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Roger Sadowsky Interview, Bass Guitar Magazine UK
ROGER THAT 028 BASS GUITAR MAGAZINE 028-030 Sadowsky_rev3JH.indd 28 13/07/2015 18:17 BASSISTS ROGER SADOWSKY Roger Sadowsky, one of the world’s leading bass luthiers, stopped by at the London Bass Guitar Show to talk to Mike Brooks about his bass building philosophy stroll around Olympia during the “I recommended a good fret job, shielding the London Bass Guitar Show can be electronics, a better bridge and a preamp – actually, a noisy experience to say the only the second bass preamp I had ever installed. I was least – yet on both days of this using a circuit by Stars Guitars from San Francisco, a year’s event back in March, group that had come out of the Alembic school. That’s A there was a tangible buzz: an what I gave Marcus – but within a year, they went out audible sound of hushed of business and Marcus’s preamp died! They told me mutterings between those in attendance. “It is him, when they were closing up that the closest thing to isn’t it?”... “Is that really him? Here in London?” what they were making was a Bartolini TCT preamp. Who could they have been talking about, you ask? I used that until 1990, when I wanted to create my Well, yes it was true – one of the premier luthiers outboard preamp box and Alex Aguilar [of Aguilar of the bass world was there at the London Bass fame] helped me to design my own circuit.” Guitar Show, and boy did Roger Sadowsky make a Back in those days, there was no internet or social splash. -
Overview Guitar Models
14.04.2011 HOHNER - HISTORICAL GUITAR MODELS page 1 [54] Image Category Model Name Year from-to Description former retail price Musima Resonata classical; beginners guitar; mahogany back and sides Acoustic 129 (730) ca. 1988 140 DM (1990) with celluloid binding; 19 frets Acoustic A EAGLE 2004 Top Wood: Spruce - Finish : Natural - Guitar Hardware: Grover Tuners BR CLASSIC CITY Acoustic 1999 Fingerboard: Rosewood - Pickup Configuration: H-H (BATON ROUGE) electro-acoustic; solid spruce top; striped ebony back and sides; maple w/ abalone binding; mahogany neck; solid ebony fingerboard and Acoustic CE 800 E 2007 bridge; Gold Grover 3-in-line tuners; shadow P7 pickup, 3-band EQ; single cutaway; colour: natural electro-acoustic; solid spruce top; striped ebony back and sides; maple Acoustic CE 800 S 2007 w/ abalone binding; mahogany neck; solid ebony fingerboard and bridge; Gold Grover 3-in-line tuners; single cutaway; colour: natural dreadnought western guitar; Gruhn design; 20 nickel silver frets; rosewood veneer on headstock; mahogany back and sides; spruce top, Acoustic D 1 ca. 1991 950 DM (1992) scalloped bracings; mahogany neck with rosewood fingerboard; satin finish; Gotoh die-cast machine heads dreadnought western guitar; Gruhn design; rosewood back and sides; spruce top, scalloped bracings; mahogany neck with rosewood Acoustic D 2 ca. 1991 1100 DM (1992) fingerboard; 20 nickel silver frets; rosewood veneer on headstock; satin finish; Gotoh die-cast machine heads Top Wood: Sitka Spruce - Back: Rosewood - Sides: Rosewood - Guitar Acoustic -
ICA 2010 Paper
Proceedings of the International Symposium on Music Acoustics (Associated Meeting of the International Congress on Acoustics) 25-31 August 2010, Sydney and Katoomba, Australia Experimental Approaches on Vibratory and Acoustic Characterization of Harp-Guitars Enrico Ravina (1) (1) University of Genoa, MUSICOS Centre of Research, Genoa, Italy PACS: 43.75.- z; 43.75.Gh ABSTRACT The paper describes the results of a research activity, still under development, oriented to the vibratory and acoustic characterization of harp-guitars. Vibration analyses show interesting differences between harp-guitars and classical guitars about displacements detected on the soundboard and on the bridge and their dependence to frequencies. Acoustic analyses detect very different responses of harp-guitars to various frequencies, showing also the different acoustic emission at sound holes. Comparisons between signals detected by external and surface internal micro- phones allow estimating effects of the acoustic damping in these particular instruments. INTRODUCTION later two designs are technically harp guitars with open strings. They were smaller in size as was fashionable at the Harp-guitars represent a separate and distinct category within time. Barry and Harley of London, excellent craftsmen, built the guitar family, are those most commonly and popularly these instruments for Light. Many of these table harp lutes, as referred to today as harp guitars. This particular category of they were called, are still around today. The desire for ex- instruments includes guitars with any number of additional tended range on a guitar was evident as composers, such as unstopped strings that can accommodate individual plucking. Fernando Sor (1778-1839) and Matteo Carcassi (1792-1853) The word "harp" is a specific reference to the unstopped open wrote music on a three necked, 21 strung guitar, called a strings, and is not specifically a reference to the tone, pitch hypolyre. -
Bass Guitar Owner's Manual Bass Guitar Configuration
Bass Guitar Owner's Manual Bass Guitar Configuration 4 5 6 3 11 7 8 9 10 3 12 1. Volume 7. Position Markers 2. Tone Controls 8. Fret 3. Strap Button 9. Fingerboard 4. Bridge 10. Nut 1 5. Bridge Pickup 11. Tuning Keys 2 6. Neck Pickup 12. String Retainer Control Configuration blend treble tone bass volume bridge volume treble tone neck volume neck volume bridge volume tone Congratulations So, you are the owner of a new Peavey Bass Guitar. Congratulations! Your purchase proves your taste in musical instruments is superb. Peavey offers a wide variety of bass guitars for beginners to professionals, each with unique qualities and features. While our professional luthiers have carefully inspected your guitar, every model requires some initial setup, and periodic maintenance is required for peak performance. To ensure proper care of your quality instrument, visit www.peavey.com/accessories for Peavey-recommended accessories, parts and cleaning supplies. Cleaning & Care When properly cared for, your Peavey bass will offer you years of pleasure. Playing your bass means that you will need to perform regular, general maintenance, such as cleaning and proper storage, to keep it looking and sounding great. Every time you play your bass, body oils and perspiration are transferred to the body, back of the neck, headstock, fingerboards, strings, tuners, pickups and bridge. After you finish performing, but before you put your bass away, take a moment to remove these contaminants. Cleaning - Wood To clean and care for the major wood parts of your bass guitar (body, headstock and the back of the neck), Peavey recommends that you use a clean, soft, lint-free, dry cotton cloth and the specially formulated guitar polish available at www.peavey.com/acces- sories. -
Designing and Building an Electric Baritone Guitar
Hendrik Gideonse Audio Research December 14, 2008 Designing an Electric Baritone Guitar 0 Anatomy of a Guitar ................................................................................................... 2 1 Introduction ................................................................................................................. 3 2 Baritone History .......................................................................................................... 3 3 Problems with Existing Designs ................................................................................. 5 3.1 String Tension ..................................................................................................... 5 3.2 Balance, Ease of Playing 1st Position Chords and Bridge Position .................... 7 3.3 Rigidity for Tone and Sustain ........................................................................... 11 4 Designing the Baritone Guitar .................................................................................. 12 4.1 Woods, Tone and Rigidity ................................................................................ 13 4.2 Angled Headstock and ‘V’ Neck Contour ........................................................ 16 4.3 Headstock Shapes ............................................................................................. 19 4.4 Joining the Neck to the Body ............................................................................ 24 4.5 Body Shape ...................................................................................................... -
Automatic Transcription of Bass Guitar Tracks Applied for Music Genre Classification and Sound Synthesis
Automatic Transcription of Bass Guitar Tracks applied for Music Genre Classification and Sound Synthesis Dissertation zur Erlangung des akademischen Grades Doktoringenieur (Dr.-Ing.) vorlelegt der Fakultät für Elektrotechnik und Informationstechnik der Technischen Universität Ilmenau von Dipl.-Ing. Jakob Abeßer geboren am 3. Mai 1983 in Jena Gutachter: Prof. Dr.-Ing. Gerald Schuller Prof. Dr. Meinard Müller Dr. Tech. Anssi Klapuri Tag der Einreichung: 05.12.2013 Tag der wissenschaftlichen Aussprache: 18.09.2014 urn:nbn:de:gbv:ilm1-2014000294 ii Acknowledgments I am grateful to many people who supported me in the last five years during the preparation of this thesis. First of all, I would like to thank Prof. Dr.-Ing. Gerald Schuller for being my supervisor and for the inspiring discussions that improved my understanding of good scientific practice. My gratitude also goes to Prof. Dr. Meinard Müller and Dr. Anssi Klapuri for being available as reviewers. Thank you for the valuable comments that helped me to improve my thesis. I would like to thank my former and current colleagues and fellow PhD students at the Semantic Music Technologies Group at the Fraunhofer IDMT for the very pleasant and motivating working atmosphere. Thank you Christian, Holger, Sascha, Hanna, Patrick, Christof, Daniel, Anna, and especially Alex and Estefanía for all the tea-time conversations, discussions, last-minute proof readings, and assistance of any kind. Thank you Paul for providing your musicological expertise and perspective in the genre classification experiments. I also thank Prof. Petri Toiviainen, Dr. Olivier Lartillot, and all the collegues at the Finnish Centre of Excellence in Interdisciplinary Music Research at the University of Jyväskylä for a very inspiring research stay in 2010. -
Electric Guitars and Basses
About Electric Guitars and Basses Since the development of the Spanish six-string guitar in the early 1800s, guitar makers and players had searched for a way to make the guitar's sound louder. (See Acoustic Guitars for more info.) Big changes came at the beginning of the 20th century when a number of guitar players and designers experimented with electrical amplification. Major changes in guitar design began with the invention of the electromagnetic transducer commonly known as a "pickup." A pickup is a device placed underneath the strings of a guitar converting string vibrations into electrical energy. This energy is converted back into sound by an amplifier. The amplifier has knobs or switches that allow the player to increase or decrease the sound level of the guitar. (See section on Amplifiers for more info.) As early as the 1930s guitar players began installing pickups in their acoustic instruments. Although this helped make the sound louder, it created a whole new set of problems - especially "feedback" when the guitar was played at high volume. Several inventors developed a solution to this problem by experimenting with a solid body for the instrument by attaching a neck with strings to a solid block of wood. This solid wood body - not as resonant as a hollow body - created less feedback when amplified. By the 1950s solid body electric guitars were mass-produced to keep up with the increasing demand for these new instruments. First seen as just a novelty, electric guitars have become one of the most popular and influential instruments in modern music - used to play blues, jazz, rock & roll, country, and rhythm & blues styles. -
Bass Syllabus
BASS SYLLABUS BOB DYLAN Qualification specifications for graded exams from 2018 KATE BUSH COLDPLAY MICHAEL JACKSON AMY WINEHOUSE ARETHA FRANKLIN THE BEATLES GUNS N’ ROSES METALLICA T REX AC/DC QUEEN BLUR U2 WHAT’S CHANGED? This syllabus features the following changes from the 2015–2017 syllabus: New selection of songs at all levels, expertly arranged for the grade and in a wide range of styles Revised marking criteria, providing examiners, teachers and candidates with increased detail on how exams are marked (see pages 34–37) Revised parameters for own-choice songs (see pages 21–25) Technical focus songs now feature two technical elements Band exams are no longer offered KEEP UP TO DATE WITH OUR SYLLABUSES Please check trinityrock.com to make sure you are using the current version of the syllabus and for the latest information about our Rock & Pop exams. You can also check out our syllabuses and graded songbooks for: Drums Guitar Keyboards Vocals OVERLAP ARRANGEMENTS This syllabus is valid from 1 January 2018. The 2015–2017 syllabus will remain valid until 31 December 2018, giving a one year overlap. During this time, candidates may present songs from the 2015–2017 syllabus or the syllabus from 2018, but not both. Candidates should indicate which syllabus they are presenting on the appointment form handed to the examiner at the start of the exam. BASS SYLLABUS Qualification specifications for graded exams from 2018 Trinity College London trinitycollege.com Charity number England & Wales | 1014792 Charity number Scotland | SC049143 Patron -
The Portuguese Guitar: History and Transformation of an Instrument Associated with Fado
THE PORTUGUESE GUITAR: HISTORY AND TRANSFORMATION OF AN INSTRUMENT ASSOCIATED WITH FADO NUNO JOSÉ DOS SANTOS ANAIA CRISTO A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO JANUARY 2014 © Nuno José dos Santos Anaia Cristo 2014 ABSTRACT Since the mid-nineteenth century the Portuguese guitar has been connected to the fado genre. Over the years, both the instrument and the song genre have experienced significant transformations, at times related to aesthetic changes, at other times conditioned by social, political and economic alterations. This thesis focuses on the historic organological development of the Portuguese guitar, as an instrument associated with fado, and explores how the Lisbon guitar model has been progressively replaced by the Coimbra guitar model (both in practice and iconic symbolism). I argue that this tendency is related to the current new era of Portuguese guitar practice with its origins in the post-revolutionary period lived in Portugal after the political overthrow in 1974. My study is based on the review and analysis of the most recent works on the subject, fieldwork among players and makers, iconographic and archival research, and my own experience as a player and maker of both models of the Portuguese guitar. ii DEDICATION To my parents iii ACKNOWLEDGMENTS Many thanks to: York University for the 2012 GS-CUPE Unit 1 Graduate Financial Assistance - Dom Award. The Faculty of Graduate Studies for the allocation of the 2012-2013 Fieldwork Fund, without whose generous financial assistance this research would have not been possible; My supervisor Louise Wrazen and secondary reader Judith Cohen for all their encouragement, help and insightful advice throughout this process; My teachers at York University: Rob van der Bliek, Robert Witmer, Robert Simms, Trichy Sankaran, and Sherry Johnson. -
SKU DESCRIPTION MODEL Retail Price W/GST SALE PRICE W/GST DISC %
Acoustic Guitars Clearance Promotion SKU DESCRIPTION MODEL Retail Price w/GST SALE PRICE w/GST DISC % 137157 GUITAR ELEC ACOUS A1M TBS A1M TBS $ 889.00 $ 445.00 50% 137156 GUITAR ELECT ACOUS A1M VIN NAT A1M VN $ 889.00 $ 445.00 50% 137159 GUITAR ELEC ACOUS A1R TBS A1R TBS $ 989.00 $ 495.00 50% 137158 GUITAR ELEC ACOUS A1R VIN NAT A1R VN $ 989.00 $ 495.00 50% 137253 GUITAR ELEC ACOUS A3M TBS A3M TBS $ 1,199.00 $ 719.00 40% 137161 GUITAR ELEC ACOUS A3M VIN NAT A3M VN $ 1,199.00 $ 719.00 40% 137254 GUITAR ELEC ACOUS A3R TBS A3R TBS $ 1,299.00 $ 779.00 40% 137162 GUITAR ELEC ACOUS A3R VIN NAT A3R VN $ 1,299.00 $ 779.00 40% 138402 GUITAR ELEC ACOUS AC1M TBS//02 AC1M TBS//02 $ 889.00 $ 445.00 50% 137160 GUITAR ELEC ACOUS AC1M VIN NAT AC1M VN $ 889.00 $ 445.00 50% 138614 GUITAR ELEC ACOUS AC1R TBS//02 AC1R TBS//02 $ 989.00 $ 495.00 50% 138612 GUITAR ELEC ACOUS AC1R VN//02 AC1R VN//02 $ 989.00 $ 495.00 50% 138404 GUITAR ELEC ACOU AC3M TBS//ARE AC3M TBS//ARE $ 1,199.00 $ 719.00 40% 138399 GUITAR ELEC ACOUS AC3M VN//ARE AC3M VN//ARE $ 1,199.00 $ 719.00 40% 138397 GUITAR ELEC ACOUS AC3R VN//ARE AC3R VN//ARE $ 1,299.00 $ 779.00 40% 120607 GUITAR ELEC ACOUS APX1000 CRB APX1000 CRB $ 1,099.00 $ 769.00 30% 117659 GUITAR ELEC ACOUS APX1000 NAT APX1000 NAT $ 1,099.00 $ 769.00 30% 117295 GUITAR ELEC ACOUS APX1000 PWH APX1000 PWH $ 1,099.00 $ 769.00 30% 121837 GUITAR ELEC ACOUS APX1200II NA APX1200II NAT $ 1,769.00 $ 999.00 44% 121838 GUITAR ELEC ACOUS APX1200II TB APX1200II TBL $ 1,769.00 $ 999.00 44% 139127 GUITAR ELEC ACOUS APX600 BLACK APX600 BLK $ -
BACH—BRANDENBURG CONCERTO No 5 MOVEMENT 3
MELODY HARMONY KEY Lots of the melody has a stepwise (conjunct) movement, The harmony uses standard chords of the time 3 Grade 5 Grade 8 Grade although there are some leaps. The music is diatonic (all the notes/chords come from There are rising sequences (when a short phrase is the key signature) repeated going one note higher each time) RHYHM, TEMPO and METRE Perfect cadences announce the ends of sections, such There are lots of scalic runs (notes going up and down a as the perfect cadence in B minor at the end of the B scale) TONALITY The metre is 2/4. section. The piece uses lots of triplets and dotted rhythms. The main tonality for the piece is D major There are lots of ornaments such as grace notes The harmony uses standard chords of the time (mainly (appoggiaturas) and trills The harpsichord part has lots of fast semiquaver runs. chords I, IV and V, with occasional use of ii and vi) The B section is in the relative minor key of The first melody idea (subject) starts with an anacrusis. B minor The harmony is functional (perfect cadences are used Because of the large number of triplets, the piece could The final A section is back in D major. also be notated in 6/8 time. to move between closely related key signatures). In the baroque era the dotted quaver-semiquaver The harmony uses mainly root position and first The key modulates often to the dominant grouping (like in the first bar) would have been inversion chords. -
Music Lessons
Do you want to learn to play an instrument or sing? It’s a skill for life Why should I It builds teamwork It helps you to make have lessons on friends an instrument? It builds confidence It’s great fun and it helps you to relax! Loads! Piano, voice, drums, guitars, What can all woodwind, brass, percussion and I learn? string instruments. Who is Everyone! Give it a go and make a it for? difference to your life, you’ll love it! Don’t miss out...Free 30 minute individual or group lessons available if you receive Pupil Premium. Ask your music teacher for more details. BECKFOOT SCHOOL CREATIVITY FACULTY Let’s get musical! Should I learn an instrument? YES! If you already play, carry on! If you don’t, learn something new! Why should I do it? There are so many reasons. It’s great fun, and that is important! Learning an instrument is proven to help long term memory, develops connections between both sides of the brain, helps you learn to multitask, helps develop reading skills and can improve your mental health. What else? If that isn’t enough, music also has a great social benefit. At Beckfoot we have a big music department, meaning you will get to make friends with lots of people. You can join musical groups and share in your enjoyment of music, while developing lifelong friendships and developing team working skills. Do we get to perform? We do lots of performances throughout the year. These might be in front of your teacher or your friend to start with.