DOCSLIB.ORG

The BEST $500 VIOLIN

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Serving All Levels Of Players The SHAR Connection Just Starting A Global Network Have questions about instruments? SHAR’s purchasing agents are string players, and they Only Musicians Answer the phone at travel the globe to work directly with our partner SHAR 800.248.7427 workshops. For nearly 50 years we have established longstanding relationships with the world’s leading makers and workshops in America, Europe, and Asia. How can I tell the quality of my student violin? Of course, a violin must sound good in order to From the wood selection to the acoustic models motivate your young student. But a high quality used, from the neck shapes to the various varnish instrument must also have easy-turning pegs that stay properties, our purchasing agents work with our in tune. The bridge, fingerboard, nut and soundpost partners to ensure that every detail is crafted to our must be carefully shaped and fit so that the violin is specifications. Our world-wide logistics network also easy to play and feels good to the hand. guarantees that our instruments and bows arrive here in Ann Arbor in ideal, safe condition. What makes one violin more expensive than another? The two biggest factors are the quality and age of the wood and the skill of the makers. Only a skilled maker is able to make all the parts fit together The SHAR Setup properly so the violin will work perfectly. Where Millimeters Count What size violin does my child need? That is best answered by the child’s teacher. The musicians who SHAR’s own Setup Shop, Restoration and Repair answer the phone at SHAR are well qualified to make department, staffed by experienced luthiers and a recommendation based on your child’s age and arm technicians, ensures each instrument is in healthy, length, but there’s no substitute for having a good stable condition and adjusted for optimal tonal response. Shar adheres to stringent quality standards teacher who can see them holding the instrument. and we stand by the construction, setup and sound Our 30 day guarantee assures you that returns and of all our instruments and bows. exchanges will be quick and easy. Why does it matter where I get an instrument? Whether you’re picking up a Shar instrument for the first time, or have been playing it for years, it should There are so many places offering “great deals” on sound beautiful to your ears and feel wonderful in your student violins these days that it can be overwhelming. hands. Great tone and easy playability are the primary You need to be sure that your instrument will be goals of the Shar Setup Shop. playable, and that the staff can answer your questions so that you select an appropriate instrument that is Using century-old methods, traditional hand tools, and right for your child’s level of playing. Many parents time-saving technology, our select group of technicians call SHAR because they are frustrated at the poor work to very precise measurements, usually within quality of a violin they purchased on an internet tolerances of a tenth of a millimeter. auction or discount instrument site. String heights, neck shapes, soundpost and bridge Catherine Portis curvatures are among the hundreds of things we Contact Center Manager address in the Shar Setup Shop for one simple reason: 2007 SHAR Apprentice to make players happy. Violinist SHAR Repair & The SHAR 30/365 Guarantee Restoration Shop We want you to be satisfied with everything we Like a fine wine, well-made instruments only improve sell. If you are not completely satisfied with any with age. But they must be properly setup, cared for instrument or outfit you purchase from SHAR, and maintained to keep up with the rigorous demands you may return it within 30 days for a full of the serious musician. The Shar Repair & Restoration Shop services instruments and bows from our local refund. Of course, if the instrument has been and national customers, as well as those from our Fine damaged, repair costs or depreciation may apply. Instrument Collection, and we confidently rely on We will repair or replace anything that proves their expertise. defective in materials or workmanship in the first year.7270 or send an email: [email protected]. Breaking the rules. Saving you money. Again. While a student at the Curtis Institute almost 50 years ago, I began selling strings at a discount to the Philadelphia Orchestra. This then unheard of discount practice expanded to bringing value to SHAR’S national market. Over the years SHAR has had many other firsts all intended to save our customers money while providing the best quality and service. Most recently, our introduction of the Presto line of carbon fiber bows represented another breakthrough in performance and value. Now, and with great satisfaction, I have another major announcement to make. SHAR is taking the lead, again. But, this time in offering a fine violin for advanced High School and College players. For years, violinists were required to spend around $10,000 for a quality European instrument that met the entry level standard for players at this level. We have been working with the best Chinese makers for years to develop instruments that would meet the needs of these players but at a more affordable price. The John Cheng violin will delight you with its sound, quality and appearance. It’s range of tone color and power is what you are looking for – all at a price that is within a person’s budget. I am proud to say that our new John Cheng line has achieved our goals of providing an affordable instrument that meets these performance needs. But don’t just take my word for it – try one with our In-Home Trial program, play it against a $10,000 instrument and judge for yourself. - Charles Avsharian, SHAR CEO “The emergence of high quality Chinese instruments, such as the John Cheng line at SHAR Products, has forever changed the music industry. In the past, it was necessary for my students to purchase instruments in excess of 15K in order to compete at the collegiate level. However, parents can now breathe a sigh of relief, as it is no longer necessary to spend such money to provide the tools necessary to advance their child’s professional dream. A $3000 Chinese fiddle is now capable of competing on the collegiate level and frequently supersedes all expectations. For this reason, it is my prediction that the market for such instruments will significantly increase over the next 5 years and these instruments will become commonplace in major universities across the country.” - Stephen Shipps, Professor of Violin, University of Michigan Experienced Player or Teacher? At the SHAR Violin Shop The SHAR Trade-In Policy our specialists, all string players, can help you in your search for a As you grow musically, you may find that a better quality great-playing instrument or bow. With real-world playing and instrument will allow even greater musical possibilities. We offer teaching experience, our specialists have the expertise to answer your you a generous trade-in credit of 100% of the original purchase detailed questions. Give us a call at 866-742-7270 or send an email: price for a SHAR Violin Shop instrument (Carlo Lamberti, [email protected]. Otto Ernst Fischer, Karl Joseph Schneider, John Cheng, Collector’s Series, and those from our Fine Instrument Collection). There will be NO refurbishment fee deducted for normal wear and tear. A depreciation fee will only be deducted if the instrument has had serious damage (cracks, etc.). You will receive a 50% credit of the original purchase for Hoffman instruments and outfits. For more details, see our website: www.sharmusic.com Skype: shar.violin.shop | www.sharmusic.com | 866.742.7270 | 3 AA Half-CenturyHalf-Century ofof ExperienceExperience isis thethe KeyKey IngredientIngredient 4/4 - 1/4 When Shar CEO and noted teacher Charles Avsharian created the first Carlo Lamberti violin over a decade ago, he started with one goal in mind: to create the very best violin for the intermediate to advancing student, at a great price. Working tirelessly with a world-class Chinese atelier to make his goal a reality, the Carlo Lamberti emerged and was quickly accepted by teachers and players everywhere. In fact, no less an authority than beloved violin virtuoso Pinchas Zukerman had this say: “I think the Lamberti violin is very well-made, has a very healthy projection, for any student it would be a worthwhile purchase.” Carlo Lamberti® Symphony A musical and aesthetic delight: Take the next step toward the symphony. LV12 $800 SHAR’S experienced players created the Lamberti Symphony for the student who demands high performance, quality wood selection and excellent workmanship. As teachers know, motivating the advancing student to break through to their next level is of prime importance. The Lamberti Symphony is both a musical and an aesthetic delight, possessing a full, balanced and complex tone in a delicately antiqued package. 4/4 – 1/4 sizes. The SHAR In Home Trial Program Our Safe, Easy, and Risk-Free In Home Trial Program allows you to try up to 2 violins, 2 violas, or 1 cello, and 4 bows for a 10 day trial period. SAFE – Our shipping containers are designed so that instruments and bows arrive to you safely, in playing condition. RISK FREE – You are not responsible for anything that may happen in shipping. EASY – One low fee for roundtrip shipping. Take the guesswork out of return shipping charges. Our shipments include a prepaid return label for easy returns.
Recommended publications
  • Journal of the American Viola Society Volume 9 No.2/3, 1993

    Journal of the American Viola Society Volume 9 No.2/3, 1993

    JOURNAL afthe AMERICAN VIOLA SOCIETY Chapter of THE INTERNATIONAL VIOLA SOCIETY Association for the Promotion of Viola Performance and Research Vol. 9 Nos. 2&3 1993 The Journal ofthe American Viola Society is a publication ofthat organization and is produced at Brigham Young University, © 1993, ISSN 0898-5987. The Journalwelcomes letters and articles from its readers. Editorial andAdvertising Office: BYU Music Harris Fine Arts Center Provo, UT 84602 (801) 378-4953 Fax: (801) 378-5973 Editor: David Dalton Assistant Editor: David Day Production: Helen Dixon JAVS appears three times yearly. Deadlines for copy and art work are March 1, July 1, and November 1; submissions should be sent to the editorial office. Ad rates: $100 full page, $85 two-thirds page, $65 halfpage, $50 one-third page, $35 one-fourth page. Classifieds: $25 for 30 words including address; $40 for 31-60 words. Advertisers will be billed after the ad has appeared. Payment to "American Viola Society" should be remitted to the editorial office. OFFICERS Alan de Vertich President School ofMusic University of So. California 830 West 34th Street Ramo Hall 112 Los Angeles, CA 90089 (805) 255-0693 Thomas Tatton Vice-President 2705 Rutledge Way Stockton, CA 95207 Pamela Goldsmith Secretary 11640 Amanda Drive Studio City, CA 91604 Ann Woodward Treasurer 209 w. University Ave. Chapel Hill, NC 27514 David Dalton Past President Editor, JA VS Brigham Young University Provo, Utah 84602 BOARD Mary Arlin J~ffery Irvine John Kella William Magers Donald !v1cInnes Kathryn Plummer Dwight Pounds
  • Stowell Make-Up

    Stowell Make-Up

    The Cambridge Companion to the CELLO Robin Stowell Professor of Music, Cardiff University The Pitt Building, Trumpington Street, Cambridge CB2 1RP,United Kingdom The Edinburgh Building, Cambridge CB2 2RU, UK http://www.cup.cam.ac.uk 40 West 20th Street, New York, NY 10011–4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia © Cambridge University Press 1999 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 1999 Printed in the United Kingdom at the University Press, Cambridge Typeset in Adobe Minion 10.75/14 pt, in QuarkXpress™ [] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication Data ISBN 0 521 621011 hardback ISBN 0 521 629284 paperback Contents List of illustrations [page viii] Notes on the contributors [x] Preface [xiii] Acknowledgements [xv] List of abbreviations, fingering and notation [xvi] 21 The cello: origins and evolution John Dilworth [1] 22 The bow: its history and development John Dilworth [28] 23 Cello acoustics Bernard Richardson [37] 24 Masters of the Baroque and Classical eras Margaret Campbell [52] 25 Nineteenth-century virtuosi Margaret Campbell [61] 26 Masters of the twentieth century Margaret Campbell [73] 27 The concerto Robin Stowell and David Wyn Jones [92] 28 The sonata Robin Stowell [116] 29 Other solo repertory Robin Stowell [137] 10 Ensemble music: in the chamber and the orchestra Peter Allsop [160] 11 Technique, style and performing practice to c.
  • The Science of String Instruments

    The Science of String Instruments

    The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D.
  • Yamaha Guitar Information

    Yamaha Guitar Information

    Yamaha Strengths, Artist’s Advantage “Yamaha Guitars: Essential Knowledge” has been created to give you a behind-the-scenes view of the surprisingly vast and varied resources, facilities, skills, and people involved in making Yamaha guitars the special instruments that they are. Yamaha’s enviable position in musical instrument manufacturing is not only a result of more than 120 years of experience (the company was established in 1887), but also of the unique strengths that its expansive operations bring to bear. From research and development through design and manufacturing to sales and support, Yamaha goes to lengths that are simply beyond the capabilities of most guitar makers. But an underlying dedication to music and the creation of fine musical instruments is always there, forming a steadfast foundation that often results in profit taking a back seat to the pursuit of quality. Yamaha’s true strengths as a guitar maker are not apparent in product brochures or specifications, but they are clearly reflected in the sound, playability, dependability, and overall quality of every guitar that bears the Yamaha name. “Essential Knowledge” includes information that will hopefully provide a clearer picture of the prodigious resources and effort that give artists who choose Yamaha a significant musical advantage. Contents Research & Material Optimization......................p.4 Woods ...................................................................p.6 The Acoustic Guitar Elements of Sound and Playability ....................p.8 The Electric
  • Eye Juggling: a Methodology for Interpreting Stories

    Eye Juggling: a Methodology for Interpreting Stories

    Eye Juggling: A Methodology for Interpreting Stories Eye Juggling Outline With modifications and additions, as an excerpt from: Rodney Frey. 1995. Eye Juggling: Seeing the World Through a Looking Glass and a Glass Pane. University Press of America: London, and other sources. The Eye Juggler There is an old man, with long, black braids. He stands there, beside that tall cedar tree, singing a song. As he sings that song, what should happen..., his eyes pop out of his head. He continues singing that song and his eyes go up the side of the tree to the top branch. There those eyes look to the east. Then they turn and look to the south. The old man with empty sockets in his head continues that song. From the top of the tree the eyes look to the west. And then the eyes turn once more and look to the north, the fourth direction. As the old man with long, black braids sings that song, who should come along the path there but Coyote, down on his luck. He sees the old man standing there and decides to pay him a visit. He's been out there in those hills a long time. But as Coyote gets a little closer he realizes that there is something odd about this old man. He's seen some strange things out there in those hills but nothing like this. The old man is singing his eyes to the sky! Now Coyote, who's been down on his luck, realizes a good thing when he sees it.
  • ~Mqltltrsity of Hawaif Librar?

    ~Mqltltrsity of Hawaif Librar?

    ~ID ~mqltltRSITY OF HAWAIf lIBRAR? MISSING PONO A TIlESIS SUBMITTED TO THE GRADUATE DIVISION OF TIlE UNIVERSITY OF HAWAn PARTIAL FULFILLMENT OF TIlE REQUIREMENTS FOR TIlE DEGREE OF MASTER OF ARTS IN ENGLISH MAY 2003 By Christopher R. Kelsey Thesis Committee: Ian McMillan, Chairperson Robert Shapard Paul Lyons Rodney Morales iii TABLE OF CONTENTS Haole Boss............. 1 Missing Pono.......................................................................................... 17 The Clearing................. 33 Rock of Ages.... 52 The Risk.................................................................................................. 69 Or ItMight Be you................................................................................ 85 1 Haole Boss Pale pink hydraulic fluid splattered across the inside of Taylor Beck's left wrist, bounced off the bib of his mocha-brown Carhart overalls, and plopped on the toe of his dirty boots. He imagined it looked like haole blood. But it wasn't his or anyone else's. He'd struggled all his life to avoid being labeled a haole. He knew everybody's blood was the same color, though it looked like it could've been spilled from a white man's veins. But the machine didn't bleed, it leaked. Taylor squinted up at the greasy stainless-steel mast of the stand-up fork lift. His forearm shielded his eyes from the drips but blocked his vision, and he brushed the graying blonde strands off his forehead. A tightly banded braid kept his shoulder-length hair from sticking in his moustache and beard like velcro. He rolled his tight neck muscles, shrugged his husky shoulders and stepped out of the machine to get away from the harsh glare of the big halogen light. He figured it must be that hose clamp again.
  • Correcting the Right Hand Bow Position for the Student Violinist and Violist Matson Alan Topper

    Correcting the Right Hand Bow Position for the Student Violinist and Violist Matson Alan Topper

    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2002 Correcting the Right Hand Bow Position for the Student Violinist and Violist Matson Alan Topper Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC CORRECTING THE RIGHT HAND BOW POSITION FOR THE STUDENT VIOLINIST AND VIOLIST By Matson Alan Topper A Treatise submitted to the School of Music In partial fulfillment of the Requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2002 Copyright © 2002 Matson Alan Topper All rights Reserved The members of the Committee approve the treatise of Matson Alan Topper defended on 30 October 2002. Eliot Chapo Professor Directing Treatise Ladislav Kubik Outside Committee Member Phillip Spurgeon Committee Member Lubomir Georgiev Committee Member To The Memory of My Teacher Tadeusz Wroński iii ACKNOWLEDGEMENTS It was Tadeusz Wroński whose inspiration laid the foundation for this treatise. The desire of writing about the bow and its significance in successful violin playing followed. Today, I wish to thank professor Wroński for teaching me the fundamentals of correct violin playing. I was privileged to see him at his home in Poland (1999) and discuss my subject. We both celebrated the “pupil returning to the master,” which occurred a few months before Professor Wroński passed away. Grateful acknowledgement is extended to Eliot Chapo, my advisor and violin professor during the doctoral work at the Florida State University; colleague, concert artist, and friend, for both his musical critiques and expertise provided during our interview sessions which have found a substantial content in this subject.
  • Wittner Shoulder Rest “ Isny” 280, 281, 282 for Viola and Violin Instruction and Assembly Manual Stand 17.4.2013

    Wittner Shoulder Rest “ Isny” 280, 281, 282 for Viola and Violin Instruction and Assembly Manual Stand 17.4.2013

    Wittner shoulder rest “ Isny” 280, 281, 282 for viola and violin Instruction and Assembly Manual Stand 17.4.2013 Product description: Important safety advice: Product description: Combination possibilities 1. Pad rest with 6mm pad (complete) • Please study the instruction manual carefully prior to • Central mounting! Option A: 280... + 281... 2. Shoulder rest arm assembly. • No loss in sound since shoulder rest has no contact with without chin rest or with chin 3. Shoulder rest base • Do not use the shoulder rest any different than described in back of instrument. rest of a different brand - this manual. mounted on the rib 4. Cross-tip screwdriver for mounting the base onto the • Countless adjustment possibilities. instrument (only type 280, 281 ) • Please ensure the fit and the latching after each mounting • The shoulder rest cannot slip and drop. 5. Hex wrench to adjust the ball joints at the rest's arm on the instrument. Option B: 280... + 281... 6. 2 tenterhooks with cross-head screw (only type 280, 281) • Anti-allergic. • To protect your instrument during each transport, please with Wittner chin rest 253xxx, • 7. 2 clasps (only type 282) remove pad rest (1) and shoulder rest arm (2) and stow it Ultra-light. 254xxx, 256xxx or 257xxx - 8. Cloth bag together with the hex wrench (5) using the included cloth • Very flexible adaption to shoulder. mounted centrally Adjustment template – part of the packaging insert bag (8) inside the instrument case. • Can be disassembled into very small parts which enables • Accessories / replacements: To attach and adjust the shoulder rest, please only use easy transport in violin case.
  • Program of the 2015-16 Season ______Jazz Studies Department

    Program of the 2015-16 Season ______Jazz Studies Department

    JAZZCELEBRATION INAUGURAL IU JAZZ ALUMNI HALL OF FAME Featuring IU Jazz Faculty & Student Big Band, & Plummer Jazz Sextet Saturday, April 23 | 8pm | Musical Arts Center Sponsored by JACOBS SCHOOL OF MUSIC Indiana University Bloomington A Message from Tonight’s Sponsor Old National Wealth Management Old National Wealth Management (ONWM) is jazzed to sponsor the inaugural IU Jazz Alumni Hall of Fame and to support the Indiana University Jacobs School of Music. At Old National Wealth Management, we are proud to be a part of this annual presentation of timeless music and feature world- renowned musicians. Thank you for joining us this evening, and we hope you have a wonderful time. About Old National Wealth Management At Old National Wealth Management, we manage money for people with more important things to manage. Families, corporations, and foundations experience local, personal service from a dedicated team of seasoned professionals. Our team structure offers the unique advantage of long-term continuity of service. ONWM is a trusted financial partner, assisting with investment management, financial planning, retirement planning, and trust services. Old National Wealth Management is a Top 100 Fiduciary in the U.S. and part of the Old National Bancorp family of companies . the largest financial services company headquartered in the state of Indiana. _______________________ Supporting Jazz Studies at the IU Jacobs School of Music The Indiana University Jacobs School of Music gratefully acknowledges persons and institutions who support our students and faculty through the following endowments, scholarships, estate plans, and other funds. Endowed Funds Jamey and Sara Aebersold Jazz Fellowship David N. Baker Jr.
  • Overview Guitar Models

    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
  • Of Audiotape

    Of Audiotape

    1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. DAVID N. BAKER NEA Jazz Master (2000) Interviewee: David Baker (December 21, 1931 – March 26, 2016) Interviewer: Lida Baker with recording engineer Ken Kimery Date: June 19, 20, and 21, 2000 Repository: Archives Center, National Museum of American History Description: Transcript, 163 pp. Lida: This is Monday morning, June 19th, 2000. This is tape number one of the Smithsonian Jazz Oral History Project interview with David Baker. The interview is being conducted in Bloomington, Indiana, [in] Mr. Baker’s home. Let’s start with when and where you were born. David: [I was] born in Indianapolis, December 21st, 1931, on the east side, where I spent almost all my – when I lived in Indianapolis, most of my childhood life on the east side. I was born in 24th and Arsenal, which is near Douglas Park and near where many of the jazz musicians lived. The Montgomerys lived on that side of town. Freddie Hubbard, much later, on that side of town. And Russell Webster, who would be a local celebrity and wonderful player. [He] used to be a babysitter for us, even though he was not that much older. Gene Fowlkes also lived in that same block on 24th and Arsenal. Then we moved to various other places on the east side of Indianapolis, almost always never more than a block or two blocks away from where we had just moved, simply because families pretty much stayed on the same side of town; and if they moved, it was maybe to a larger place, or because the rent was more exorbitant, or something.
  • Separating Sound from Source: Sonic Transformation of the Violin Through Electrodynamic Pickups and Acoustic Actuation

    Separating Sound from Source: Sonic Transformation of the Violin Through Electrodynamic Pickups and Acoustic Actuation

    Separating sound from source: sonic transformation of the violin through electrodynamic pickups and acoustic actuation Laurel S. Pardue Kurijn Buys Michael Edinger Design and Media Technology Centre for Digital Music MusikLab.dk / Centre for Digital Music Queen Mary University of Lyngby, Denmark Aalborg University / QMUL London [email protected] Copenhagen / London London, UK [email protected] [email protected] Dan Overholt Andrew P. McPherson Institute for Architecture, Centre for Digital Music Design and Media Technology Queen Mary University of Aalborg University London Copenhagen, Denmark London, UK [email protected] [email protected] ABSTRACT 1. INTRODUCTION When designing an augmented acoustic instrument, it is of- Two common motivations for designing augmented instru- ten of interest to retain an instrument's sound quality and ments are to extend the sonic capabilities of an existing nuanced response while leveraging the richness of digital instrument, or to repurpose the player's existing skill and synthesis. Digital audio has traditionally been generated technique on a traditional instrument. In contrast to tra- through speakers, separating sound generation from the in- ditional acoustic instruments, where sound production is strument itself, or by adding an actuator within the instru- inherently tied to physical construction and energy input ment's resonating body, imparting new sounds along with from the player, it is common with developing digital or the original. We offer a third option, isolating the play- augmented instruments to segment the design into separa- ing interface from the actuated resonating body, allowing ble modules: interface, processing, sound output. us to rewrite the relationship between performance action Most commonly, processing is done on a computer with and sound result while retaining the general form and feel sound then output to a speaker or public address system, of the acoustic instrument.