You have no obligation to purchase the product once you know the price.
The popularity of Hawaiian-style music in the early 1900s created a demand for instruments specially made to accommodate Hawaiian guitar techniques.
These include a headstock with a pearl Gibson logo and split diamond inlay (there was no inlay the previous year), multi-ply top and back binding (the top binding was single-ply in 1936), a back attached with screws (by 1938 the backs would be glued on), and a bar pickup with multi-ply binding (replaced by a U-magnet pickup in 1938).
(I seriously doubt the Gibson engineers would have ever imagined trying to create distortion by playing the guitar through the microphone channel though) I'm fortunate enough to be able to plug a guitar into some of the newer digital modeling and amplification technologies (Crate DX Series, Line 6 Spyder II and POD XT, and Bose Personal Amplification System).
These produce hundreds of tones and effects depending on the selection and setup.
Dial up some killer lap steel tones with this 1930s Gibson EH-150. Our price is lower than the manufacturer's "minimum advertised price." As a result, we cannot show you the price in catalog or the product page.
This seven-string beauty features a maple body with a dark sunburst finish. The guitar is in excellent condition, handle of the amp is rough, but overall the amp is in very good condition. You have no obligation to purchase the product once you know the price. Our price is lower than the manufacturer's "minimum advertised price." As a result, we cannot show you the price in catalog or the product page.
By the time the Roy Smeck guitars became available, Hawaiian music had already begun to feature a new innovation: an electric guitar made by Rickenbacker.
This guitar featured a magnetic “horseshoe” pickup to amplify the strings’ vibrations.
The top companies, Martin and Gibson, first began supplying separate devices to place on the nut to raise the strings high enough to play Hawaiian style, but eventually they designed guitars specifically for Hawaiian playing.
Gibson’s earliest Hawaiians were the HG series of 1929, followed by the Roy Smeck 12-fret models of 1934.
After initially trying to outsource the pickup design to Chicago’s Lyon & Healy (who did end up making the matching amplifiers), Gibson relied on one of its own employees, Walter Fuller, to devise the now famous bar pickup.
The 1937 EH-150 set pictured here has features consistent with the middle of that year.
Much like each of my guitars has its own sound persona.