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And not coincidentally, a newly invented genre of music called rock and roll would supplant the big bands of the 1930s and ‘40s, since technology allowed a small combo of drums, an electric guitar, and another invention of Leo Fender, the electric bass, could easily produce as much volume as the loudest of orchestras – and for much cheaper rates than hiring a large group of musicians. While feedback still occurred on occasion at loud enough volumes when the pickup became in-line with the amplifier speaker, it was now much more under control. Since the amplifier was producing all the sound, there was now little need for the guitarist to have to lug around the big thick appendage of a traditional hollow-bodied guitar.
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The solidbody guitar, as popularized by Leo Fender’s minimalist Telecaster design, which debuted in 1950, and then, in my opinion, aesthetically perfected in the beautiful craftsmanship of the Gibson Les Paul electric guitar, which first hit music showrooms in 1952, was designed to temper feedback by - though no one used the word back then - deconstructing the traditional guitar. This was considered not a good thing, to say the least. Attached to the body of a traditional guitar, this pickup gave, in theory, as much volume as the amplifier on the end of the cable could generate, but at some point, the sound produced inside the traditional hollow guitar body would begin to resonate, spill over into the guitar’s magnetic pickup, and then create a howling feedback loop with the amplifier’s speaker. The magnetic electric guitar pickup was originally mated to traditional hollow-bodied steel-string guitars.