The Electric Guitar: an Augmented Instrument and a Tool for Musical Composition
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Florian Heesch Voicing the Technological Body Some Musicological Reflections on Combinations of Voice and Technology in Popular Music ABSTRACT The article deals with interrelations of voice, body and technology in popular music from a musicological perspective. It is an attempt to outline a systematic approach to the history of music technology with regard to aesthetic aspects, taking the iden- tity of the singing subject as a main point of departure for a hermeneutic reading of popular song. Although the argumentation is based largely on musicological research, it is also inspired by the notion of presentness as developed by theologian and media scholar Walter Ong. The variety of the relationships between voice, body, and technology with regard to musical representations of identity, in particular gender and race, is systematized alongside the following cagories: (1) the “absence of the body,” that starts with the establishment of phonography; (2) “amplified presence,” as a signifier for uses of the microphone to enhance low sounds in certain manners; and (3) “hybridity,” including vocal identities that blend human body sounds and technological processing, where- by special focus is laid on uses of the vocoder and similar technologies. KEYWORDS recorded popular song, gender in music, hybrid identities, race in music, presence/ absence, disembodied voices BIOGRAPHY Dr. Florian Heesch is professor of popular music and gender studies at the University of Siegen, Germany. He holds a PhD in musicology from the University of Gothenburg, Sweden. He published several books and articles on music and Norse mythology, mu- sic and gender and on diverse aspects of heavy metal studies. -
Magpick: an Augmented Guitar Pick for Nuanced Control
Magpick: an Augmented Guitar Pick for Nuanced Control Fabio Morreale Andrea Guidi Andrew McPherson Creative Arts and Industries Centre For Digital Music Centre For Digital Music University of Auckland, Queen Mary University of Queen Mary University of New Zealand London, UK London, UK [email protected] [email protected] [email protected] ABSTRACT This paper introduces the Magpick, an augmented pick for electric guitar that uses electromagnetic induction to sense the motion of the pick with respect to the permanent mag- nets in the guitar pickup. The Magpick provides the gui- tarist with nuanced control of the sound that coexists with traditional plucking-hand technique. The paper presents three ways that the signal from the pick can modulate the guitar sound, followed by a case study of its use in which 11 guitarists tested the Magpick for five days and composed a piece with it. Reflecting on their comments and experi- Figure 1: The Magpick is composed of two parts: a ences, we outline the innovative features of this technology hollow body (black) and a cap (brass). from the point of view of performance practice. In partic- ular, compared to other augmentations, the high tempo- ral resolution, low latency, and large dynamic range of the The challenge is to find ways to sense the movement of Magpick support a highly nuanced control over the sound. the pick with respect to the guitar with high resolution, Our discussion highlights the utility of having the locus of high dynamic range, and low latency, then use the resulting augmentation coincide with the locus of interaction. -
Guitar Resonator GR-Junior II
Guitar Resonator GR-Junior II User Manual Copyright © by Vibesware, all rights reserved. www.vibesware.com Rev. 1.0 Contents 1 Introduction ...............................................................................................1 1.1 How does it work ? ...............................................................................1 1.2 Differences to the EBow and well known Sustainers ............................2 2 Fields of application .................................................................................3 2.1 Feedback playing everywhere / composing / recording ........................3 2.2 On stage ...............................................................................................3 2.3 New ways of playing .............................................................................4 3 Start-Up of the GR-Junior .........................................................................5 4 Playing techniques ...................................................................................5 4.1 Basics ...................................................................................................5 4.2 Harmonics control by positioning the Resonator ...................................6 4.3 Changing harmonics by phase shifting .................................................6 4.4 Some string vibration basics .................................................................6 4.5 Feedback of multiple strings .................................................................9 4.6 Limits of playing, pickup selection, -
Take Your Guitar Further
The VGA-3 V-Guitar Amplifier puts Roland’s most sought-after guitar and amp models in a compact digital amp at a very friendly price. This 50-watt brute uses COSM modeling to deliver a stunning range of electric and acoustic guitar models—plus unique GK effects—from any GK pickup-equipped guitar. There are also 11 programmable COSM amp models, 3-band EQ, and three independent effects processors that can be accessed using any standard electric guitar. TaTaTa k k k e e e Yo Yo Yoururur Guitar Guitar Guitar Further Further Further ● Rated Power Output 50 W ● Patches 10 (Recalled from Panel), 40 (Recalled from MIDI Foot Controller) ● Nominal Input Level (1 kHz) INPUT: -10 dBu, EXT IN: -10 dBu ● Speaker 30 cm (12 inches) x 1 ● Connectors Front: GK In, Input, Recording Out/Phones, Rear: EXT In, EXP Pedal, Foot SW, MIDI In ● Power Supply AC 117/230/240 V ● Power Consumption 55 W ● Dimensions 586 (W) x 260 (D) x 480 (H) mm / 23-1/8 (W) x 10-1/4 (D) x 18-15/16 (H) inches ● Weight 18.5 kg / 40 lbs. 13 oz. ● Accessory Owner's Manual * 0 dBu=0.775 Vrms ■ Roland’s Flagship Modeling Amplifier. The VGA-7 V-Guitar Amplifier is the most powerful and complete modeling amplifier in history. This technological marvel serves up a range of COSM amp sounds, onboard effects, and speaker cabinet simulations—plus models of different electric and acoustic guitars, pickups, and tunings using any steel-string guitar and an optional GK-2A Divided Pickup. -
Drowned in Sound Kort.Indd 1 19-06-2008 21:28:17 Zoppo & Avec-A Together with My School Friend Cees I Started a Band Called Zoppo
30-05-2008, Primavera Sound Festival, Barcelona 3rd Bridge Helix From Experimental Punk to Ancient Chinese Music & Universal Physical Laws of Consonance This article is a written excerpt of my lecture I gave at the Primavera Sound Festival in Barcelona about my self built musical instruments. I explained what kind of instruments I make, why I make them and for which bands. I showed the audience my own copies and played a little on those instruments. Additionally I gave a deeper explanation about one particular instrument I have created, the Moodswinger. After finishing this instrument I rediscovered this instrument is not only a musical instrument, but also a educational measurement instrument which shows a universal system of consonant values based on simple physical laws. I discovered all musical scaling systems all over the world are derived from this basical system, inclusive the worst inharmonic deviated tuning system of all these variations, our Western 12-tone logaritmic equal tempered scale. - Yuri Landman The Beginning I bought my first guitar and bass guitar when I was 18. I always had a fascination for direct and simple punk rock structures instead of highly practised virtuose guitar playing used in symphonic rock and hard rock. In line of this estethical rule I refused to take traditional guitar lessons from a jazz or blues guitar teacher. I took notice of some chords and know where to put my fingers for a C7 or minor D-chord, but I have never practised long enough to play them well. I cannot even play Nirvana’s Polly properly for instance. -
Electric Guitar Amplifier with Digital Effects
Electric Guitar Amplifier With Digital Effects By Shawn Garrett Senior Project February, 2011 Computer Engineering Department California Polytechnic State University, San Luis Obispo © 2011 Shawn Garrett Garrett 1 Table of Contents Table of Figures .......................................................................................................................... 3 Acknowledgement ...................................................................................................................... 4 Abstract ....................................................................................................................................... 5 I. Introduction ............................................................................................................................ 6 II. Background ........................................................................................................................... 7 III. Requirements ....................................................................................................................... 9 IV. Design Approach Alternatives ............................................................................................ 13 V. Project Design ..................................................................................................................... 14 VI. Physical Construction and Integration ................................................................................ 21 VII. Integrated System Tests and Results ............................................................................... -
PDF Download a Concise History of the Classic Guitar 1St Edition
A CONCISE HISTORY OF THE CLASSIC GUITAR 1ST EDITION PDF, EPUB, EBOOK Graham Wade | 9780786649785 | | | | | A Concise History of the Classic Guitar 1st edition PDF Book Important New Acquisitions Included in the 2nd Edition: 1. Many folks forget that the golden era of many instrument makers and companies starts decades into their lifespan. Unsourced material may be challenged and removed. Thanks in advance for your time. Geneva School, after Saussure R. History of East Asian phonetics E. The most striking thing is the separation between the notes, though, as every chord you play is crystal clear with each component part clearly audible. In all about fifty magnificent instruments are discussed and pictured; this is the first time nearly all these specific guitars have been documented. The influence of the Speculum majus was immediate and lasting. University of Edinburgh, UK. About this time an encyclopaedic dictionary known as Suda , or Suidas , broke with tradition by adopting alphabetical order for its contents. By signing up, you agree to our Privacy Notice. The A New Tune A Day books have the same logical, gentle pace, and keen attention to detail, but with a host of innovations: the inclusion of a DVD and an audio CD - with actual performances and backing tracks - will make practice even more fun and exciting, and the explanatory diagrams and photographs will help the student to achieve the perfect technique and tone. The first proposals were a failure, however, and Diderot was enlisted to plan what at that time was still essentially a translation on a much broader basis. -
Lead Series Guitar Amps
G10, G20, G35FX, G100FX, G120 DSP, G120H DSP, G412A USER’S MANUAL G120H DSP G412A G100FX G120 DSP G10 G20 G35FX LEAD SERIES GUITAR AMPS www.acousticamplification.com IMPORTANT SAFETY INSTRUCTIONS Exposure to high noise levels may cause permanent hearing loss. Individuals vary considerably to noise-induced hearing loss but nearly everyone will lose some hearing if exposed to sufficiently intense noise over time. The U.S. Government’s Occupational Safety and Health Administration (OSHA) has specified the following permissible noise level exposures: DURATION PER DAY (HOURS) 8 6 4 3 2 1 According to OSHA, any exposure in the above permissible limits could result in some hearing loss. Hearing protection SOUND LEVEL (dB) 90 93 95 97 100 103 must be worn when operating this amplification system in order to prevent permanent hearing loss. This symbol is intended to alert the user to the presence of non-insulated “dangerous voltage” within the products enclosure. This symbol is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the unit. Apparatus shall not be exposed to dripping or splashing. Objects filled with liquids, such as vases, shall not be placed on the apparatus. • The apparatus shall not be exposed to dripping or splashing. Objects filled with liquids, such as vases, shall not be placed on the apparatus. L’appareil ne doit pas etreˆ exposé aux écoulements ou aux éclaboussures et aucun objet ne contenant de liquide, tel qu’un vase, ne doit etreˆ placé sur l’objet. • The main plug is used as disconnect device. -
Applications to Guitar Feedback Control
Proceedings of the 2010 Conference on New Interfaces for Musical Expression (NIME 2010), Sydney, Australia Mechanisms for Controlling Complex Sound Sources: Applications to Guitar Feedback Control Aengus Martin Sam Ferguson and Kirsty Beilharz Computing and Audio Research Laboratory Faculty of Arts and Social Sciences School of Electrical and Information Engineering Faculty of Design, Architecture and Building The University of Sydney The University of Technology, Sydney [email protected] [email protected] ABSTRACT Guitar/Amplifier Feedback Loop Many musical instruments have interfaces which emphasise the pitch of the sound produced over other perceptual char- acteristics, such as its timbre. This is at odds with the mu- Metal sical developments of the last century. In this paper, we Slide introduce a method for replacing the interface of musical String Dampers instruments (both conventional and unconventional) with a more flexible interface which can present the intrument's available sounds according to variety of different perceptual characteristics, such as their brightness or roughness. We Audio Feature Mechanical Controller apply this method to an instrument of our own design which Auditing Controller Extraction (Pitch Mechanism comprises an electro-mechanically controlled electric guitar Level etc.) and amplifier configured to produce feedback tones. Keywords Audio Features & Control Concatenative Synthesis, Feedback, Guitar User Interface Associated Control Parameter & Parameters Audio Feature 1. INTRODUCTION Database Concatenative sound synthesis (CSS) is a technique for synthesizing sound by assembling a sequence of short seg- ments of digital audio and concatenating them together Figure 1: A block diagram of the system. (see, e.g. [1] and [2]). There are two parts to a CSS sys- tem. -
Real-Time Composition As a Strategy for the 21St Century Composer
Escola Superior de Música e das Artes do Espectáculo Real-Time Composition as a Strategy for the 21st Century Composer Óscar Rodrigues A dissertation submitted in fulfillment of the requirements for the degree of Master of Composition and Music Theory supervised by Prof. Dimitris Andrikopoulos September 27, 2016 Abstract Real-Time Composition, despite being a term commonly used in computer music and free improvisation circles, is also one whose definition is not clear. This dissertation aims to, in seeking and attempting its conceptualisation, permit a deeper look at the core of the activity of western classical music making. By discussing the concepts and current views on composition, improvisation, musical work, interpretation and performance, we will propose a working definition that will later serve as a model for music making; one that involves both the composer and performers, influenced by their context, as creators. This model borrows heavily from Walter Thompson’s Soundpainting technique. We will then analyse the outcome of three different concerts, of increasing complexity and level of control, that resulted from the previous discussion and end by concluding that Real-Time Composition is, in fact, fundamentally different from improvisation, and an extension of western classical music practice. Keywords: real-time composition, improvisation, soundpainting Abstract A Composição em Tempo Real, apesar de ser um termo regularmente utilizado nos cír- culos da música electrónica e da improvisação livre, não tem uma definição clara. Esta dissertação tem como objectivo, ao procurar a sua conceptualização, perceber de forma mais profunda o núcleo da actividade produtiva da música clássica ocidental. Ao discutir os con- ceitos e entendimentos correntes de composição, improvisação, obra musical, interpretação e performance, será proposta uma definição operacional que irá posteriormente servir como modelo para a criação musical; este modelo envolve tanto compositores como intérpretes, influenciados pelo seu contexto, enquanto criadores. -
In the Studio: the Role of Recording Techniques in Rock Music (2006)
21 In the Studio: The Role of Recording Techniques in Rock Music (2006) John Covach I want this record to be perfect. Meticulously perfect. Steely Dan-perfect. -Dave Grohl, commencing work on the Foo Fighters 2002 record One by One When we speak of popular music, we should speak not of songs but rather; of recordings, which are created in the studio by musicians, engineers and producers who aim not only to capture good performances, but more, to create aesthetic objects. (Zak 200 I, xvi-xvii) In this "interlude" Jon Covach, Professor of Music at the Eastman School of Music, provides a clear introduction to the basic elements of recorded sound: ambience, which includes reverb and echo; equalization; and stereo placement He also describes a particularly useful means of visualizing and analyzing recordings. The student might begin by becoming sensitive to the three dimensions of height (frequency range), width (stereo placement) and depth (ambience), and from there go on to con sider other special effects. One way to analyze the music, then, is to work backward from the final product, to listen carefully and imagine how it was created by the engineer and producer. To illustrate this process, Covach provides analyses .of two songs created by famous producers in different eras: Steely Dan's "Josie" and Phil Spector's "Da Doo Ron Ron:' Records, tapes, and CDs are central to the history of rock music, and since the mid 1990s, digital downloading and file sharing have also become significant factors in how music gets from the artists to listeners. Live performance is also important, and some groups-such as the Grateful Dead, the Allman Brothers Band, and more recently Phish and Widespread Panic-have been more oriented toward performances that change from night to night than with authoritative versions of tunes that are produced in a recording studio. -
The Duality of the Composer-Performer
The Duality of the Composer-Performer by Marek Pasieczny Submitted for the Degree of Doctor of Philosophy School of Arts Faculty of Arts and Social Sciences Supervisors: Prof. Stephen Goss ©Marek Pasieczny 2015 The duality of the composer-performer A portfolio of original compositions, with a supplementary dissertation ‘Interviews Project: Thirteen Composers on Writing for the Guitar’. Abstract The main focus of this submission is the composition portfolio which consists of four pieces, each composed several times over for different combinations of instruments. The purpose of this PhD composition portfolio is threefold. Firstly, it is to contribute to the expansion of the classical guitar repertoire. Secondly, it is to defy the limits imposed by the technical facilities of the physical instrument and bring novelty to its playability. Third and most importantly, it is to overcome the challenges of being a guitarist-composer. Due to a high degree of familiarity with the traditional guitar repertoire, and possessing intimate knowledge of the instrument, it is often difficult for me as a guitarist-composer to depart from habitual tendencies to compose truly innovative works for the instrument. I have thus created a compositional approach whereby I separated my role as a composer from my role as a guitarist in an attempt to overcome this challenge. I called it the ‘dual-role’ approach, comprising four key strategies that I devised which involves (1) borrowing ‘New Music’ practices to defy traditionalist guitar tendencies which are often conservative and insular; (2) adapting compositional materials to different instrumentations; and expanding on (3) the guitar technique as well as; (4) the guitar’s inventory of extended techniques.