Great. Only $3,200 + tax....

You'd have to be a movie star to be able to afford that.

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Electric Guitars

Another thing not invented by negroes.

Has any negro ever made widely-used guitars?

or amps or effects?

Marshall, Ibanez, Gretsch, Fender, Gibson, Vox, Rickenbacker - no negroes

Some people try to claim Jimi Hendrix invented some effects, but actually they were invented/worked on by his engineer, Eddie Kramer.

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Was the banjo a black invention? Wiki seems to think so but the story seems a bit vague ie nobody really knows for sure.

"Negro banjo" claim banjaxed

The banjo is absolutely not a negro invention.

There's only a superficial resemblance between a banjo and any traditional African instrument, such as the kora:


In structure and tone, a sanshin is closer to a banjo than any African instrument is:


A banjo's a banjo, not just any instrument with a neck, a skin head and some gourd or whatever as body. Banjos are precise, Western chromatic instruments, with frets and tuning keys. Most professional banjos have precision-cast metal bodies.

Wikpedia: "Banjos with fingerboards and tuning pegs are known from the Caribbean as early as the 17th century."

If banjos originate from outside Europe, then similar Arab, Persian or Indian intruments could have been brought to Europe centuries ago.

No title

So the 'blacks invented banjo meme' is a bust. The wiki page certainly smacks of rather desperate reaching and jumping to unwarranted conclusions. Ive heard it baldly stated elsewhere that the banjo was a black invention and the wiki page is vague enough to be used in support of that.

Negro inventivity

But Negroes did invent saxophones, trumpets, trombones, oboes, french horns, stand-up basses, mandolins, bodhrans, theremins, violins, hurdy-gurdies, alpine horns, accordions, violas, cellos, bassoons . . . all of that stuff . . .NOT

bo diddley squat

They "invented" a wire pulled taught between two nails hammered into one of the timbers of a shack.

Called the "bo Diddley" or diddley bow.

"A "diddley bow" is a typically homemade American string instrument of African origin, probably influenced by instruments found on the coast of west Africa.

The American slang phrase bo diddly meaning "absolutely nothing" goes back possibly to the early 20th century or earlier. Diddly is a truncation of diddly-squat, retaining the same meaning of "nothing" and bo is an intensifier."

"Scuse me while I google this guy"

"Some people try to claim Jimi Hendrix invented some effects, but actually they were invented/worked on by his engineer, Eddie Kramer. "

Eddie Kramer did fantastic work but I think the FX genius you are referring to is : "Roger Mayer is an electrical engineer who developed several electric guitar effects, including the Octavia, an effects pedal which reproduced the input signal one octave higher, and mixes the two sounds with some added fuzz. The effect was popularized by Jimi Hendrix, and can be heard during the solos on the song "Purple Haze".

The Octavia, as well as several other effects, are still being produced under Roger Mayer's name.

Mayer was originally an acoustic engineer working for the British Admiralty on underwater research projects. At a time when guitar effects were virtually unknown, he designed and built fuzz boxes for leading English guitarists such as Big Jim Sullivan, Jimmy Page, and Jeff Beck. His effects can be heard on P.J. Proby singles such as "Hold Me" (1964) and on numerous Yardbirds tracks.

In early 1967, he saw Jimi Hendrix play at Chislehurst Caves and introduced himself. Hendrix was aware of the Yardbirds' records and wanted detail on how the guitar tones were created. Within weeks Roger Mayer was in the studio with him, working on tones and designing custom effects to realize the sounds Hendrix 'heard' in his head. His designs can be heard on the albums Axis: Bold as Love and Electric Ladyland."

Maybe Kramer did some FX wizardry also.

Re: bo diddley squat

"They "invented" a wire pulled taught between two nails hammered into one of the timbers of a shack."

A White invention too, though so rudimentary you might as well say "Leroy invented The Drum."

Many poor Whites (i.e., "White Trash", "Rednecks", Appalachian Ulster-Scots, etc.) played music like that, with a string nailed to the side of their shack, or to a broomstick on top of a wash-bin resonator.

"foot-controlled continuously variable preference circuit for musical instruments"

Re "foot-controlled continuously variable preference circuit for musical instruments":

The first wah pedal was created by Brad Plunkett at Warwick Electronics Inc./Thomas Organ Company in November 1966. This pedal is the original prototype made from a transistorized MRB (mid-range boost) potentiometer bread-boarded circuit and the housing of a Vox Continental Organ volume pedal. The concept, however, was not totally new. Country guitar virtuoso Chet Atkins had used a similar, self-designed device on his late 1950s recordings of "Hot Toddy" and "Slinkey".

The creation of the wah pedal was actually an accident which stemmed from the redesign of the Vox Super Beatle guitar amplifier in 1966. Warwick Electronics Inc./Thomas Organ Company had bought the Vox name due to the brand name's popularity and association with the Beatles. Warwick Electronics Inc. also owned Thomas Organ Company and had assigned Thomas Organ Company to create a new product line called the all-electric Vox Amplifonic Orchestra; the project was headed by musician and bandleader Bill Page. While creating the Vox Amplifonic Orchestra, the Thomas Organ Company needed to re-design the Vox amplifier into a transistorized solid state amplifier, rather than tube, which would be less expensive to manufacture. During the re-design of the USA Vox amplifier, Stan Cuttler, head engineer of Thomas Organ Company, assigned Brad J. Plunkett, a junior electronics engineer, to replace the expensive Jennings 3-position MRB circuit switch with a transistorized solid state MRB circuit.

Plunkett had lifted and bread-boarded a transistorized tone-circuit from the Thomas Organ (an electric solid state transistorized organ) to duplicate the Jenning 3-position circuit. After adjusting and testing the amplifier with an electronic oscillator and oscilloscope, Plunkett connected the output to the speaker and tested the circuit audibly. At that point, several engineers and technical consultants, including Bill Page and Del Casher, noticed the sound effect caused by the circuit. Bill Page insisted on testing this bread-boarded circuit while he played his saxophone through an amplifier. John Glennon, an assistant junior electronics engineer with the Thomas Organ Company, was summoned to bring a volume control pedal which was used in the Vox Continental Organ so that the transistorized MRB potentiometer bread-boarded circuit could be installed in the pedal's housing. After the installation, Bill Page began playing his saxophone through the pedal and had asked Joe Banaron, CEO of Warwick Electronics Inc./Thomas Organ Company, to listen to the effect. At this point the first electric guitar was plugged into the prototype wah pedal by guitarist Del Casher who suggested to Joe Banaron that this was a guitar effects pedal rather than a wind instrument effects pedal. Joe Banaron, being a fan of the big band style of music, was interested in marketing the wah pedal for wind instruments as suggested by Bill Page rather than the electric guitar suggested by Del Casher. After a remark by Del Casher to Joe Banaron regarding the Harmon mute style of trumpet playing in the famous recording of "Sugar Blues" from the 1930s, Joe Banaron decided to market the wah-wah pedal using Clyde McCoy's name for endorsement.

After the initial invention of the wah pedal, the prototype pedal was then modified by Del Casher and Brad Plunkett to better accommodate the harmonic qualities of the electric guitar. However, since Vox had no intention of marketing the wah pedal for electric guitar players, the prototype wah-wah pedal was given to Del Casher for performances at Vox press conferences and film scores for Universal Pictures. The un-modified version of the Vox wah pedal was released to the public in February 1967 with an image of Clyde McCoy on the bottom of the pedal.

Warwick Electronics Inc. assigned Lester L. Kushner, an engineer with the Thomas Organ Company, and Bradley J. Plunkett to create and submit the documentation for the wah-wah pedal patent. The patent was submitted on February 24, 1967 which included technical diagrams of the pedal being connected to a four-stringed "guitar" (as noted from the "Description of the Preferred Embodiment"). Warwick Electronics Inc. was granted US patent 3530224 (foot-controlled continuously variable preference circuit for musical instruments) on September 22, 1970.

Another function of the pedal is to use it to boost certain frequencies by keeping it in a single position, emphasizing the "sweet spot" in the tonal spectrum of an instrument.

The preeminent electric guitar player to use the pedal in this way was Jimi Hendrix, who revolutionized its application by combining a Fender Stratocaster with stacked Marshall Amplifiers (in both static and modulated mode) for lead/rhythm guitar applications unheard of before then. According to Del Casher, Hendrix learned about the pedal from Frank Zappa.

[So a Negro "revolutionized" it...]


Eddie Kramer mixing negro electric-"shaman"

More on Kramer studio-tech creation of "the Hendrix sound


"The first stereo flanging is credited to producer Eddie Kramer, in the coda of Jimi Hendrix's "Bold as Love" (1967). Kramer said in the 1990s that he read BBC Radiophonic Workshop journals for ideas and circuit diagrams."


Wikipedia, re 'flange':

American music industry veterans David S. Gold and Stan Ross [two Kike owners, NOT engineers], founders of Gold Star Studios in Hollywood, claim they made the first commercial recording — the single "The Big Hurt" by Toni Fisher - at Gold Star in late 1959 and a hit in the United States in early 1960, rising to #3 on Billboard magazine's singles chart. Flanging is also heard in the opening of The Ventures' 1962 cover of The Tornados' "Telstar", in a rocket launch sound effect.

Further development of the classic effect is attributed to Ken Townsend, an engineer at EMI's Abbey Road Studio, who devised the process in the spring of 1966. Tired of laboriously re-recording dual vocal tracks, John Lennon asked Townsend if there was some way for the Beatles to get the sound of double-tracked vocals without doing the work. Townsend devised Artificial Double Tracking or ADT.

According to historian Mark Lewisohn, it was Lennon who first called the technique "flanging". Lennon asked George Martin to explain how ADT worked, and Martin answered with the nonsense explanation "Now listen, it's very simple. We take the original image and we split it through a double vibrocated sploshing flange with double negative feedback". Lennon thought Martin was joking. Martin replied, "Well, let's flange it again and see". From that point, when Lennon wanted ADT he would ask for his voice to be flanged, or call out for "Ken's flanger".

According to Lewisohn, the Beatles' influence meant the term "flanging" is still in use today, more than 40 years later. The first Beatles track to feature flanging was "Tomorrow Never Knows" from Revolver, which was recorded on April 6, 1966. When Revolver was released on August 5, 1966, almost every song had been subjected to flanging.

Cry Baby: The Pedal That Rocks The World

great little doc about the mighty wah

Cry Baby: The Pedal That Rocks The World tells the story of the wah wah effect pedal, from its invention in 1966 to the present day. Musicians, engineers, and historians discuss the impact of the pedal on popular music and demonstrate the various ways it has been used, as well as how its evolution has improved the ability of artists to express themselves musically.


Re: Cry Baby: The Pedal That Rocks The World

In March 1968, Roy Buchanan was given free tickets to a concert by the Jimi Hendrix Experience at the Washington Hilton.

"Buchanan was dismayed to find his own trademark sounds, like the wah-wah that he'd painstakingly produced with his hands and his Telecaster, created by electronic pedals. He could never attempt Hendrix's stage show, and this realization refocused him on his own quintessentially American roots-style guitar picking."

["The life and times of Roy Buchanan" by Phil Carson, Vintage Guitar, August 1999.]

Re: Cry Baby: The Pedal That Rocks The World

Del Casher - CRYBABY WAH-WAH DEMO RECORD (Hollywood, March 1967)


Wire, nails.

"They "invented" a wire pulled taught between two nails hammered into one of the timbers of a shack."

As with much black innovation it requires white, industrial know-how to provide the nails and wire in the first place. Were wire & nails even available in pre-colonial, sub-saharan Africa?

Re: Wire, nails.

They'd use a femur to hammer fragments of rib into the side of a tree, and then string up a cord prepared from the natural fibre found in the walls of human intestines, all of this left over from village feasts.

So, you see, we don't need your fake anemic white technology.

Also, in so-called "pre-colonial, sub-saharan Africa" we were blessed with the deen of Islam from Arab colonialists and traders.

Also, "Africa" is the racist white way of spelling our homeland. The correct Afrikan Black spelling is Afrika.

"Dont know much about history, dont know much about geography, dont know much about the French I took, cos Ive never read a fucking book"

"Were wire & nails even available in pre-colonial, sub-saharan Africa?"

Of course. How else were they supposed to fix the peanut butter to the traffic lights?

The Pig Payback

Ive not seen the new James Brown biopic or any trailers, but I bet it has scenes of WHITE (but in real life JEW) producers saying "Thats not music! Wheres the verse? Wheres the chorus?"

( Cos they jus don' GEDDIT, see?)

Plus lots of Evil Whitey tryin to keep a brudder down an shee. But a fellow effnik, a KIKE, will GEDDIT, and assist James in his battle against waycisssssisssum, an shee.


Re: The Pig Payback





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