greg Bennett label are electric, acoustic and archtop guitars, electric and acoustic basses, mandolins, banjos, ukuleles and autoharps.
• At this time, they were made by makers such as Epiphone, Gibson, Guild, and Gretsch as archtop acoustics and electrics, as well as a range of flat top models by Martin.
• 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).
• By the 1970s (he relocated to Florida in 1976), his reputation grew as he crafted archtop guitars for professional jazz players Bucky Pizzarelli, Chuck Wayne, Joe Diorio and Cal Collins, and in the 80s and 90s for Johnny Smith, Jack Wilkins, Ron Eschete, Martin Taylor, Howard Alden, John Pizzarelli, Andy Summers, Jimmy Bruno, Kenny Burrell and Pat Martino, among others, collectively known as “The Benedetto Players”.
• Initially D'Angelico's guitars were based largely on the 1920s version of the Gibson L-5 with a 16 inch lower bout and "snakehead" headstock design, but by 1937, he had settled on four main f-hole archtop guitar designs, heavily influenced by the Gibson L-5:.
• Luthier Saul Koll modified a sequence of guitars: a 1938 Gibson Cromwell, a Sears Silvertone, a cerca 1922 Mango archtop, a 1951 Gibson L-50, and a 1932 Epiphone Broadway; for Koll's modifications, custom pick-ups by Bill Lawrence accommodated the wide necks and high G.
• Based on the earliest American f-hole archtops of the 1920s, the 16-inch archtops are a rarity among modern archtop models in that they are designed to be played as acoustic guitars.
• Although Rossmeisl was assiduous in cultivating personal relationships with the likes of Wes Montgomery and Joe Pass, his archtop Fender Montego I/II and LTD lines (designed to compete with Gibson's upscale, jazz-oriented Citation and Super 400 as both the culmination of Rossmeisl's oeuvre and Fender's most expensive electric guitars of the era, notably exemplified by the hand-carved LTD) did not garner any prominent endorsers during the incipience of jazz fusion (which hewed close to rock's contemporaneous predilection for solid-body models) and could not compete with the more accessible price points of such Gibson hollow-body mainstays as the ES-175.
• 6, and new "Plectric" and "Plectric de Luxe" models, the latter being full-thickness archtop guitars with extraordinarily deep cutaways (example image shown at the top of this article), along with 2 electric solidbody "electrahawaiian" instruments somewhat similar to those produced by the Rickenbacker company.

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