In anything other than in a small space, the acoustic guitar needs electric amplification to be heard.

The acoustic shell itself was made irrelevant by electric amplification and, even more so, by a wider variety of events.

George Beauchamp had himself been experimenting with electric amplification as early as 1925, but his early efforts involving microphones did not produce the effects he desired.

Lestat's powerful tenor needed no electric amplification.

Music played by Afro-Americans started increased use of electric amplification for the guitar, blues harp, double bass, and vocals.

The jazz-type guitar was born as a result of using electric amplification to increase the volume of conventional acoustic guitars.

While motion picture projectors soon allowed film to be shown to large theater audiences, audio technology before the development of electric amplification could not project to satisfactorily fill large spaces.

It achieves audibility by its great size, and does not require electric amplification for performances in small venues.

In the mid-1920s George Beauchamp, a Los Angeles, California guitarist, began experimentation with electric amplification of the guitar.

The music played by African Americans increasingly began to use electric amplification for the guitar, harp, double bass, and a crude PA system for the vocals.