9 Generations of String Makers with a History of Innovation
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Roger Sadowsky Interview, Bass Guitar Magazine UK
ROGER THAT 028 BASS GUITAR MAGAZINE 028-030 Sadowsky_rev3JH.indd 28 13/07/2015 18:17 BASSISTS ROGER SADOWSKY Roger Sadowsky, one of the world’s leading bass luthiers, stopped by at the London Bass Guitar Show to talk to Mike Brooks about his bass building philosophy stroll around Olympia during the “I recommended a good fret job, shielding the London Bass Guitar Show can be electronics, a better bridge and a preamp – actually, a noisy experience to say the only the second bass preamp I had ever installed. I was least – yet on both days of this using a circuit by Stars Guitars from San Francisco, a year’s event back in March, group that had come out of the Alembic school. That’s A there was a tangible buzz: an what I gave Marcus – but within a year, they went out audible sound of hushed of business and Marcus’s preamp died! They told me mutterings between those in attendance. “It is him, when they were closing up that the closest thing to isn’t it?”... “Is that really him? Here in London?” what they were making was a Bartolini TCT preamp. Who could they have been talking about, you ask? I used that until 1990, when I wanted to create my Well, yes it was true – one of the premier luthiers outboard preamp box and Alex Aguilar [of Aguilar of the bass world was there at the London Bass fame] helped me to design my own circuit.” Guitar Show, and boy did Roger Sadowsky make a Back in those days, there was no internet or social splash. -
Overview Guitar Models
14.04.2011 HOHNER - HISTORICAL GUITAR MODELS page 1 [54] Image Category Model Name Year from-to Description former retail price Musima Resonata classical; beginners guitar; mahogany back and sides Acoustic 129 (730) ca. 1988 140 DM (1990) with celluloid binding; 19 frets Acoustic A EAGLE 2004 Top Wood: Spruce - Finish : Natural - Guitar Hardware: Grover Tuners BR CLASSIC CITY Acoustic 1999 Fingerboard: Rosewood - Pickup Configuration: H-H (BATON ROUGE) electro-acoustic; solid spruce top; striped ebony back and sides; maple w/ abalone binding; mahogany neck; solid ebony fingerboard and Acoustic CE 800 E 2007 bridge; Gold Grover 3-in-line tuners; shadow P7 pickup, 3-band EQ; single cutaway; colour: natural electro-acoustic; solid spruce top; striped ebony back and sides; maple Acoustic CE 800 S 2007 w/ abalone binding; mahogany neck; solid ebony fingerboard and bridge; Gold Grover 3-in-line tuners; single cutaway; colour: natural dreadnought western guitar; Gruhn design; 20 nickel silver frets; rosewood veneer on headstock; mahogany back and sides; spruce top, Acoustic D 1 ca. 1991 950 DM (1992) scalloped bracings; mahogany neck with rosewood fingerboard; satin finish; Gotoh die-cast machine heads dreadnought western guitar; Gruhn design; rosewood back and sides; spruce top, scalloped bracings; mahogany neck with rosewood Acoustic D 2 ca. 1991 1100 DM (1992) fingerboard; 20 nickel silver frets; rosewood veneer on headstock; satin finish; Gotoh die-cast machine heads Top Wood: Sitka Spruce - Back: Rosewood - Sides: Rosewood - Guitar Acoustic -
Ficha Técnica
FICHA TÉCNICA INSTRUMENTOS MUSICALES INSTRUMENTO DESCRIPCIÓN MARCA CÓDIGO UNSPSC CANT. ACORDEÓN DIATONICO ADG. DIMENSIONES - TAMAÑO: 31A X 32L. PESO: 7.5, COLOR: AZUL, TONALIDADES: ADG, NÚMERO 60131200 ACORDEON ADG 1 DE BOTONES: 31, NÚMERO DE FILAS: 3 FILAS, NÚMERO DE NOTAS: 8 NOTAS, ACCESORIOS: ESTUCHE + CORREA. ACORDEÓN ROJO BESAS. DIMENSIONES - TAMAÑO: 31A X 32L. PESO: 7,5. TONALIDAD: BESAS. NÚMERO DE BOTONES: ACORDEON BESAS 2 31. NÚMERO DE FILAS: 3 FILAS. 60131200 NÚMERO DE NOTAS: 8 NOTAS. ACCESORIOS: ESTUCHE + CORREA. ARPA LLANERA CON ESTUCHE. DE 32 CUERDAS EN CEDRO O 60131300 ARPA LLANERA 15 PINO, LLAVE AFINADORA Y FORRO INCLUIDOS. ATRILES DE BANDEJA TIPO DIRECTOR. 25" A 49" (65 CM A 124 CM), DESDE EL BORDE DE LA MESA HASTA EL PISO. BASE SOLDADA DE ACERO DE CALIBRE 12 QUE BRINDA DURABILIDAD. EL ACOPLAMIENTO DE LA BASE NO SE TAMBALEA. EL DELGADO POSTE DE 1" (2,5 60131500 ATRIL 111 CM) HACE QUE RESULTE SENCILLO TRANSPORTAR DOS ATRILES CON UNA SOLA MANO. LA MESA DE ALUMINIO DE 13½" X 20" (34 CM X 51 CM) POSEE UN SOPORTE DE ALUMINIO DE UNA SOLA PIEZA. EL AJUSTE DE ALTURA POR FRICCIÓN SENCILLA SOPORTA 9 LB (4 KG). BAJO ELECTRICO. CUERPO DE ALISO. MÁSTIL DE ARCE ATORNILLADO. DIAPASÓN DE SONOKELIN. LONGITUD DE LA ESCALA: 864CM (ESCALA BAJO ELECTRICO 8 LARGA). 24 TRASTES. ANCHO 60131300 DE LA CEJILLA: 40MM. 1 PASTILLA DE BOBINA DIVIDIDA. 1 PASTILLA DE BOBINA SIMPLE. HERRAJES DE CROMO. BANDOLA ANDINA ELECTRO ACUSTICA. TAPA ARMÓNICA EN PINO ABETO ALEMÁN O CEDRO ROJO CANADÁ MIL HILOS; ARO Y FONDO EN CEDRO PUERTO ASÍS MACIZO; MÁSTIL EN CEDRO PUERTO ASÍS REFORZADO CON BANDOLA ANDINA 15 NAZARENO; CLAVIJERO DE 60131300 PRECISIÓN; DIAPASÓN EN PALO DE ROSA CON ENTRASTADO ALTACA ( PLATEADO) DEBIDAMENTE ENCORDADO Y CON ESTUCHE DURO EN LONA. -
ICA 2010 Paper
Proceedings of the International Symposium on Music Acoustics (Associated Meeting of the International Congress on Acoustics) 25-31 August 2010, Sydney and Katoomba, Australia Experimental Approaches on Vibratory and Acoustic Characterization of Harp-Guitars Enrico Ravina (1) (1) University of Genoa, MUSICOS Centre of Research, Genoa, Italy PACS: 43.75.- z; 43.75.Gh ABSTRACT The paper describes the results of a research activity, still under development, oriented to the vibratory and acoustic characterization of harp-guitars. Vibration analyses show interesting differences between harp-guitars and classical guitars about displacements detected on the soundboard and on the bridge and their dependence to frequencies. Acoustic analyses detect very different responses of harp-guitars to various frequencies, showing also the different acoustic emission at sound holes. Comparisons between signals detected by external and surface internal micro- phones allow estimating effects of the acoustic damping in these particular instruments. INTRODUCTION later two designs are technically harp guitars with open strings. They were smaller in size as was fashionable at the Harp-guitars represent a separate and distinct category within time. Barry and Harley of London, excellent craftsmen, built the guitar family, are those most commonly and popularly these instruments for Light. Many of these table harp lutes, as referred to today as harp guitars. This particular category of they were called, are still around today. The desire for ex- instruments includes guitars with any number of additional tended range on a guitar was evident as composers, such as unstopped strings that can accommodate individual plucking. Fernando Sor (1778-1839) and Matteo Carcassi (1792-1853) The word "harp" is a specific reference to the unstopped open wrote music on a three necked, 21 strung guitar, called a strings, and is not specifically a reference to the tone, pitch hypolyre. -
Bass Guitar Owner's Manual Bass Guitar Configuration
Bass Guitar Owner's Manual Bass Guitar Configuration 4 5 6 3 11 7 8 9 10 3 12 1. Volume 7. Position Markers 2. Tone Controls 8. Fret 3. Strap Button 9. Fingerboard 4. Bridge 10. Nut 1 5. Bridge Pickup 11. Tuning Keys 2 6. Neck Pickup 12. String Retainer Control Configuration blend treble tone bass volume bridge volume treble tone neck volume neck volume bridge volume tone Congratulations So, you are the owner of a new Peavey Bass Guitar. Congratulations! Your purchase proves your taste in musical instruments is superb. Peavey offers a wide variety of bass guitars for beginners to professionals, each with unique qualities and features. While our professional luthiers have carefully inspected your guitar, every model requires some initial setup, and periodic maintenance is required for peak performance. To ensure proper care of your quality instrument, visit www.peavey.com/accessories for Peavey-recommended accessories, parts and cleaning supplies. Cleaning & Care When properly cared for, your Peavey bass will offer you years of pleasure. Playing your bass means that you will need to perform regular, general maintenance, such as cleaning and proper storage, to keep it looking and sounding great. Every time you play your bass, body oils and perspiration are transferred to the body, back of the neck, headstock, fingerboards, strings, tuners, pickups and bridge. After you finish performing, but before you put your bass away, take a moment to remove these contaminants. Cleaning - Wood To clean and care for the major wood parts of your bass guitar (body, headstock and the back of the neck), Peavey recommends that you use a clean, soft, lint-free, dry cotton cloth and the specially formulated guitar polish available at www.peavey.com/acces- sories. -
Guitar Cross Reference Updated 02/22/08 Includes: Acoustic, Bass, Classical, and Electric Guitars
Gator Cases Guitar Cross Reference Updated 02/22/08 Includes: Acoustic, Bass, Classical, and Electric Guitars Use Ctrl-F to search by Manufacturer or Model Number Manufacturer Model Type Fits (1) Fits (2) Fits (3) Fits (4) Fits (5) Alvarez AC60S Classical Guitar GL-Classic GC-Classic GPE-Classic GWE-Class GW-Classic Alvarez Artist Series AD60K Dao Acoustic Guitar GL-Dread-12 GC-Dread-12 GPE-Dread G-Tour Dread-12 GW-Dread Alvarez Artist Series AD60S Acoustic Guitar GL-Dread-12 GC-Dread-12 GPE-Dread G-Tour Dread-12 GW-Dread Alvarez Artist Series AD70S Acoustic Guitar GL-Dread-12 GC-Dread-12 GPE-Dread G-Tour Dread-12 GW-Dread Alvarez Artist Series AD80SSB Acoustic Guitar GL-Dread-12 GC-Dread-12 GPE-Dread G-Tour Dread-12 GW-Dread Alvarez CYM95 Classical Guitar GL-Classic GC-Classic GPE-Classic GWE-Class GW-Classic Alvarez MC90 Classical Guitar GL-Classic GC-Classic GPE-Classic GWE-Class GW-Classic Alvarez RC10 Classical Guitar GL-Classic GC-Classic GPE-Classic GWE-Class GW-Classic Alvarez RD20S Acoustic Guitar GL-Dread-12 GC-Dread-12 GPE-Dread G-Tour Dread-12 GW-Dread Alvarez RD8 Acoustic Guitar GL-Dread-12 GC-Dread-12 GPE-Dread G-Tour Dread-12 GW-Dread Alvarez RD9 Acoustic Guitar GL-Dread-12 GC-Dread-12 GPE-Dread G-Tour Dread-12 GW-Dread Aria PE-STD Series Electric Guitar GL-LPS GC-LPS GPE-LPS G-Tour LPS GW-LPS Cordoba 32E Classical Guitar GL-Classic GC-Classic GPE-Classic GWE-Class GW-Classic Cordoba 32EF Classical Guitar GL-Classic GC-Classic GPE-Classic GWE-Class GW-Classic Cordoba 45FM Classical Guitar GL-Classic GC-Classic GPE-Classic -
Designing and Building an Electric Baritone Guitar
Hendrik Gideonse Audio Research December 14, 2008 Designing an Electric Baritone Guitar 0 Anatomy of a Guitar ................................................................................................... 2 1 Introduction ................................................................................................................. 3 2 Baritone History .......................................................................................................... 3 3 Problems with Existing Designs ................................................................................. 5 3.1 String Tension ..................................................................................................... 5 3.2 Balance, Ease of Playing 1st Position Chords and Bridge Position .................... 7 3.3 Rigidity for Tone and Sustain ........................................................................... 11 4 Designing the Baritone Guitar .................................................................................. 12 4.1 Woods, Tone and Rigidity ................................................................................ 13 4.2 Angled Headstock and ‘V’ Neck Contour ........................................................ 16 4.3 Headstock Shapes ............................................................................................. 19 4.4 Joining the Neck to the Body ............................................................................ 24 4.5 Body Shape ...................................................................................................... -
Automatic Transcription of Bass Guitar Tracks Applied for Music Genre Classification and Sound Synthesis
Automatic Transcription of Bass Guitar Tracks applied for Music Genre Classification and Sound Synthesis Dissertation zur Erlangung des akademischen Grades Doktoringenieur (Dr.-Ing.) vorlelegt der Fakultät für Elektrotechnik und Informationstechnik der Technischen Universität Ilmenau von Dipl.-Ing. Jakob Abeßer geboren am 3. Mai 1983 in Jena Gutachter: Prof. Dr.-Ing. Gerald Schuller Prof. Dr. Meinard Müller Dr. Tech. Anssi Klapuri Tag der Einreichung: 05.12.2013 Tag der wissenschaftlichen Aussprache: 18.09.2014 urn:nbn:de:gbv:ilm1-2014000294 ii Acknowledgments I am grateful to many people who supported me in the last five years during the preparation of this thesis. First of all, I would like to thank Prof. Dr.-Ing. Gerald Schuller for being my supervisor and for the inspiring discussions that improved my understanding of good scientific practice. My gratitude also goes to Prof. Dr. Meinard Müller and Dr. Anssi Klapuri for being available as reviewers. Thank you for the valuable comments that helped me to improve my thesis. I would like to thank my former and current colleagues and fellow PhD students at the Semantic Music Technologies Group at the Fraunhofer IDMT for the very pleasant and motivating working atmosphere. Thank you Christian, Holger, Sascha, Hanna, Patrick, Christof, Daniel, Anna, and especially Alex and Estefanía for all the tea-time conversations, discussions, last-minute proof readings, and assistance of any kind. Thank you Paul for providing your musicological expertise and perspective in the genre classification experiments. I also thank Prof. Petri Toiviainen, Dr. Olivier Lartillot, and all the collegues at the Finnish Centre of Excellence in Interdisciplinary Music Research at the University of Jyväskylä for a very inspiring research stay in 2010. -
Palmer-All.Pdf
PLAY LOUDER Electric Guitars This is our Mission The mission of Palmer Guitar Company is to provide affordable instruments that are the best value in quality and features and to support these products in a manner which will establish the utmost confidence in the brand. Palmer Guitars USA. Palmer instruments are developed with input and guidance from professional musicians, music educators and most importantly, Palmer Customers. Palmer is committed to providing an instrument that will encourage the artistic skills of its owner and to help make music a part of more lives. Take a closer look at Palmer instruments. We promise you will see the tradition, quality and innovation that goes into each and every one of our instruments. PLAY LOUDER Electric Guitars This is our Mission The mission of Palmer Guitar Company is to provide affordable instruments that are the best value in quality and features and to support these products in a manner which will establish the utmost confidence in the brand. Palmer Guitars USA. Palmer instruments are developed with input and guidance from professional musicians, music educators and most importantly, Palmer Customers. Palmer is committed to providing an instrument that will encourage the artistic skills of its owner and to help make music a part of more lives. Take a closer look at Palmer instruments. We promise you will see the tradition, quality and innovation that goes into each and every one of our instruments. ELECTRIC GUITAR Palmer PE-Core Palmer PE-Core-PK Electric Guitar I Standard Series Electric Guitar -
CATALOGO DE INSTRUMENTOS DE CUERDA [ STRINGED INSTRUMENT CATALOG ] HILARIO "LAYO" JIMENEZ Master Luthier 1
CATALOGO DE INSTRUMENTOS DE CUERDA [ STRINGED INSTRUMENT CATALOG ] HILARIO "LAYO" JIMENEZ Master Luthier 1 uscando autenticidad y artesanía tradicional, nos unimos con el eeking authenticity and traditional craftsmanship, we collaborated Sr. Hilario “Layo” Jiménez para ofrecer características cruciales, with Master Luthier Hilario “Layo” Jimenez about crucial features, Bespecificaciones, medidas y dibujos de diseño detallado. Nuestra Sspecifications, measurements and detailed design drawings. Our misión fue servir de puente entre las importantes técnicas artesanales mission was to bridge the gap between important traditional handcrafted y la incorporación de fabricación moderna e innovadora. Gradualmente, techniques while incorporating modern manufacturing innovations. surgió un innovador prototipo hibrido H. Jimenez™ Bajo Quinto con una Slowly, an innovative, hybrid prototype H. Jimenez™ Bajo Quinto emerged mezcla de tradición e innovación. with a blend of Tradition and Innovation. MARIO QUINTERO Los Tucanes de Tijuana 3 onrando el diseño tradicional y métodos de construcción a la onoring traditional design and construction methods while vez que incorpora características innovadoras, H. Jimenez ha incorporating innovative features, H. Jimenez created a new Hcreado Bajo Quintos con un nuevo nivel de calidad que son únicos Hquality level of Bajo Quintos that are unique in the Norteño, en los mercados de la música Norteña, Conjunto, y Tex-Mex. Nuestros Conjunto, Tejano and Tex-Mex music genres. Our Bajo Quintos offer Bajos Quintos ofrecen diseños tradicionales Florentinos, y uno de línea traditional Florentine cutaways, non-cutaways, and a thin-line model. delgada. Cada modelo tiene un puente Thunderwing™ H. Jimenez con Each model features an H. Jimenez designed Thunderwing™ bridge with montura para un desempeño óptimo y el diseño de soporte especial de saddle for optimum performance adjustability and the special H. -
Paradigm for Effective Pre-College Classical Guitar Methodology: a Case Study of Two Models of Effective Instruction Renthungo Merry
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 12-1-2010 Paradigm for effective pre-college classical guitar methodology: a case study of two models of effective instruction Renthungo Merry Follow this and additional works at: http://digscholarship.unco.edu/dissertations Recommended Citation Merry, Renthungo, "Paradigm for effective pre-college classical guitar methodology: a case study of two models of effective instruction" (2010). Dissertations. Paper 212. This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School A PARADIGM FOR EFFECTIVE PRE-COLLEGE CLASSICAL GUITAR METHODOLOGY: A CASE STUDY OF TWO MODELS OF EFFECTIVE INSTRUCTION A Dissertation Submitted in Partial Fulfillment Of the Requirements for the Degree of Doctor of Arts Renthungo Merry College of Performing and Visual Arts School of Music December 2010 © 2010 RENTHUNGO MERRY ALL RIGHTS RESERVED i ABSTRACT Merry, Renthungo. A Paradigm for Effective Pre-College Classical Guitar Methodology: A Case Study of Two Models of Effective Instruction. Doctor of Arts in Music Education dissertation, University of Northern Colorado, 2010. Many classical guitar teachers of the past had stated that the field of classical guitar education in general was an area that was in need of re-evaluation in terms of proper teaching methodology, especially at the beginner level. However, the last twenty years have seen the steady growth and expansion of classical guitar education. -
Tres Estudios Para Guitarra Basados En El Son Jarocho Mexicano
Tres estudios para guitarra basados en el Son Jarocho mexicano María Camila Agudelo Mejía. Septiembre 2017. Pontificia Universidad Javeriana. Carrera de Estudios Musicales - Énfasis en interpretación guitarra. Proyecto de grado. Agradecimientos A Juan David Bermúdez y Sergio Rusinque, por su disposición y ayuda al grabar los estudios, a Natalia Molina por su gran colaboración en la edición de las partituras. A todos quienes hicieron posible mi estadía en México, donde surgió la idea este proyecto. 3 Índice Introducción....................................................................................................................................5 El Son Jarocho: Contexto histórico-geográfico...........................................................................7 El Fandango: Fiesta popular.........................................................................................................9 Instrumentación del Son Jarocho...............................................................................................10 Características musicales y líricas del Son Jarocho..................................................................16 Los estudios..................................................................................................................................19 Estudio I: El Siquisirí......................................................................................................20 Estudio II: El Coco..........................................................................................................23