DOCSLIB.ORG

ANDRÉ LOPES MARTINS a Guitarra Elétrica Na Música Experimental

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ANDRÉ LOPES MARTINS a Guitarra Elétrica Na Música Experimental UNIVERSIDADE DE SÃO PAULO ESCOLA DE COMUNICAÇÃO E ARTES ANDRÉ LOPES MARTINS A guitarra elétrica na música experimental: composição, improvisação e novas tecnologias São Paulo 2015 ANDRÉ LOPES MARTINS A guitarra elétrica na música experimental: composição, improvisação e novas tecnologias Dissertação apresentada ao Programa de Pós-Graduação em Música da Escola de Comunicação e Artes da Universidade de São Paulo, como exigência parcial para obtenção do título de Mestre em Música. Área de Concentração: Processos de Criação Musical. Orientador: Prof. Dr. Rogério Luiz Moraes Costa. Versão corrigida. Versão original se encontra disponível tanto na Biblioteca da ECA/USP quanto na Biblioteca Digital de Teses e Dissertações da USP (BDTD). São Paulo 2015 Autorizo a reprodução e divulgação total ou parcial deste trabalho, por qualquer meio convencional ou eletrônico, para fins de estudo e pesquisa, desde que citada a fonte. Nome: MARTINS, André Lopes Título: A guitarra elétrica na música experimental: composição, improvisação e novas tecnologias Dissertação apresentada ao Programa de Pós- Graduação em Música da Escola de Comunicação e Artes da Universidade de São Paulo, como exigência parcial para obtenção do título de Mestre em Música. Aprovado em: 02 de setembro de 2015. Banca Examinadora Prof. Dr. Fernando Henrique de Oliveira Iazzetta Instituição: USP Julgamento: Aprovado Assinatura: _________________ Prof. Dr. Vitor Kisil Miskalo Instituição: UAM Julgamento: Aprovado Assinatura: _________________ Prof. Dr. Rogério Luiz Moraes Costa Instituição: USP Julgamento: Aprovado Assinatura: _________________ Dedicado a Pedro Martins, que passou longe das palavras impressas mas escreveu todas as que possam existir no coração. AGRADECIMENTOS A meus pais Edgard e Ivone, que, desde sempre, me incentivaram a caminhar meu próprio caminho, não só na música, mas na vida. A meu irmão Dalton, que, por já ter passado por estas etapas acadêmicas e saber como são suas alçadas, procurou ler este trabalho e fazer algumas observações. À Ana Paula, por ser tão especial em minha vida. E que carinhosamente cedeu de seu tempo precioso para ler, opinar e revisar todo o trabalho, por várias vezes. A Rogério Costa, pela orientação e pela oportunidade de trilhar esta primeira etapa da pesquisa acadêmica, me acolhendo com disponibilidade em compartilhar seu imenso conhecimento musical e teórico e pela sua paciência – igualmente imensa – em ler e reler tudo, sempre. Suas observações, revisões, sugestões e alterações no trabalho foram, concomitantemente, muito preciosas. A Fernando Iazzetta, por todo o conhecimento compartilhado e a iniciativa do NuSOM, que possibilita a mim e tantos outros colegas de pesquisa uma vivência musical, teórica, reflexiva e interativa inigualável. Aos meus amigos de jornada na USP, na ECA, no departamento de Música e no NuSOM: Vitor Kisil, Missionário Zé, Kooi Kawazoe, André Bandeira, Denise Ogata, Manu Falleiros, Mário del Nunzio, Carlos Avezum, Lilian Campesato, Jonathas Andrade, Fabio Martinelli, Antônio Goulart, Pedro Paulo Kohler, Marcelo Queiroz, Thilo Koch, Miguel D. Antar, Felipe Merker e tantos outros que me acompanharam em ensaios, concertos, grupos de estudo, seminários e disciplinas durante o mestrado. A David Borgo (UCSD) pelo apoio e incentivo antes e durante o período da pesquisa. A meus alunos particulares, que continuaram acreditando em mim e me acompanharam nesta etapa. A Magno Caliman, Alexandre Porres, Paulo Dantas, Taku Sugimoto e outros compositores que me responderam prontamente e com paciência tantas indagações sobre suas peças e trabalhos. À FAPESP, pelo apoio e suporte através da bolsa concedida, fundamental ao desenvolvimento da pesquisa. “Be not afeard – This isle is full of noises. ” William Shakeaspeare (Tempest). “Un poème n’est jamais fini, seulement abandonné.” Paul Valery, 1965 “All the utopias of the nineteenth and twentieth centuries have, by realizing themselves, expelled the reality out of reality and left us in a hyper-reality devoid of sense, since all final perspective has been absorbed, leaving as a residue only a surface without depth. Could it be that technology is the only force today that connects the sparse fragments of the real? But what has become of the constellation of sense? And what about the constellation of the secret? ” Jean Baudrillard, 1997 RESUMO MARTINS, A. L. A guitarra elétrica na música experimental: composição, improvisação e novas tecnologias. 2015. 300 f. Dissertação (Mestrado em Música) – Escola de Comunicação e Artes, Universidade de São Paulo, São Paulo, 2015. O presente trabalho tem a intenção de, primeiramente, estudar a guitarra elétrica como interface de composição e improvisação através da utilização de novas tecnologias digitais na música experimental; em um segundo momento, propõe uma composição musical utilizando alguns aparatos tecnológicos acoplados à guitarra. Essas ferramentas foram escolhidas após um extensivo mapeamento individual e através de experimentações de suas potencialidades do processamento sonoro quando abordadas com o instrumento. O material composicional foi posteriormente construído a partir de observações e reflexões do autor sobre o uso do instrumento enquanto interface no diálogo com as novas tecnologias digitais presentes na computação móvel. O trabalho traz também o registro autoetnográfico do período de pesquisa de algumas das ferramentas digitais selecionadas quando em uso com a guitarra elétrica e o processo de composição e registro da peça proposta, além de sua posterior análise. Em sua conclusão, são apresentadas, portanto, as observações e reflexões desta interação do instrumento e suas novas formas de instrumenticidade quando acoplado ao computador. Palavras-chave: Guitarra elétrica. Música experimental. Composição musical. Improvisação. Novas tecnologias. ABSTRACT MARTINS, A. L. The electric guitar on experimental music: composition, improvisation and new technologies. 2015. 300 f. Dissertação (Mestrado em Música) – Escola de Comunicação e Artes, Universidade de São Paulo, São Paulo, 2015. This work intends to, first, study the electric guitar as composition and improvisation interface through the use of new technology in experimental music; in a second moment, proposes a composition using some technological devices attached to the electric guitar. These tools were chosen after an extensive mapping individual trial and through its sound processing capabilities when addressed with the instrument. The compositional material was subsequently constructed from observations and author's reflections on the use of the instrument as an interface in dialogue with the new technologies available in mobile computing. The work also brings an auto-ethnography record of the research period of a few digital tools selected when in use with the electric guitar and the writing process and recording of the piece proposed, and its subsequent analysis. In its conclusion, therefore presents the observations and reflections from this interaction of the instrument and its new forms of instrumentness when attached to the computer. Keywords: Electric guitar. Experimental music. Composition. Improvisation. New technologies. A guitarra elétrica na música experimental: composição, improvisação e novas tecnologias Aluno: André Lopes Martins Orientador: Prof. Dr. Rogério Luiz Moraes Costa Pós-Graduação em Música, Processos de Criação Musical Escola de Comunicação e Artes Universidade de São Paulo Setembro, 2015 Sumário 1 Introdução ................................................................................................ 17 1.1 Metodologia ................................................................................................ 27 2. A guitarra, sua natureza elétrica e a tecnologia musical ...................... 31 2.1 Breve descrição histórica ............................................................................ 36 2.1.1 Estágio #1: origem .............................................................. 38 2.1.2 Estágio #2: Feedback e a guitarra de corpo sólido ............ 40 2.1.3 Estágio #3: distorção, fuzz e efeitos sonoros ....................... 41 2.1.4 Estágio #4: softwares e aplicativos ..................................... 42 2.2 Ambiguidades, fetiches e tecnologia .......................................................... 44 2.3 Amplificação do instrumento ...................................................................... 48 2.3.1 Diferenças entre amplificadores valvulados e transistorizados ............................................................................. 49 a. Amplificadores Valvulados b. Amplificadores Transistorizados c. Amplificadores Híbridos 2.3.2 - Características da válvula utilizada em amplificadores de guitarra ......................................................... 52 a. Válvulas de pré-amplificador b. Válvulas de potência 2.3.3 - Classificação dos amplificadores ......................................... 53 a. Classe A b. Classe B c. Classe AB d. Outras classes 2.4 O registro sonoro da guitarra elétrica sem o uso de aparatos das novas tecnologias digitais ................................................................... 54 2.5 Sobre a sonoridade .................................................................... 56 2.6 Tecnologia musical ................................................................... 62 3. Ambiente de Experimentação .................................................................. 75 3.1 Música experimental ........................................................... 75 3.2
Load more

Recommended publications
  • Press Release December 30, 2014 Media Contact Bill Mcelhone
    Press Release December 30, 2014 Media Contact Bill McElhone Kalamazoo Valley Museum Director 269-373-7990, [email protected] January 10 Hands-On Event Celebrates Kalamazoo’s “Heroes in Time” During the Jan. 10 “Heroes in Time” hands-on program at the Kalamazoo Valley Museum, guests are invited to discover local heroes by creating artifact reproductions and going on a scavenger hunt through the Kalamazoo Valley Museum’s history gallery. The free event runs from 1 to 4 p.m. The Museum’s hands-on programs are designed for children ages 5-12 and their families. Hands- on activities highlight different parts of the Museum's permanent and temporary exhibits and collections. Participants make arts and crafts to take home and sometimes see demonstrations or performances. When the Kalamazoo Valley Museum opened its newly-renovated history gallery, “Kalamazoo Direct to You,” it recognized the everyday local heroes who helped Kalamazoo become the place it is today. Take a celebratory walk through history creating crafts inspired by the imaginations of entrepreneurs, inventors, and leaders from the past. Samuel Gibson came from Fitchburg, Massachusetts in 1867 to be the Kalamazoo Paper Company’s bookkeeper. He went on to become plant superintendent and later the company president. Not only did the company produce a wide variety of papers, they formed their own town and company baseball team. Learn how to fold a paper baseball. Ted McCarty became president of the Gibson Guitar Company in 1950 and oversaw the development of the renowned Les Paul solid-body electric guitar. Create your own guitar design on a wooden guitar.
    [Show full text]
  • Jaromil's Research 2009
    Jaromil’s Research 2009 Jaromil’s Journal of Musings November 12, 2010 Almost every day I dedicate 2 good hours to research: nothing in particular, just looking around for inspirations, tools, publications and what not. Thanks go to the NIMk1 employing me in research and development. This diary is still in fieri: some links are scattered and still lacking comments, while it will grow complete over time, you might be also interested to read the research diary 20082. : Mon, 5 Jan 2009 John Maddog Hall: http://www.linux-magazine.com/online/blogs/paw_prints_writings_of_the_ maddog/campus_party_brazil_maddog_s_challenge_multimedia_and_free_software : Wed, 7 Jan 2009 uscito zeitgeist final ??? Not quite in the zone Fri, 9 Jan 2009 http://www.metamute.org/en/content/not_quite_in_the_zone Ben Watson http://www.militantesthetix. co.uk/ Politics in Israel Tue, 13 Jan 2009 Just before the elections in Israel and right after the massacre of civilians in Gaza, which also included bombing of UN headquarters and public incitations to murder peace activists3, it’s maybe time to have a look at how reasonable people are doing over there. One impressive campaign is December 18th4: at the motto of FREE THE SHMINISTIM“ young conscious objectors (among them also the daughter of a former deputy head of Mossad) stepped forward and refused to serve the omnipresent militarization of Israel, the country where they are born and that still forces them to serve IDF for 2 to 3 years. Since 20 years now (and finally) we had abolition of coercive military service for youth in Europe: this is definitely one of the most important political standpoints for Israel to work on, if it intends to get closer to Europe.
    [Show full text]
  • Blue Book of Electric Guitars Sixth Edition
    Blue Book of Electric Guitars Sixth Edition Gibson Electric Guitars and Basses Edited by S.P. Fjestad Blue Book Publications, Inc. 8009 34th Avenue South, Suite 175 Minneapolis, MN 55425 U.S.A. Phone: 800-877-4867 (U.S.A. and Canada orders only) Phone: 952-854-5229 FAX: 952-853-1486 Email: [email protected] Web site: www.bluebookinc.com Reprinted with permission Copyright 1999 Blue Book Publications, Inc. All Rights Reserved. No part of this publication may be reproduced in any form whatsoever, by photograph, mimeograph, FAX transmission, or any other mechanical or electronic means. Nor can it be broadcast or transmitted, by translation into any language, nor by recording electronically or otherwise, without the express written permission from the publisher - except by a reviewer, who may quote brief passages for critical articles and/or reviews. Please note: At the request of Blue Book Publications, Inc., all pricing information has been omitted. For detailed pricing information, please either contact Blue Book Publications for ordering information, or visit their web site at www.bluebookinc.com Table of Contents Gibson Background History ----------------------------------------- 3 Identifying Features --------------------------------------------------- 4 Gibson Electric Guitars ---------------------------------- 5 B.B. King Series -------------------------------------------------------- 5 Barney Kessel Series --------------------------------------------------- 6 Byrdland Model ---------------------------------------------------------
    [Show full text]
  • Essentiellement À Partir Du Pdf De FLOSS+Art (Goto10)
    Libre Essentiellement à partir du pdf de FLOSS+art (Goto10) Monopole de ... Distributions Linux 354 distributions sur DistroWatch, dont 6 ou 7 dédiées aux artistes : APODIO, PureDyne, Dynebolic, Ubuntu Studio, ... Difficultés de l'évolution de Linux ● Conflits internes, intolérance, mauvaise manière ● Driver (carte graphique, etc.) ● Documentation (ça s'améliore) : Flossmanual, framasoft, siteduzero, doc-ubuntu, etc. ● Friendly (ça s'améliore) : Ubuntu, environnement graphique de bureau (Gnome, KDE, XFCE, …) ● Logiciel vidéo ● Mise à jour (PulseAudio, Jack) Avantages ● Gratuit (dons) ● Mise à jour régulières ● Installation des logiciels ++ facile ● Communauté active ● Acteur (doc, support, demandes, ecrire), maîtrise de son environnement. ● Stable, sécurité (virus ?) ● Audience ++ ● Humanisme, alternative, accès « conscient » (démocratie) Historique ● Gnu project : Richard Stallman 1983-1991 ● GNU IS NOT UNIX ● Free software fundation : 4 libertés ● Open Source : + efficace (Eric Raymond), vision + utilitariste. ● 2 notions différentes. ● 1991 Linus Torvald : kernel Linux sous GPL. >>> JUSTE A TEMPS ! ● Figure du Hacker Libre / propriétaire ● Propriétaire / privateur / enclosure ● = + professionnel, + emplyable ● Read made problem solvers Libre / propriétaire ● Productivité - ● Peur - ● Politique + ● Démystification + (YOU ARE CAPABLE) ● Compétences + (transdisciplinaire, capacité d'apprentissage) ● Partage ● Continuous open artistic research Choix ● CD Live ● Ou installation multiboot ● De quoi avez-vous besoin ? Droits / Licences ● Libre
    [Show full text]
  • Layout 1 (Page 1)
    OWNER’S MANUAL 1550-07 GUS © 2007 Gibson Guitar Corp. To the new Gibson owner: Congratulations on the purchase of your new Gibson electric guitar—the world’s most famous electric guitar from the leader of fretted instruments. Please take a few minutes to acquaint yourself with the information in this booklet regarding materials, electronics, “how to,” care, maintenance, and more about your guitar. And then begin enjoying a lifetime of music with your new Gibson. The Components of the Solidbody Electric Guitar 4 Gibson Innovations 6 The History of Gibson Electric Guitars 8 DESIGN AND CONSTRUCTION Body 13 Neck and Headstock 13 Pickups 14 Controls 15 Bridge 17 Tailpiece 18 CARE AND MAINTENANCE Finish 19 Your Guitar on the Road 19 Things to Avoid 20 Strings 21 Install Your Strings Correctly 22 String Gauge 23 Brand of Strings 23 NEW TECHNOLOGY The Gibson Robot Guitar 24 64 Strap Stopbar Tune-o-matic Three-way 12th Fret Button Tailpiece Bridge Pickups Toggle Switch Marker/Inlay Neck Fret Fingerboard Nut Headstock The Components of the Solidbody Electric Guitar Featuring a Les Paul Standard in Heritage Cherry Sunburst Input Jack Tone Volume Binding Body Single Truss Machine Tuning Controls Controls Cutaway Rod Heads Keys Cover 57 Strap Stopbar Tune-o-matic 12th Fret Button Body Tailpiece Bridge Pickups Neck Marker/Inlay Fret Fingerboard Nut Headstock Three-way Toggle Switch The Components of the Solidbody Electric Guitar Featuring a V-Factor Faded in Worn Cherry Input Jack Tone Volume Pickguard Truss Machine Tuning Control Controls Rod Heads Keys Cover 6 Here are just a few of the Gibson innovations that have reshaped the guitar world: 1894 – First archtop guitar 1922 – First ƒ-hole archtop, the L-5 1936 – First professional quality electric guitar, the ES-150 1947 – P-90 single-coil pickup introduced 1948 – First dual-pickup Gibson, the ES-300 1949 – First three-pickup electric, the ES-5 1949 – First hollowbody electric with pointed cutaway, the ES-175 1952 – First Les Paul guitar 1954 – Les Paul Custom and Les Paul Jr.
    [Show full text]
  • The Month Long Celebration Is Back at All Stores!
    servingserving canadacanada sincesince 1956,1956, withwith 2828 locationslocations including:including: JUNE 11-30-30 ■ 2631 Alta Vista Drive ■ 1490 Dunbar Road ■ 1370 Summit Drive Ottawa, Ontario K1V 7T5 Cambridge, Ontario N1R 6R3 Kamloops, B.C. V2C 1T8 phone: 613-521-5909 phone: 519-622-1970 phone: 250-828-2234 FEELING SPECIAL ■ 902 Simcoe Street North ■ 36 King Street North ■ 1360 Dominion Avenue ON SATURDAYS! Oshawa, Ontario L1G 4W2 Waterloo, Ontario N2J 2W8 Port Coquitlam, B.C. V3B 8G7 ■ Customer Appreciation Day phone: 905-434-1612 phone: 519-885-4215 phone: 604-464-1011 ■ Half Price Rental Day ■ 1133 Markham Road ■ 36 Ontario Street ■ 305-6339 200th Street ■ Scarborough, Ontario M1H 2Y5 Stratford, Ontario N5A 3G8 Langley, B.C. V2Y 1A2 Free Setup Day phone: 416-439-8001 phone: 519-271-9102 phone: 604-530-8704 ■ Yorkville Gift Card Day ■ 9833 Highway 48 ■ 1801 Walker Road ■ 13785 104th Avenue ■ CCanadaanada DDayay Markham, ON L3P 3J3 Windsor, Ontario N8W 3P3 Surrey, B.C. V3T 1W6 phone: 905-209-1177 phone: 519-252-3442 phone: 604-588-9421 DETAILS ON PAGE 14 ■ 925 Bloor Street West ■ 651 Stafford Street ■ 1363 Main Street Toronto, Ontario M6H 1L5 Winnipeg, Manitoba R3M 2X7 North Vancouver, B.C. V7J 1C4 phone: 416-588-7886 phone: 204-284-8992 phone: 604-986-0911 ■ 2777 Steeles Avenue West ■ 1445 McIntyre Street ■ 412 W. Hastings Street North York, Ontario M3J 3K5 Regina, Saskatchewan S4R 8B5 Vancouver, B.C. V6B 1L3 phone: 416-663-8612 phone: 306-569-8501 604-682-5288 ■ 900 Rathburn Road West ■ 721-43rd Street East ■ 3151 Arbutus Street THE MONTH LONG Mississauga, Ontario L5C 4L3 Saskatoon, Saskatchewan S7K 0V7 Vancouver, B.C.
    [Show full text]
  • LAC-07 Proceedings
    LINUX AUDIO CONFERENCE BERLIN Lectures/Demos/Workshops Concerts/LinuxSoundnight P roceedin G S TU-Berlin 22.-25.03.07 www.lac.tu-berlin.de5 Published by: Technische Universität Berlin, Germany March 2007 All copyrights remain with the authors www.lac.tu-berlin.de Credits: Cover design and logos: Alexander Grüner Layout: Marije Baalman Typesetting: LaTeX Thanks to: Vincent Verfaille for creating and sharing the DAFX’06 “How to make your own Proceedings” examples. Printed in Berlin by TU Haus-Druckerei — March 2007 Proc. of the 5th Int. Linux Audio Conference (LAC07), Berlin, Germany, March 22-25, 2007 LAC07-iv Preface The International Linux Audio Conference 2007, the fifth of its kind, is taking place at the Technis- che Universität Berlin. We are very glad to have been given the opportunity to organise this event, and we hope to have been able to put together an interesting conference program, both for developers and users, thanks to many submissions of our participants, as well as the support from our cooperation partners. The DAAD - Berliner Künstlerprogramm has supported us by printing the flyers and inviting some of the composers. The Cervantes Institute has given us support for involving composers from Latin America and Spain. Tesla has been a generous host for two concert evenings. Furthermore, Maerz- Musik and the C-Base have given us a place for the lounge and club concerts. The Seminar für Medienwissenschaften of the Humboldt Universität zu Berlin have contributed their Signallabor, a computer pool with 6 Linux audio workstations and a multichannel setup, in which the Hands On Demos are being held.
    [Show full text]
  • Table of Contents Pure Data
    Table of Contents Pure Data............................................................................................................................................................1 Real Time Graphical Programming..................................................................................................................2 Graphical Programming...........................................................................................................................2 Real Time.................................................................................................................................................3 What is digital audio? ........................................................................................................................................4 Frequency and Gain.................................................................................................................................4 Sampling Rate and Bit Depth..................................................................................................................4 Speed and Pitch Control..........................................................................................................................5 Volume Control, Mixing and Clipping....................................................................................................6 The Nyquist Number and Foldover/Aliasing...........................................................................................6 DC Offset.................................................................................................................................................7
    [Show full text]
  • Guide to the Electric Guitar Video Documentation
    Guide to the Electric Guitar Video Documentation NMAH.AC.0610 Alison L. Oswald 1998 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 2 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Oral Histories, 1996 - 1996...................................................................... 5 Series 2: Symposium and Programs, 1996 - 1996.................................................. 8 Series 3: Innovative Lives Presentation and Electronic Fieldtrip, 1996 - 1996......... 9 Series 4: Miscellaneous, 1996, undated...............................................................
    [Show full text]
  • Sweet Notes Spring 1998
    Special Winter NAMM Issue MUSIC TECHNOLOGY DIRECT SPRING 1998 ISSUE INSIDE THIS ISSUE: TASCAM DA-302 Dual DAT Want a great sounding, versatile DAT for mastering? Of course you do. But what if you could get two DAT The Yamaha CS1x XG Control Synthesizer recorders for the price of one? Sound impossible? That’s essentially what TASCAM is offering with the new DA-302 Dual Well DAT Recorder. — SEE PAGE 2 Winter NAMM Show Report No frequent flyer miles left? Couldn’t make it to Los Angeles this January for the music industry’s biggest bash? No problem. Our own intrepid For years, Sweetwater customers asked us, “When are took the music world by storm, mainly because of that reporter will take you going to carry Yamaha products?” The answer is simple: distinctive Yamaha Sound: Clean, clear and totally musical. you on a guided tour Right now! We’re very pleased to announce that as of 1998, This impressive heritage has led to the development of all the highlights Sweetwater Sound is an authorized dealer for all the of such exciting new products as the EX-Series (and there were lots incredible Yamaha pro audio, recording and keyboard Synthesizers, MD8 Digital Workstation, SPX1000 of them) in this ex- products, and we couldn’t be happier. After all, Yamaha is Multi-Effects and of course, the landmark 02R Digital a world leader in musical instruments and pro audio Mixer. They take the classic Yamaha sound to a whole clusive Sweet Notes technology. Hey, if it doesn’t sound phenomenal and isn’t new level.
    [Show full text]
  • History Behind the Legendary Les Paul Guitar
    GUITARS History Behind The Legendary Les Paul And... The Guitar People Who Help Make It A Timeless Classic Facemelter Of The Month 1 Table Of Contents Les Paul: The Man Behind 10 The Legend Some Of The Best 20 With A Lengend How To Properly String your Les Paul 23 Which Rock Star Are You 30 Most LIke? Take The Quiz Care And Other Maintenance For 36 Your Giutar 36 Facemelter Of the Month 2 3 Les Paul: The Man Behind The Legend WHILE LES PAUL IS COMMONLY CITED AS a 2x4 wooden plank, and then wound copper coils Our hero. Les Paul, was far from idle during THE “FATHER OF the solidbody electric around six polepieces on the kitchen table using a this time. He famously put an Epiphone neck In Loving Memory of Les Paul sewing machine. They discovered that fitting two on a 4x4 chunk of wood, and spent Sundays guitar,” that oversimplifies what was actually a opposing horseshoe magnets around the strings refining the project at the Epiphone factory Guitarist, Inventor, Innovator multifaceted evolution. Paul’s contributions were increased the magnetic field, and that the strummed on 14th Street in Manhattan. After perform- undeniably significant, but other brilliant innovators string would disturb the magnetic field, creating volt- ing with his “broomstick with pickups on it,” 1915 - 2009 were also involved. As early as the 1920s, guitarists age. They now had a signal to amplify, and National he added the wings of an Epiphone archtop were contemplating how to amplify a guitar’s sound foreman Harry Watson made a Spanish guitar with to make it easier to hold and more cosmeti- using the primitive technology employed in popular a small, round body to hold the pickup.
    [Show full text]
  • OH Completed List
    OH Completed List Page 1 of 70 9/6/2017 7:02:48AM First Name Last Name Title Interview Date Yoshiharu Abe TEAC, Engineer and Innovator d 10/14/2006 Norbert Abel Abel Hammer Company, President 07/17/2015 David L. Abell David L. Abell Fine Pianos, Founder d 10/18/2005 Susan Aberbach Hill & Range Songs Inc., President 11/14/2012 Lester Abrams Songwriter 02/02/2015 Richard Abreau Music Village, Advocate 07/03/2013 Gus Acevedo International House of Music, Founder 01/20/2012 Ken Achard Peavey Corporation, Sales Director UK 07/11/2005 Antonio Acosta Luthier Strings, Founder 01/17/2007 Cliff Acred Amro Music, Band Instrument Repair 07/15/2013 Mike Adams Moog Music, President 01/13/2010 Arthur Adams Songwriter, Musician 09/25/2011 Edna Adams World Wide Music, Former Sales Executive 04/16/2010 Paul Adams Piano Technician 07/17/2015 Hawley Ades Shawnee Press, Music Arranger d 06/10/2007 Henry Adler Henry Adler Music, Founder d 10/19/2007 Dominique Agnew NAMM, Director Trade Show Sales 08/13/2009 Charles Ahlers Anaheim Visitor and Convention Bureau, 01/25/2013 President Don Airey Musician, Product Endorser 09/29/2014 Takehiko Akaboshi Japan Music Volunteer Assoc., Chairman d 10/14/2006 Bulent Akbay Istanbul Mehmet, Product Specialist 04/11/2013 Joy Akerman Museum of Making Music, Docent 11/30/2007 Toshio Akiyama Band Director 12/15/2011 Marty Albertson Guitar Center, Chairman 01/21/2012 John Aldridge Not So Modern Drummer, Founder 01/23/2005 Tommy Aldridge Musician, Product Endorser 01/19/2008 Philipp Alexander Musik Alexander, President 03/15/2008 Will Alexander Engineer, Synthesizers 01/22/2005 01/22/2015 Van Alexander Composer, Arranger, Bandleader d 10/18/2001 James Alexander Musician 07/15/2015 Pat Alger Songwriter 07/10/2015 Frank Alkyer Down Beat and Music Inc, Editor 03/31/2011 Davie Allan Musician, Guitarist, Early Rock 09/25/2011 Fred Allard Amp Sales, Inc, Founder 12/08/2010 John Allegrezza Allegrezza Piano, President 10/10/2012 Andy Allen Luthier 07/11/2017 Richard (RC) Allen Luthier, Friend of Paul A.
    [Show full text]