DOCSLIB.ORG

Diplomarbeit

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Diplomarbeit DIPLOMARBEIT Titel der Diplomarbeit „Modeling für E-Gitarren“ Analysen, Methoden und Reproduktionen Verfasser Stefan Schuster angestrebter akademischer Grad Magister der Philosophie (Mag.phil.) Wien, 2010 Studienkennzahl lt. Studienblatt: A 316 Studienrichtung lt. Studienblatt: Musikwissenschaft Betreuer: Ass.-Prof. Dr. Emil H. Lubej Inhaltsverzeichnis Abstract:..................................................................................................................................................4 1. Möglichkeiten für Gitarristen/innen um bekanntes Material nachzumodellieren ..................5 1.1 Der analoge Weg .................................................................................................................................. 5 1.1.1 analoge Rekonstruktion: ........................................................................................................................ 5 1.1.2 Nachbau am Beispiel Hendrix: .............................................................................................................. 9 1.2 Der digitale Weg ................................................................................................................................. 12 2. Jimi Hendrix und der Versuch einer digitalen Reproduktion .................................................16 2.1 Jimi Hendrix, eine kurze Lebensgeschichte des größten Gitarristen aller Zeiten ....................... 16 2.2 Jimi Hendrix, seine Ausrüstung und Technik ................................................................................. 19 2.2.1 Gitarren (Trampert, 1998:45-60): ....................................................................................................... 20 2.2.2 Verstärker: ........................................................................................................................................... 23 2.2.3 Effekte (Trampert, 1998:61-84): .......................................................................................................... 23 2.3 Hendrix Meisterwerk „Little Wing“ als Versuchsobjekt ............................................................... 30 2.4 DigiTech und der Versuch den Klang von Hendrix zu simulieren ................................................ 35 2.4.1 Geschichte: .......................................................................................................................................... 35 2.4.2 DigiTech Artist Serie: .......................................................................................................................... 36 2.4.3 Funktion und Technik: ......................................................................................................................... 39 2.4.4 Wie funktioniert das Pedal und das Production Modeling? ................................................................ 40 2.5 Virtuelle Instrumente und Jimi Hendrix ......................................................................................... 45 2.5.1 Sounddesign mit Hilfe von nicht gitarrenspezifischen Plugins: ........................................................... 45 2.5.2 Gitarren-Plugins: ................................................................................................................................ 46 2.5.3 Analyse der Arbeitsweise: .................................................................................................................... 49 2.6 Ergebnisse eines Versuches ............................................................................................................... 59 2.6.1 Der Versuchsaufbau: ........................................................................................................................... 59 2.6.2 Hörtest-Evaluierung: ........................................................................................................................... 62 2.6.3 Ergebnisse: .......................................................................................................................................... 63 3. Digitale Signalprozessoren und deren Verwendung mit Faltungsalgorithmen für die Musikproduktion und speziell für Gitarristen ..................................................................................70 3.1 Eine kurze Geschichte der Signalprozessoren, und der Faltung ................................................... 70 3.1.1 Geschichte der Prozessoren: ............................................................................................................... 70 3.1.2 Geschichte der Faltung: ...................................................................................................................... 71 3.1.3 Impulse und ihre Antworten: ............................................................................................................... 73 Diplomarbeit Musikwissenschaft Stefan Schuster 3.1.4 Die Faltung für Gitarre: ...................................................................................................................... 76 3.2 Ein Überblick über die momentanen Möglichkeiten für Musiker und der Versuch einer Bestandsaufnahme .......................................................................................................................................... 78 3.1.1 im Studio: ............................................................................................................................................. 78 3.2.2 Live: ..................................................................................................................................................... 81 3.2.3 Gitarre: ................................................................................................................................................ 82 4. Zukunftsperspektiven der Elektronischen Gitarre ...................................................................83 4.1 Die derzeitige Situation ...................................................................................................................... 83 4.2 Eine mögliche Zukunft ...................................................................................................................... 85 5. Abstract .........................................................................................................................................87 Literaturverzeichnis .............................................................................................................................91 Bilderverzeichnis ..................................................................................................................................92 Grafiken ................................................................................................................................................93 Evaluierungsbogen ...............................................................................................................................94 CD Inhalt...............................................................................................................................................97 Little Wing Noten .................................................................................................................................99 Bilder ...................................................................................................................................................100 Resümee: .............................................................................................................................................112 3 Diplomarbeit Musikwissenschaft Stefan Schuster Abstract: Diese Diplomarbeit beschäftigt sich mit digitalen der Rekonstruktion bekannter Gitarrenklänge und versucht sie mit analogen Geräten zu vergleichen. Des Weiteren werden aufgrund eines Experimentes verschiedene Methoden, analog, oder digital, verglichen und bewertet. Es wird auch der finanzielle Aspekt näher betrachtet, denn dieser ist ausschlaggebend für die momentanen Entwicklungen. Im Mittelpunkt dieser Diplomarbeit stehen, Jimi Hendrix und dessen Gitarrensound, besonders Hendrix Lied Little Wing, das als Vergleichsobjekt für den Versuch dient. Zur Evaluierung werden die Gitarrenprogramme, Amplitube und GuitarRig, ein Jimi Hendrix Effektpedal, welches mit einem digitalen Signalprozessor1 arbeitet, digitale Effekte eines Sequenzers, und analoge Geräte, benutzt. Die Diplomarbeit beschäftigt sich außerdem, mit der Analyse, der Arbeitsweise von Gitarrenprogrammen und Effektpedalen, welche mit Faltungsalgorithmen arbeiten, mit Hilfe von Oszillogrammen und Frequenzbandanalysen. Es wird Bezug auf Patenttexte und rechtliche Grundlagen zur Simulation, genommen, da dies ein wichtiger Faktor für den Nutzer2 und das Nutzen der Programme und Geräte ist. Andere Bereiche der Musikproduktion, in denen digitale Signalprozessoren und Faltungsalgorithmen benutzt werden, werden ebenso betrachtet, da sie, vor allem bei der Simulation von Studioeffektgeräten, die Lösungen für Gitarristen im Umfang der Daten (Impulsantworten), und Rechenleistung der einzelnen Geräte übertreffen und damit zukunftsweisend für Gitarristen sein können. Ein weiterer Bestandteil ist die Betrachtung der Faltung für Gitarren, beziehungsweise die Simulation verschiedener Gitarrentypen. Als Beispiel dient eine sogenannte Modeling-Gitarre der Firma Line 6, in der digitale Signalprozessoren verbaut wurden, die mit Faltungsalgorithmen bekannte Gitarrentypen simuliert und ermöglicht diese mit einem Programm am Computer zu bearbeiten. Zum Schluss dieser Arbeit wird dann versucht, aus den gewonnen
Load more

Recommended publications
  • Ten Top Stories That Disparately Impacted African-Americans in 2011
    University of South Florida Scholar Commons Newspaper collection The Weekly Challenger 2012-01-05 The Weekly Challenger : 2012 : 01 : 05 The Weekly Challenger, et al Follow this and additional works at: https://scholarcommons.usf.edu/challenger Recommended Citation The Weekly Challenger, et al, "The Weekly Challenger : 2012 : 01 : 05" (2012). Newspaper collection. 106. https://scholarcommons.usf.edu/challenger/106 This is brought to you for free and open access by the The Weekly Challenger at Scholar Commons. It has been accepted for inclusion in Newspaper collection by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Presort Std U.S. Postage PAID Permit #2271 St. Petersburg, FL OPINION COMMUNITY COMMUNITY SPORTS Dr. E. Faye William on Imagine A Year Like This! 2 The Spotlight is on Kiko, Tim And The Crew 3 Local Author Fair 4 Buccaneers Fire Morris, Rest Of Coaching Staff 8 50¢ We Value Diversity. We Value Education. We Value History. St. Petersburg • Clearwater • Largo • Tarpon Springs • Dunedin • Safety Harbor VOLUME 44 NUMBER 19 JANUARY 5 - JANUARY 11, 2012 ST. PETERSBURG, FLORIDA Father George Clements Keynotes Ten Top Stories That Dr. MLK Breakfast Disparately Impacted African-Americans In 2011 BY HAZEL TRICE EDNEY TRICEEDNEY WIRE.COM WASHINGTON, D.C. – At least 10 top stories that disparately impacted African-Americans in 2011 are carrying over into the New Year, forecasting continued struggles, but also new hope for 2012. Among the top stories Father George Clements Troy Davis headlined by the Black Press in BY ANGELA ROUSON only a few hundred black 2011 are the consistently high SPECIAL TO THE Catholic priests in the United unemployment rate; President CHALLENGER States.
    [Show full text]
  • Dec. 22, 2015 Snd. Tech. Album Arch
    SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Affinity-Affinity S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1970 (Vertigo) E=Frank Owen, Robin Geoffrey Cable P=John Anthony SOURCE=Ken Scott, Discogs, Original Album Liner Notes Albion Country Band-Battle of The Field S=Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) S=Island Studio, St. Peter’s Square, London (PARTIAL TRACKING) R=1973 (Carthage) E=John Wood P=John Wood SOURCE: Original Album liner notes/Discogs Albion Dance Band-The Prospect Before Us S=Sound Techniques Studio Chelsea, London. (PARTIALLY TRACKED. MIXED: SOUND TECHNIQUES A-RANGE) S=Olympic Studio #1 Studio, Barnes, London (PARTIAL TRACKING) R=Mar.1976 Rel. (Harvest) @ Sound Techniques, Olympic: Tracks 2,5,8,9 and 14 E= Victor Gamm !1 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) P=Ashley Hutchings and Simon Nicol SOURCE: Original Album liner notes/Discogs Alice Cooper-Muscle of Love S=Sunset Sound Recorders Hollywood, CA. Studio #2. (TRACKED: SOUND TECHNIQUES A-RANGE) S=Record Plant, NYC, A&R Studio NY (OVERDUBS AND MIX) R=1973 (Warner Bros) E=Jack Douglas P=Jack Douglas and Jack Richardson SOURCE: Original Album liner notes, Discogs Alquin-The Mountain Queen S= De Lane Lea Studio Wembley, London (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= 1973 (Polydor) E= Dick Plant P= Derek Lawrence SOURCE: Original Album Liner Notes, Discogs Al Stewart-Zero She Flies S=Sound Techniques Studio Chelsea, London.
    [Show full text]
  • FAS Amps Models Axe III Ares12.05.Pdf
    Nbr PHOTO AXE-FX AMP FW BASED ON AMP DESCRIPTION 1 1959SLP Jump Marshall 1959 SLP 90's Reissue of a late 60’s 100w Marshall Super Lead model 1959. See PLEXI 100W for the Vintage Reissue Series original. Emulates “jumpering the inputs” on a 4-hole amp 2 1959SLP Normal Marshall 1959 SLP Normal channel, dark Vintage Reissue Series and has loads of bass. 3 1959SLP Treble Marshall 1959 SLP Treble channel, boosted Vintage Reissue Series bright tone. 4 1987X Jump Marshall 1987x 90's Reissue of the 50w JMP Lead 1987. Features an “essential” mod to the tonestack of Vintage Reissue Series this Plexi. Emulates “jumpering the inputs” on a 4-hole amp 5 1987X Normal Marshall 1987x Normal channel, dark Vintage Reissue Series and has loads of bass. 6 1987X Treble Marshall 1987x Treble channel, boosted Vintage Reissue Series bright tone. 7 5153 100w Blue EVH 5150 III Blue (medium gain/rhythm) ch. 100w, 6L6. Made in collaboration with Fender. (Blue) 8 5153 100w Green EVH 5150 III Green (clean) ch. (Green) 9 5153 100w Red EVH 5150 III Red (high gain/lead) ch. (Red) 10 5153 50w Blue EVH 5150 III The 50w version has a different input network than the 100w, and as a result has about (Blue) twice the gain 11 59 Bassguy Fender Bassman (5F6-A-Tweed) 1959, Tweed era, 5F6-A circuit, 4x10. Low-to-medium gain amp designed for bass but widely adopted by guitarists. 12 5F1 Tweed Fender Champ (5F1-Tweed) 5F1 circuit (‘58-’64), one volume only, Class A, 5w.
    [Show full text]
  • Roger Mayer RM456 Well with the Unit and It Sounded Good with a Variety of Source Material
    / Review nice and linear as one would expect and the unit provides a good front end for recording. Dynamic, condenser and ribbon mics behaved Roger Mayer RM456 well with the unit and it sounded good with a variety of source material. As we push up into RUSSELL COTTIER tries some 456HD Analogue Tape the distortion area of the pre-amplifier, the higher frequency harmonics start to creep in as Simulation from this 4-channel mic pre one would expect, and it is possible to create some controlled transients in the tracking oger Mayer was there at the bleeding allow accurate recall, and the knobs feel good process without any audible artefacts, on edge in the dawn of rock music. In to use. There are buttons for Phase, Line input sources such as snare drums and acoustic guitar. 1964 he started building effect pedals and engaging the 456 circuitry, with an LED Moving on to the 456HD processing, it’s Rfor Jimmy Page. Mayer also designed indicator adjacent to the switch.The ferrite noticeable this mode added some noise floor and built pedals used by Jimi Hendrix, Jeff transformers in this unit are all hand would in increase to the output, up to 3dB. However this Beck and session guitar legend Big Jim the UK and each channel has a separate Mic, was not too noticeable in use, and certainly Sullivan. After a year working for Olympic in Line and Output transformer all with linear added a little tape vibe. The aim of the 1968 Roger Mayer moved to the US and phase, and frequency response up to 80kHz processing is to create the colouration of started his own company building limiters, EQs apparently.
    [Show full text]
  • UCLA LAW MAGAZINE PRESORTED UCLA School of Law, Office of the Dean FIRST CLASS MAIL Box 951476, Los Angeles, CA 90095-1476 U.S
    Final Cover 3/26/01 10:13 AM Page 1 UCLA LAW MAGAZINE PRESORTED UCLA School of Law, Office of the Dean FIRST CLASS MAIL Box 951476, Los Angeles, CA 90095-1476 U.S. POSTAGE PAID www.law.ucla.edu UCLA [email protected] APRIL 2001 Return Service Requested Friday, April 20, 1 P.M. “The Changing Face of Practice: Perspectives from the Profession and the Law School” A Symposium to mark the 30th Anniversary of the UCLA School of Law Clinical Program with a dinner and tribute to Professor David Binder UCLA LAW MAGAZINE UC L A featuring Shirley M. Hufstedler LAW MAGAZINE The Magazine of the UCLA School of Law MCLE credit approved for 2.5 hours general credit and 1.75 ethics credit Vol. 24 L No. 1 L Fall.Winter.2000.2001 Please call (310) 825-7376 or e-mail [email protected] • Saturday, April 21, 9 A.M.- 6 P.M. AALS Colloquium: Equal Access to Justice Please call (310) 206-9155 or e-mail [email protected] 3030 YearsYears ofof Clinical Clinical LegalLegal EducationEducation • Tuesday, April 24, NOON UCLA Law Alumni of the Year Awards A Salute to The Honorable Elwood Lui [Ret.] ’69 Public/Community Service and N Skip Brittenham ’70 FALL.WINTER.2000–2001 Professional Achievement Century Plaza Hotel Please call (310) 206-1121 or e-mail [email protected] • Tuesday, April 24, 4:30 P.M. The Twelfth Annual Public Interest Awards UCLA School of Law, Room 1430 Please call (310) 206-9155 or e-mail [email protected] MAY 2001 Sunday, May 20, 2 P.M.
    [Show full text]
  • Dunlop }Imillendrix Tuzz J
    TEST effekter ~ Dunlop }imillendrix tuzz J;ace JII-);1 · Odavio JII-0(1 · Signalure WahJII-1R • • Av David Morin ••••••••••••••••••••••••••••••••••••• Urfaderns pedalpark Cslight return) id NAMM-mässan 2007 berättade Duntop att man i samarbete med kade mängder av störningar och brus vid höga fuzznivåer. Något som clerra exemplar är helt ~ pedalgurun]eorge Tripps var i stånd att lansera en rad pedaler med tung befriar från. Bravo. Der svårtyglade oscillerande Hendrix anknytning. Tripps var tidigare mest känd som mannen bakom missljud som hörs så fort du försöker använda V en wah-wah med vinrage krets före en kisel­ de kultfiirklarade pedalerna från Way Huge och Line 6 framgångsrika Stompbox rransisrorurrusrad Fuzz Face i signalkedjan finns Modeler serie. Produktionsproblem hos Duntop gjorde dock att detta projekt försenades däremot kvar. Precis som på originalen. Auren­ och inte fö'rrå'n mot slutet av förra året fanns pedalerna ute i handeln. Tre pedaler, riskr var ordec. alla "playable collectables" enligt fabrikanten, ingår i Dunlops Jimi Hendrix SLUTOMDÖME Authentic Analog Series - Fuzz Face, Octavio och Wah- Wah. I bruksanvisningen påstås der, förmodligen helt felakrigr, arr kretsen med BC108 kiselt­ im i Hendrix namn säljer än idag och man en fröjd arr vila ögonen på. Der enda som egenc- ransistorer användes av Hendrix på inspel­ kan hitta hans namn på all r ifrån golfbol- !igen s rör en enrusiasr som jag är Dunlops val ningen av der legendariska livealbumet Band !ar till damväskor. Sedan 80-raler har Dun- av färg . Den fejkade ruekosa hammarlacken har ofGypsys från 1970. Något som också förne­ 1lop val r arr associera honom rill en mängd aldrig använts i pedalens hisroria och jag rycker kas av en viss Roger Mayer.
    [Show full text]
  • Are We Still Rolling?
    Are We Still Phill BRrowonlling? Studios, Drugs and Rock ‘n’ Roll - One Man’s Journey Recording Classic Albums Are We Still Phill BrRowonlling? Studios, Drugs and Rock ‘n’ Roll - One Man’s Journey Recording Classic Albums To Sally: Thank you for everything. I could not have achieved as much without you. “There’s my truth, there’s your truth, and then there’s The Truth.” -Steve Smith “This is my truth - some may disagree.” -Phill Brown In memory of musicians, producers, family and friends who did not make it to 2010: Robert Ash, Mark Bolan, John Bonham, Lenny Breau, Linda Brown, Vicki Brown, Leslie Brown, Jenny Bruce, David Byron, Sandy Denny, Dave Domlio, Jim Capaldi, Mongezi Feza, Lowell George, Keith Harwood, Alex Harvey, Bill Hicks, Nicky Hopkins, Brian Jones, Paul Kossoff, Vincent Crane, Ronnie Lane, John Martyn, George Melly, Bob Marley, Steve Marriott, Jimmy Miller, Denise Mills, Willie Mitchell, Roy Morgan, Mickie Most, Harry Nilsson, Kenji Omura, Robert Palmer, Mike Patto, Cozy Powell, Keith Relf, Lou Reizner, Nigel Rouse, Del Shannon, Norman Smith, Alan Spenner, Guy Stevens, Peter Veitch, Kevin Wilkinson, Suzanne Wightman and Chris Wood. Are We Still Phill BrRowonlling? Studios, Drugs and Rock ‘n’ Roll - One Man’s Journey Recording Classic Albums Copyright 2010 by Phill Brown Published by Tape Op Books www.tapeop.com [email protected] (916) 444-5241 Distributed by Hal Leonard www.halleonard.com Art Direction by John Baccigaluppi Editing by Larry Crane Graphic Design by Scott McChane Proofreading by Caitlin Gutenberger Legal Counsel by Alan Korn Front Cover photo by Roger Hillier Phill would like to thank Larry Crane and John Baccigaluppi at Tape Op Books, Roger Hillier, Julian Gill, Robert Palmer, Barbara Marsh, Dana Gillespie, John Fenton, Ray Doyle, Steve Smith, Sasha Mitchell, Caroline Hillier and Paula Beetlestone.
    [Show full text]
  • Reproductions Supplied by EDRS Are the Best That Can Be Made from the Original Document
    DOCUMENT RESUME ED 464 635 IR 058 441 AUTHOR Lamolinara, Guy, Ed. TITLE The Library of Congress Information Bulletin, 2000. INSTITUTION Library of Congress, Washington, DC. ISSN ISSN-0041-7904 PUB DATE 2000-00-00 NOTE 480p. AVAILABLE FROM For full text: http://www.loc.gov/loc/lcib/. v PUB TYPE Collected Works Serials (022) JOURNAL CIT Library of Congress Information Bulletin; v59 n1-12 2000 EDRS PRICE MF01/PC20 Plus Postage. DESCRIPTORS Electronic Libraries; *Exhibits; *Library Collections; *Library Services; *National Libraries; World Wide Web IDENTIFIERS *Library of Congress ABSTRACT These 12 issues, representing one calendar year (2000) of "The Library of Congress Information Bulletin," contain information on Library of Congress new collections and program developments, lectures and readings, financial support and materials donations, budget, honors and awards, World Wide Web sites and digital collections, new publications, exhibits, and preservation. Cover stories include:(1) "The Art of Arthur Szyk: 'Artist for Freedom' Featured in Library Exhibition";(2) "The Year in Review: 1999 Marks Start of Bicentennial Celebration"; (3) "'A Whiz of a Wiz': New Library Exhibition on 'The Wizard of Oz' Opens"; (4) "The Many Faces of Thomas Jefferson: Father of the Library Subject of New Exhibition"; (5) Library of Congress bicentennial events; (6) "Thanks for the Memory: New Bob Hope Gallery Opens at Library"; (7) "Local Legacies: American Culture Captured in Bicentennial Program"; (8) "America at Work, School and Play: Web Films Document American Culture, 1894-1915"; (9) "Herblock's History Political Cartoon Exhibition Opens Oct. 17";(10) "Aaron Copland Centennial"; and (11)"Al Hirschfeld: Beyond Broadway: Exhibition of Work by Famed Graphic Artist Open." (Contains 91 references.) MES) Reproductions supplied by EDRS are the best that can be made from the original document.
    [Show full text]
  • Dionysian Symbolism in the Music and Performance Practices of Jimi Hendrix
    City University of New York (CUNY) CUNY Academic Works Dissertations and Theses City College of New York 2013 Dionysian Symbolism in the Music and Performance practices of Jimi Hendrix Christian Botta CUNY City College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/cc_etds_theses/205 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Dionysian Symbolism in the Music and Performance Practice of Jimi Hendrix Christian Botta Submitted in partial fulfillment of the requirements for the degree Master of Arts in Musicology At the City College of the City University of New York May 2013 Table of Contents Introduction 1 Chapter One – Hendrix at the Monterey Pop and Woodstock Festivals 12 Chapter Two – ‘The Hendrix Chord’ 26 Chapter Three – “Machine Gun” 51 Conclusion 77 Bibliography 81 i Dionysian Symbolism in the Music and Performance Practice of Jimi Hendrix Introduction Jimi Hendrix is considered by many to be the most innovative and influential electric guitarist in history. As a performer and musician, his resume is so complete that there is a tendency to sit back and marvel at it: virtuoso player, sonic innovator, hit songwriter, wild stage performer, outrageous dresser, sex symbol, and even sensitive guy. But there is also a tendency, possibly because of his overwhelming image, to fail to dig deeper into the music, as Rob Van der Bliek has pointed out.1 In this study, we will look at Hendrix’s music, his performance practice, and its relationship to the mythology that has grown up around him.
    [Show full text]
  • Jimi Hendrix and the Making of Are You Experienced: Updated and Expanded Online
    qzEuw (Mobile pdf) Jimi Hendrix and the Making of Are You Experienced: Updated and Expanded Online [qzEuw.ebook] Jimi Hendrix and the Making of Are You Experienced: Updated and Expanded Pdf Free Sean Egan *Download PDF | ePub | DOC | audiobook | ebooks Download Now Free Download Here Download eBook #772431 in eBooks 2016-10-07 2016-10-07File Name: B01MCQNGP0 | File size: 77.Mb Sean Egan : Jimi Hendrix and the Making of Are You Experienced: Updated and Expanded before purchasing it in order to gage whether or not it would be worth my time, and all praised Jimi Hendrix and the Making of Are You Experienced: Updated and Expanded: 0 of 0 people found the following review helpful. Worthwhile for the Factual informationBy LLI loved the fresh interview materials and the factual sleuthing the author (Sean Egan) has added to the Hendrix story, and especially towards the time and setting leading up to and around Hendrix's recording of Are You Experienced in London, Great Britain in 1966-1967.The author is less successful when he infuses his own opinion about what works or doesn't work with Hendrix's material. For instance, he would have it that Hendrix would have sung 'ain't sang a tune all WEEK' instead of Day, just to have it vaguely rhyme with 'sang so sweet' from an earlier line... (Even if 'sweet' and 'week' rhymed, that doesn't mean it's a reason to institute it in a song. Let's have Da Vinci go back and add a dog to the last supper, why don't we; wouldn't there be a dog hanging round such a feast for scraps?) As another reviewer has noted, Egan finds fault with songs such as 'I Don't Live Today', 'Third Stone From the Sun' and the song 'Are You Experienced', leading me to belive that while Egan knows it's an 'important album', that doesn't neccessarily equate with him being able to tune into the overall greatness of its individual parts.So while the Egan's own opinions set the book back a shade, one can't discount his effort in getting the research together for this book.
    [Show full text]
  • Roger Mayer Interview Australian Guitar Volume 66
    ARE YOU EXPERIENCED?He was Jimmy Page’s childhood friend, Jimi Hendrix’s custom pedal maker/sounding board and prepped guitars for the likes of Bob Marley and Ernie Isley. In an exclusive interview with Australian Guitar the master designer reflects on his career highlights, politely explains the difference between an audiophiles and audio-fools, and offers his opinion on the current quality of audio recordings accepted by society. Story Craig White Roger Mayer (far left) enjoys an afternoon of amatuer filmaking with the Jim Hendrix Experience 40 II AUSTRALIAN GUITAR xxxxxxxxxxxxxxxxx xxxxxxxxxxxxxxxxxxxxxxx xxxxxxxxxxxxxxxxxx roger.indd 40 1/5/08 11:25:50 AM oger Mayer is a British electrical “You had to get by me first. If you’re not engineer who has been involved hanging out with Jimi, and you haven’t in creating cutting edge effects got a personal relationship, you wouldn’t and recording equipment for know when you’re going to get the real over 40 years. In that time he performance. I mean, anybody’s going to has worked with some of the be impressed, and willing to accept any Rmost important musicians of his or any performance.” other generation, artists who have cast their Hendrix is often thought of in terms of shadow long over popular music. These days, his ability to coax unusual sounds from Mayer produces a range of contemporary his instrument, a situation that Roger effects that both recreate the legendary contributed to with his effects boxes, ARE YOU units he produced in the past and maintain but first and foremost, Hendrix was an his commitment to extending the sonic exceptional blues player, albeit one with an palette available to contemporary musicians.
    [Show full text]
  • Sonic Utopia and Social Dystopia in the Music of Hendrix, Reznor and Deadmau5
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Boston University Institutional Repository (OpenBU) Boston University OpenBU http://open.bu.edu Theses & Dissertations Boston University Theses & Dissertations 2015 Sonic utopia and social dystopia in the music of Hendrix, Reznor and Deadmau5 https://hdl.handle.net/2144/15988 Boston University BOSTON UNIVERSITY GRADUATE SCHOOL OF ARTS AND SCIENCES Dissertation Sonic Utopia and Social Dystopia in the Music of Hendrix, Reznor and Deadmau5 by EVAN FRANCIS BARROS B.A., Boston College, 2004 Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2015 © Copyright by EVAN FRANCIS BARROS 2015 Approved by First Reader _________________________________________________________ Victor Coelho, Ph.D. Professor of Music Second Reader _________________________________________________________ Bruce Schulman, Ph.D. William E. Huntington Professor of History DEDICATION For my parents, Jack and Rose. !iv ACKNOWLEGMENTS Thank you to my wonderfully supportive dissertation committee: Victor Coelho, Bruce Schulman, Brita Heimarck, Jennifer Tebbe-Grossman, and Andrew Shenton. Special thanks to Dr. Coelho for serving as my advisor and guiding me through this journey with invaluable advice, perspective and inspiration. This project would not have been possible without the support of the American and New England Studies Program at Boston University, and the faculty members and staff who have helped along the way, especially Kim Sichel, Nina Silber, Marilyn Halter, Robert Chodat, Anita Patterson, Jessica Sewell, Paul Schmitz, and Tony Barrand. Thank you to my loving family: Manuel, Maria, Lilly, Gloriana, Devin, Maggie, Victor, Ester, Kenny, Stephanie, Anabela, Selina, Joaquim, Candida, Isabel, Ethan and Bradnee.
    [Show full text]