Fretted Instrument Strings 2002/2003
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Jason Cale Band Song List Izabella
Jason Cale Band Song list Izabella - Hendrix Heavy (I Want You)-- Beatles Tired of Talking--Robben Ford Get in the Clear-- Original *Tall and Lanky-- Jeff Coffin World of Wonder-- Original *Rock me Right-- Susan Tedeschi Mountain Time-- Joe Bonamassa Tell Me I’m Your Man-- Robben Ford Stranglehold-- Ted Nugent Made a Fool of My Heart --Original Django-- Jeff Beck Walk On-- Original Afro Blue-- Fusion jazz standard Our way back--Original Rugged Road-- Robben Ford What ya Say--Original Last Night-- Tab Benoit New Orleans Ladies--Louisiana Lareaux Keep Movin-- Marcus King Band A Fool Like You- Original Cissy Strut--- The Meters *What is and What Should Never Be-- Zeppelin The Chicken-- James Brown *Day of the Eagle*-- Robin Trower Freedom-- Hendrix Never Make Your Move Too Soon-- BB King Say One Thing-- Doyle Bramhall Jump In-- Original Couldn’t Stand the Weather-- SRV *My Love Will Never Die-- Willie Dixon Tightrope--SRV *Anyhow-- Tedeschi Trucks Let Love Take Control--Tab Benoit some kind of wonderful--Grand Funk Railroad Problem Child-- Doyle Bramhall Slave to Society-- Original Iko Iko-- Dr. John When I’m Missing You-- Original? The Storm-- Joe Bonamassa *Human Nature-- Michael Jackson Little Wing-- Hendrix I’m Here to Tell Ya-- Original Lenny-- SRV *Stairway to Heaven-- Zeppelin Mississippi Queen-- Mountain Down the Road- Henrik Fleischander That’s messed UP-- My 3 Sons trio Lay There and Hate Me-- Ben Harper Can’t Always Get What ya Want-- Rolling Stones Her Mind is Gone-- Professor Longhair Scapegoat Blues-- Jimmy Herring *Honky Tonk Women-- Rolling Stones All Blues-- Jazz standard Good love Gone Bad-- Original Sweet Melissa-- Allman Bros Empty Arms-- SRV Burn it Down- blues standard Asking Around for You-- Joe Bonamassa Too Sweet for Me-- Tab Benoit Whipping Post-- Allman Bros Gravity-- John Mayer *Rock and Roll-- Zeppelin Come Together-- Beatles Who Did You Think I Was-- John Mayer Over You-- Original Somber-- Original . -
Blues Bass String Recommendations
Blues Bass String Recommendations Barr is sceptically flavoursome after orientating Orson bivouac his eyas ahead. Indo-Iranian Stearn rustle or damage some overstuffssnow-on-the-mountain immitigably or perceptively, clarifies any however conservatoriums. iatrogenic Berkeley screeches placidly or revenge. Skippy remains Eocene after Salomo As they deliver balanced string bass strings with coating on string Victor Wooten uses super light strings. All the strings listed above will make your bass sound great. This should appeal to a wide range of players, especially those playing modern styles. Blue Steel bass strings. However, the bass guitar has a different musical sound. Double bass Wikipedia. Can you tell us what in particular you find suspect? Some players perform with the sides of one, two, or three fingers, especially for walking basslines and slow tempo ballads, because this is purported to create a stronger and more solid tone. But certainly more difficult on some than others. They are made so that the acoustic instrument musicians feel just as appreciated as they need to be. What are the best bass strings? The good news though is that you only need to know the key points to appreciate which guitar strings will work best for you. Ernie Ball strings, in addition to hundreds of thousands of musicians the world over. For the first week or so on my XLs or boomers I find them to be harsher on my fingers till they are broken in. Having said that, if you want to experiment, then you could try halfwound strings. DR Strings is not just about being colorful. -
Perceptual Fusion of Noise and Complex Tone by Means of Amplitude Modulation
Perceptual Fusion of Noise and Complex Tone by Means of Amplitude Modulation Pär Johansson Master’s Thesis Department of Speech, Music and Hearing The Royal Institute of Technology, Stockholm Abstract This report investigates pulse-synchronised amplitude modulation as a method for perceptual fusion of noise and tone. It is shown that when the noise is amplitude modulated by the waveform envelope of the tone, higher amplitude modulation depth yields stronger fusion. In addition, the evidence suggests that fusion remains constant for tone frequencies from 150 to at least 600 Hz. Sammanfattning Det är numera välkänt att olika former av brus är en väsentlig del av klangfärgen hos de flesta akustiska instrument, vilket ofta förbises vid konstruktionen av elektroniska och digitala musik- instrument. Forskning inom detta område har visat att bruset tillför en ökad realism till syntetiserade instrument, men också att det inte är tillräckligt att bara mixa en ton med vitt brus för att vi skall uppfatta de båda komponenterna som en sammansatt klang – en lyckad sammansmältning eller perceptuell fusion kräver att bruset och tonen är korrelerade. Ett sätt att åstadkomma detta är att amplitudmodulera bruset med tonens frekvens. Detta är ett fenomen som uppstår naturligt i bl a röst, blås- och stråkinstrument. Denna uppsats behandlar dels hur modulationsdjupet påverkar fusionen, dels hur fusionen varierar med tonens frekvens. En enkel modell av ett instrument med en bruskälla skapades, där tonens frekvens och ljudnivå, brusets ljudnivå och modulationsdjupet kunde variera. För att pröva hypoteserna 1) fusionen ökar med modulationsdjupet och 2) fusionen minskar med frekvensen, gjordes lyssnartest vid frekvenserna 150, 300 och 600 Hz. -
3. Intercultural Tension in Music by Chaya Czernowin and Isabel Mundry: Variations on Identity and Musical Meaning
V. New Music and Beyond: Music-Historical and Cultural Entanglements 385 3. Intercultural Tension in Music by Chaya Czernowin and Isabel Mundry: Variations on Identity and Musical Meaning A phenomenon crucial for the perception of new music, and which is featured prominently in Helmut Lachenmann’s sound typology, is the transition between structure and texture: the more information is conveyed at once in a musical context, the more it is perceived in terms of “global” characteristics – that is, structure (conceived as an interaction of individual sound elements or “families”) morphs into texture (in which one global characteristic dominates) – and the reverse process is, of course, equally relevant. Although this principle was particularly well- known and much explored in “sound composition” during the 1960s, it plays a certain role in listening to almost any polyphonic or multi-layered music. Complex and dazzling musical strat- ification was derived by many composers in the twentieth century from the legacy of Romantic orchestral magic (→ VI.1). Such a “dialogue” between layers can give rise to a morphological viv- idness that communicates itself directly, even without the framework of tonal harmony. In the music that emerged from the fault lines of cultural globalization from the end of the nineteenth century, it was, as we have seen, a much-used procedure to conceptualize the differ- ences between cultural idioms in the form of such a layered structure: groups of instruments and/or musical timbres were often arranged “culturally” (and usually differing composition- al techniques applied to such groups mirrored this cultural segregation). In Tan Dun’s Ghost Opera (1994), the string quartet was culturally “identified” by the C# minor prelude from volume 1 of Bach’s Well-Tempered Clavier, the Chinese pipa by the Chinese folk song Xiao bai cai. -
1977 Catalog Martin Archery Inc
1977 CATALOG MARTIN ARCHERY INC. ROUTE 5. BOX 127, WALLA WALLA WASHINGTON 99362 U.S.A. AREA 509 529-2554 INDEX Accessory Case .......... ... ..... 70 Game Bag ........ .... ........ 74 Armguards ........ .... ....... 15 Glove Powder ...... .. ... ... ..... 36 Arromcter ................... .. 31 Gloves ........................ 14 Arrows .................... 7,8, 9 Ground Quivers ..... ... ... .... .. 16 Arrow Boxes .......... ... .. 71 Arrow Case ............ .. ... 70 Insect Repellent ... .... .... .. .. 57 Arrow Clips .................. 67 Arrow Holders ....... .. .... ... 49 Kisser Buttons .... ............ .. 41 Arrow Numbers .. .... ...... ... 58 Knives ...... ... .. .... .... ... 74 Arrow Rests ............ ...... 35 Kwik Knurl ................. .. 13 Arrow Straightener ......... .... 46 Lacquer .... .. ........ ...... 58, 76 Backpacks ............. ... ... .. 75 Lure .............. .. .. ... .... 50 Belt ............... ... ..... 18 Berger Button ........ ... ........ 35 Matts, Easel ......... ..... ... .. 63 Blun ts .............. ......... 13 Books ............... ..... 68 69 Nocks ......... .. .... .... ... 66 Bows ................... .... 19-30 Nocking Points ... ............. .. 48 Bow Cases ......... ...... 70, 71 Bow Covers ................. 53 Points: Field, Target, Blunts ......... 13 Bow Levels .................. .40 Pouch ............... ... .... 34 Bow Saddles .................. 34 Powder Pouch ............ ....... 34 Bowslings .......... .... .. ... 34 Bow Squares........ ...... .... 46 Buwstri ngs ................. -
2001-2002 Fretted Instrument Strings
The Player’s Choice™ Fretted Instrument Strings 2001-2002 Introduction With the tremendous variety of strings available, choosing the right set for your playing style and taste can be quite a confusing task, but it can also be a rewarding one. D’Addario’s 2001 catalog has been designed to provide you with all the technical information you need to make selecting your favorite strings as easy as possible. It also includes some string tips to help you get the most out of the strings you choose. We’re sure you’ll find it useful. 4 ”Live television is one of the most demanding gigs for any musician. Knowing that I can always count on D’Addario strings to perform makes all the difference in the world.” - Kevin Eubanks - guitarist, The Tonight Show ”I love the fat, crunchy sound I get from D’Addario strings. They never let me down, and they allow me to put all my energy into making music.” - Poncho Sampedro - guitarist, Neil Young & Crazy Horse ”It is best to play music from the heart. To do that, you need a string that has a true pitch and beautiful sound. These are among the many fine qualities I find in D’Addario strings.” - Ben Verdery - classical guitarist ”I have used D’Addario strings since 1989. After all these years of playing them exclusively, I can tell you that D’Addario Composite Strings are the most consistent strings I have ever used. They are more in tune than any other brands, they never break, and they last very long in the studio and on the road.” - Ottmar Liebert - flamenco guitarist 5 Table of Contents Electric Guitar Strings -
GALAXY PIANOS Quickstart Guide
GALAXY PIANOS Quickstart Guide 1 1. WELCOME .......................................................................... 2 2. INSTALLATION AND LIBRARY TAB ................................... 3 3. USER INTERFACE ............................................................. 4 4. GLOBAL PRESETS ............................................................ 6 5. VELOCITY EDITOR ............................................................ 7 6. PAD MACHINE ................................................................... 8 1. WELCOME Thank you for buying a virtual piano from the Galaxy Piano line. This quickstart guide will lead you through the installation process and will show you the basics of the Galaxy Piano user interface. For more information, use the info field in the Kontakt 4 library tab or go to www.galaxypianos.com . 1. Galaxy Piano Models Currently Galaxy Pianos presents four pianos, the first three being part of the GALAXY II Grand Piano Collection. All pianos are also available as a Download Edition: GALAXY STEINWAY A handpicked STEINWAY D concert grand, recorded at Galaxy Studios, both in stereo and 5.1 Surround VIENNA GRAND A huge and powerful BÖSENDORFER 290 1920 GERMAN BABY GRAND A 75 year old VINTAGE BLÜTHNER with a beautiful, intimate tone GALAXY VINTAGE D Bauer Studios‘ Vintage STEINWAY D from 1920, used in dozens of legendary Jazz Recordings 2. Features • Every piano contains more than 2000 samples in 24 Bit • Mapped in up to 13 modeled velocity zones for a wide and smooth dynamic range • Real sustain resonance and release -
ACOUSTICS for VIOLIN and GUITAR MAKERS Erik Jansson
Dept of Speech, Music and Hearing ACOUSTICS FOR VIOLIN AND GUITAR MAKERS Erik Jansson Fourth edition2002 http://www.speech.kth.se/music/acviguit4/part1.pdf Index of chapters Preface/Chapter I Sound and hearing Chapter II Resonance and resonators Chapter III Sound and the room Chapter IV Properties of the violin and guitar string Chapter V Vibration properties of the wood and tuning of violin plates Chapter VI The function, tone, and tonal quality of the guitar Chapter VII The function of the violin Chapter VIII The tone and tonal quality of the violin Chapter IX Sound examples and simple experimental material – under preparation Webpage: http://www.speech.kth.se/music/acviguit4/index.html PREFACE The aim of this compendium is to build an understanding for the acoustics of the guitar and the violin, and to explain how their different parts cooperate. This will be done with results obtained by research. I shall show what can be measured and what can be perceived by our ears. Further I shall hint at measuring procedures that the maker himself may develop. Finally I shall show how "standard" laboratory equipment can be used to measure characteristics of the violin and the guitar, which partly shall be used by the participants of this course. Much energy has been devoted to balance an informative presentation without too much complication. Hopefully this balance is appropriate for many readers. The material presented is a combination of well known acoustical facts, late research on the acoustics of the violin and the guitar and results of the latest results of the ongoing research at KTH. -
Noise-Free Haptic Interaction with a Bowed-String Acoustic Model
Noise-free haptic interaction with a bowed-string acoustic model Stephen Sinclair∗ Marcelo M. Wanderley† Vincent Hayward‡ Gary Scavone§ Input Devices and Music Input Devices and Music UPMC Univ Paris 06, Computational Acoustics Interaction Laboratory, Interaction Laboratory, UMR 7222, Institut des Systemes` Modeling Laboratory, CIRMMT, McGill University CIRMMT, McGill University Intelligents et de Robotique, CIRMMT, McGill University F-75005, Paris, France ABSTRACT involve forces that depend on velocity. Velocity estimation, espe- Force-feedback interaction with a bowed string model can suffer cially at high frequency, tends to be noisy; any position noise from critically from noise in the velocity signal derived from differenti- sensors or encoders, as found in most force feedback devices on the ating position measurements. To address this problem, we present market, is accentuated by differentiation and this noise enters the a model for bowed string interaction based on a position-constraint synthesis loop. While higher-order estimation techniques can im- friction. We validate the proposed model by comparing to previous prove the situation [3, 10], noise is nonetheless emphasized when a work using off-line simulations, and show measurements of inter- high sampling frequency is employed and is particularly problem- action on haptic hardware. This noise-free excitation signal leads atic if it is present in the signal path to the loudspeaker. to cleaner string motion than previous models, thereby improving One example where this issue becomes critical is in the bowed the quality of force and audio synthesis. string. In this situation, the bow and the string are coupled by a non- linear viscous relationship which determines their relative sticking 1 INTRODUCTION and slipping behaviour [15]. -
The Lilac Cube
University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses 5-21-2004 The Lilac Cube Sean Murray University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/td Recommended Citation Murray, Sean, "The Lilac Cube" (2004). University of New Orleans Theses and Dissertations. 77. https://scholarworks.uno.edu/td/77 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. THE LILAC CUBE A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Fine Arts in The Department of Drama and Communications by Sean Murray B.A. Mount Allison University, 1996 May 2004 TABLE OF CONTENTS Chapter 1 1 Chapter 2 9 Chapter 3 18 Chapter 4 28 Chapter 5 41 Chapter 6 52 Chapter 7 62 Chapter 8 70 Chapter 9 78 Chapter 10 89 Chapter 11 100 Chapter 12 107 Chapter 13 115 Chapter 14 124 Chapter 15 133 Chapter 16 146 Chapter 17 154 Chapter 18 168 Chapter 19 177 Vita 183 ii The judge returned with my parents. -
Schaeffer Stands His Ground: Orfée 53 and Evocative Sound
EMS : Electroacoustic Music Studies Network – Montréal 2005 Barbara Fox University of Nevada, Reno Mail Stop 226 Reno, NV 89503 (775) 784-7015 x 248 [email protected] Schaeffer Stands His Ground: Orfée 53 and Evocative Sound At the annual festival in Donaueschingen in October of 1953, Pierre Schaeffer and Pierre Henry debuted Orfée 53, a new musique concrète opera, based on Gluck’s Orpheus and Euridice. The collaboration exhibited magnetic tape manipulations, a technique pioneered by Schaeffer experimenting with the creation of sound objects. Orfée 53 featured a live female vocalist, a harpsichord, and evocative tape sound. This ambitious work scandalized the modern German listeners and characterized Orfée 53 as a crime against the avant-garde.1 Schaeffer’s ideal of experimental music was part of the ongoing controversy between the Elektronische and concrète composers. I will argue that Schaeffer’s compositions of 1953, especially Orfée 53, intended to cultivate a new era of musicality and research in the genre of musique concrète. As in Schaeffer’s works from 1949, repetitive characteristics of the sounds in Orfée 53 helped to identify characteristics for the listener. In my opinion, Schaeffer’s objective for the listener was to recognize some natural sounds mixed with abstract sounds to enhance the operatic form. Certainly, this 1 Digital Music Archives-Electronic, Improvised, and World Music. http://www.digital-music-archives.com Based on an article by Michel Chion in Larousse de la Musique, 1982. 1/16 EMS : Electroacoustic Music Studies Network – Montréal 2005 can be shown in his use of recorded human breath and heart beat of Orfée’s Prologue. -
April 2019 Newsletter.Pub
Newsletter Date Volume 7, Issue 4 PARK Roanoke’s Newsletter© www.PARKRoanoke.com April 2019 How to Navigate In a Traffic Circle or Roundabout Don’t be a Clark Griswold and drive in continual circles for hours on end as in the famous European Vacation movie. While we don’t have many of these in the Roanoke area, there are more being built throughout our driving area. Often called traffic circles, roundabouts are designed to make intersections safer and more efficient for drivers while avoiding long waits at a standard traffic light. It’s important to know the rules of the road with roundabouts. There are a few key rules to know when driving in a roundabout: 1. The vehicle already in the circle has the right of way 2. Do not Stop in the roundabout 3. Avoid driving next to an oversized vehicle 4. Always watch for pedestrians and pedestrian signal lights. 5. Stay in your lane and give your turn signal when you are ready to exit Prior to entering the roundabout, choose a lane. Once you see a gap in traffic, enter the circle and proceed to your exit. If there is no traffic in the roundabout, you may enter without yielding. To go straight or right, get into the right lane; and, to go straight or left, enter the left lane. Because large vehicles may need extra room to complete their turn in a roundabout, drivers should remember never to drive next to large vehicles in a roundabout. Roundabouts are designed to accommodate vehicles of all sizes, including emergency vehicles, buses, farm equipment and semitrucks with trailers.