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How All This Came About
Innovation. Amplified. Chapter 1 How All This Came About by Hartley Peavey s most of you know, electronics have been direction (i.e. a “check valve” that allows electrons to A around a very long time. In the latter part of the flow in only one direction). It had been long known 1800s, Thomas Edison perfected the incandescent that electrons possess a “negative” (-) charge and lightbulb. Edison experimented with thousands of therefore are attracted to anything having a positive combinations of materials before he finally found (+) charge. So the flow of electrons is (and will al- that a small Tungsten filament inside an “evacuated” ways be) from negative to positive. glass container would convert electricity into light. These early bulbs suffered a number of problems, The aforementioned “Edison effect” became widely but generally were perfected enough for general known, and various labs on both sides of the Atlantic use by the early 1890s... After extended use, it was performed extensive research. The modern vacuum discovered that the inside of the clear glass “bulbs” tube utilizes three or more “electrodes” whose effect would gradually darken, thus absorbing much of was discovered in 1903 by an American named Lee the light generated by the incandescent filament. DeForrest. He discovered that if an electrode with Various schemes were tried to reduce this, includ- a negative charge was inserted between the incan- ing introduction of various “Noble” gases, as well descent filament and a positively charged electrode as insertion of other metal conductors in attempts (anode), that the flow of current could be controlled to “drain off” whatever was causing the inside of (modulated), thus causing the device to act like an Edison’s bulbs to blacken after extended periods of “electronic valve”… This is why most of the world use. -
California Noise: Tinkering with Hardcore and Heavy Metal in Southern California Steve Waksman
ABSTRACT Tinkering has long figured prominently in the history of the electric guitar. During the late 1970s and early 1980s, two guitarists based in the burgeoning Southern California hard rock scene adapted technological tinkering to their musical endeavors. Edward Van Halen, lead guitarist for Van Halen, became the most celebrated rock guitar virtuoso of the 1980s, but was just as noted amongst guitar aficionados for his tinkering with the electric guitar, designing his own instruments out of the remains of guitars that he had dismembered in his own workshop. Greg Ginn, guitarist for Black Flag, ran his own amateur radio supply shop before forming the band, and named his noted independent record label, SST, after the solid state transistors that he used in his own tinkering. This paper explores the ways in which music-based tinkering played a part in the construction of virtuosity around the figure of Van Halen, and the definition of artistic ‘independence’ for the more confrontational Black Flag. It further posits that tinkering in popular music cuts across musical genres, and joins music to broader cultural currents around technology, such as technological enthusiasm, the do-it-yourself (DIY) ethos, and the use of technology for the purposes of fortifying masculinity. Keywords do-it-yourself, electric guitar, masculinity, popular music, technology, sound California Noise: Tinkering with Hardcore and Heavy Metal in Southern California Steve Waksman Tinkering has long been a part of the history of the electric guitar. Indeed, much of the work of electric guitar design, from refinements in body shape to alterations in electronics, could be loosely classified as tinkering. -
Innovation & Inspiration
Lesson: Innovation & Inspiration: The Technology that Made Electrification Possible Overview In this lesson students learn about technological innovations that enabled the development of the electric guitar. Students place guitar innovations on a timeline of technology and draw conclusions about the relationship between broad technological changes and their impact on music. This lesson builds on the Introduction to the Electric Guitar and borrows concepts from history and science. Ages: High School Estimated Time: up to 35 minutes Objectives: Students will be able to… • Identify significant technological changes that led to the development of the electric guitar. • Analyze the extent to which guitar innovators were influenced by changes in technology. Washington EALRs: • Social Studies: 4.1.1, 4.1.2 • Science: 3.2 Materials Provided by EMP • Electric Guitar Technology Timeline • Guitar Innovations handout Materials Provided by Teacher • N/A Playlist • N/A Procedure 1. Tell students they have three minutes to list as many electrical or digital inventions they use on a daily basis as possible. After time is up, have them share what they came up with and list responses on the board. Choose one or two inventions and ask students to brainstorm all the innovations that made that invention possible. How far can they get? Tell students that today they are going to learn the various innovations that went into the modern electric guitar. (10 minutes) 2. Pass out “Electric Guitar Technology Timeline.” Have students quickly scan the inventions and pick out what inventions are familiar and which are new. Based on this list, can students guess how each invention impacted the development of the electric guitar? (up to 10 minutes) 3. -
Collector, Player and Signature Guitars June 2-4
09/30/21 03:34:20 Collector, Player and Signature Guitars June 2-4 Auction Opens: Tue, Jun 2 11:00am CT Auction Closes: Thu, Jun 4 1:00pm CT Lot Title Lot Title GG0500 Harley-Davidson Themed Fender Stratocaster GG0531 Harley-Davidson Themed Fender Telecaster GG0501 1963 Gibson ES-175 DN GG0532 1961 Gibson ES 335 GG0502 Toby Keith Autographed Guitar GG0533 Harley-Davidson Themed Fender Stratocaster GG0503 1966 Gibson Firebird I Sunburst with OHSC GG0534 1958 Fender Telecaster GG0504 Gretsch G5622T Electromatic GG0535 Harley-Davidson Themed Fender Telecaster GG0505 1957 Gibson Les Paul TV Special GG0536 1960 Gibson ES 355 GG0506 Counting Crows Adam Durtiz Autographed GG0537 Harley-Davidson Themed Fender Telecaster Guitar GG0538 1965 Gibson ES - 120T GG0507 Counting Crows Adam Durtiz Autographed GG0539 Gretsch G5622T Electromatic Center Block Guitar Double Cut GG0508 1966 Epiphone Sheraton GG0540 1955 Gibson ES-125 Spanish Guitar GG0509 Harley-Davidson Themed Fender Stratocaster GG0541 Danelectro 59M Spruce Black Pearl GG0510 John Entwistle Gold Warwick Buzzard Bass GG0511 Gretsch G5655TG Electromatic Jr GG0512 1966 Epiphone Casino GG0513 Harley-Davidson Themed Fender Stratocaster GG0514 Danelectro '59M NOS Plus GG0515 1955 Gibson Les Paul Gold Top GG0516 Dave Grohl Autographed Guitar GG0517 Dave Grohl Autographed Guitar GG0518 1960 Gibson ES 345 GG0519 1956 Gibson Les Paul Jr Sunburst GG0520 Harley-Davidson Themed Fender Telecaster GG0521 1969 Gibson Les Paul Custom GG0522 Fender Acoustic/Electric Guitar GG0523 1955 Fender Stratocaster GG0524 Harley-Davidson Themed Fender Stratocaster GG0525 1976 Ibanez 2663 TC Iceman GG0526 Meatloaf Autographed Guitar GG0527 1962 Fender Stratocaster GG0528 Harley-Davidson Themed Fender Telecaster GG0529 Harley-Davidson Themed Fender Stratocaster GG0530 1968 JW Gallagher & Sons Acoustic Guitar 1/2 09/30/21 03:34:20 Payment Info Payment for On Time auction is via credit card only. -
Bajo Sexto Basics Bajo Sexto Basico
Bajo Sexto Basics Bajo Sexto Basico PREVIEW Created by Rodolfo Gonzalez ©2017 Bajo Sexto Basics/Bajo Sexto Basico Created by Rodolfo Gonzalez, Ed. D. © 2017 Table of Contents – Contenido Page(s)/pagina(s) I. Parts of the Bajo Sexto - Partes de el Bajo Sexto 3 II. Tuning the Bajo Sexto - Afinación de el Bajo Sexto 4 III. Bajo Sexto Chord Frame - Marco de Acordes 5 IV. A. Basic Major Chords – Acordes Mayores Basicos 6-7 B. Advanced Major Chords – Acordes Mayores Avanzados 8-10 V. A. Basic Minor Chords – Acordes Menores Basicos 12-13 B. Advanced Minor Chords – Acordes Menores Avanzados 13-15 VI. Basic Major Scales - Escalas Mayores Basicas 16-21 VII. Basic Minor Scales - Escalas Menores Basicas 22-27 VIII. Bass and Alternate Bass Notes– Notas de Bajo y Bajo Alternado (28) 29 IX. Chord Progressions – Círculos Basicos (28) 30 X. Passing Tones - Tonos de Paso (28) 31 XI.PREVIEW Bajo Sexto Players 32 XII. Six Song Styles - Seis Ritmos de Cancion 33-38 XIII. Songs for Bajo Sexto - Canciones para el Bajo Sexto 39-49 A. Vals: De Colores 39-40 B. Ranchera Lenta: La Barca De Oro 41-42 C. Polka: Cruz de Madera 43-44 XIV. Conjunto Groups/Grupos de Conjunto 44a D. Cumbia: La Muruca 45 E. Bolero: Cariño 46-47 F. Huapango: Besame Morenita 48-49 XV. About the Author/Informacion sobre el autor 50 2 Parts of the Bajo Sexto Partes de el Bajo Sexto Clavijero/Tuning Keys Cejilla/Nut Trastes/Frets Brazo/Neck PREVIEWBoca/Soundhole Caja de Resonancia/ Roseta/Rosetta Body Cuerdas/Strings Puente/Bridge 3 BASIC BAJO SEXTO CHORDS – TONO DE DO (Key of C) Primera De -
From Diddley Bow to Bo Diddly: Making Cigar Box Guitars Prepared by Scott Ainslie, [email protected]
From Diddley Bow to Bo Diddly: Making Cigar Box Guitars Prepared by Scott Ainslie, http://CattailMusic.com, [email protected] In the mid-1980’s, I started to visit elderly black musicians in eastern North Carolina. Mostly blues and gospel guitarists and singers, all these men (and a few women) played electric guitars when I met them. When I asked, these elders (born between 1900 and 1930) what their first instruments were, 9 out of 10 of them responded, “A cigar box guitar.” Often strung with a piece of broom wire, or one strand of wire fished out of the screen door, these elementary, home-made contraptions were gateway instruments for many fine traditional blues and gospel musicians who grew up in rural, sharecropping settings where, if you wanted to make music, you flat out had to make the thing you were going to make the music on. Over the years, I have learned that there are prototypes for these instruments all over sub-Saharan central West Africa, where the vast majority of America’s slaves were kidnapped, stolen, or purchased for removal to the New World. Instruments like these, sometimes built on the sides of outbuildings or slave cabins were likely the first stringed instruments built and played by African people in this hemisphere. The musical roots of jazz, blues, funk, even hip hop and rap begin here with this unassuming little instrument. Pitches on these instruments are changed by pressing a ‘slide’ against the string. A piece of metal or glass, smooth stone, bottleneck, folded up pocket knife, piece of silverware, or even a dried and cured ham bone can be used for shortening the working/vibrating length of the string. -
A Case Study of the Craft-Made Guitar Industry in the Global Economy
UNIVERSITY OF CALIFORNIA SANTA CRUZ DEMYSTIFYING THE CRAFT PRODUCTION: A CASE STUDY OF THE CRAFT-MADE GUITAR INDUSTRY IN THE GLOBAL ECONOMY A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in SOCIOLOGY by Yi-Chen Liu June 2021 The Dissertation of Yi-Chen Liu is approved: ______________________________________ Professor Steven McKay, chair _______________________________________ Professor Hiroshi Fukurai _______________________________________ Professor Lisbeth Haas ___________________________________ Quentin Williams Vice Provost and Dean of Graduate Studies TABLE OF CONTENTS Table of Contents.........................................................................................................iii List of Figures................................................................................................................v Abstract.......................................................................................................................vii Acknowledgments......................................................................................................viii Chapter One: Why Are Craft-made Guitars So Expensive?........................................1 Chapter Two: How Can a Luthier Create a Value for a Guitar? The Explanations from Political-Economic and Cultural Perspectives...........................................................14 Chapter Three: Case Studies and Methodology. .......................................................38 Chapter Four: Invention -
Metodologia Aplicada Al Diseño
METODOLOGIA APLICADA AL DISEÑO. U.B.A –1999- CAT.: DI BEATRIZ GALAN. TP : PROSPECTIVA. AL : CURZIO – GOMEZ – SORKIN. 1 INDICE. BREVE RESEÑA HISTORICA 2 – 3 - 4 CRONOLOGIA. 5 DESIGNACION DE PARTES. 6 TENDENCIA EVOLUTIVA. 7 AMPLIFICACION. 8 CONTROLES DE SONIDO. 9 MATERIALES ( cuerpo ) 10 MATERIALES ( mástil y puente ) 11 HARDWARE. 12 TENDENCIAS. 13 PROSPECTIVA. 14 BREVE RESEÑA HISTORICA. 2 -Desde antes del 1500 se conocian las guitarras Laúd ( familia del Ud árabe ) las cuales tenían el fondo curvo y fueron los antecesores mas cercanos de las vihuelas (España ), guitarras formadas por cinco pares de cuerdas y cinco trastes que a diferencia de los Laúd tenían el fondo plano. 1535 se publica el libro de música de vihuela de mano intitulado “Maestro”. La vihuela Ya en fue acrecentando sus medidas a través de los años en cuanto al tamaño de su caja como el de su mástil, llegando a tener a principios del 1700 unos 74 cm de cuerda y 10 trastes. En 1870 se le incorpora la sexta cuerda ( ya no en pares ) y con la guitarra diseñada en 1882 por Antonio Torres queda establecida la morfología que adoptara la guitarra clásica sufriendo muy leves cambios hasta nuestros días. 1902- Orville Gibson creo en Michigan la GIBSON MANDOLIN – GUITAR MANUFACTURING CO. 1908- Se crea la primera guitarra acústica GIBSON STYLE O que a su vez incorpora el golpeador inclinado ( se conformaría en característico de la empresa). 1926- La NATIONAL diseña su STYLE O generando de esta manera la primera guitarra resonante. Consistía en un cuerpo de madera en el que se insertaba un cono metálico con distintas caladuras que actuaban como amplificador dentro de la misma, logrando un mayor volumen en cuanto a sonido. -
The Uses and Misuses of Popular Music Lyrics in Legal Writing, 64 Wash
Washington and Lee Law Review Volume 64 | Issue 2 Article 4 Spring 3-1-2007 [Insert Song Lyrics Here]: The sesU and Misuses of Popular Music Lyrics in Legal Writing Alex B. Long Follow this and additional works at: https://scholarlycommons.law.wlu.edu/wlulr Part of the Legal Writing and Research Commons Recommended Citation Alex B. Long, [Insert Song Lyrics Here]: The Uses and Misuses of Popular Music Lyrics in Legal Writing, 64 Wash. & Lee L. Rev. 531 (2007), https://scholarlycommons.law.wlu.edu/wlulr/vol64/iss2/4 This Article is brought to you for free and open access by the Washington and Lee Law Review at Washington & Lee University School of Law Scholarly Commons. It has been accepted for inclusion in Washington and Lee Law Review by an authorized editor of Washington & Lee University School of Law Scholarly Commons. For more information, please contact [email protected]. [Insert Song Lyrics Here]: The Uses and Misuses of Popular Music Lyrics in Legal Writing Alex B. Long* Table of Contents I. For Those About To Rock (I Salute You) .................................... 532 II. I'm Looking Through You ........................................................... 537 A. I Count the Songs That Make the Legal Profession Sing, I Count the Songs in Most Everything, I Count the Songs That Make the Young Lawyers Cry, I Count the Songs, I Count the Songs ................................................. 537 B . A dd It U p ............................................................................... 539 C. I'm Looking Through You .................................................... 541 1. It Takes a Profession of Thousands To Hold Us Back .... 541 2. Baby Boomers Selling You Rumors of Their History ..... 544 3. -
Confusão Entre Viola, Violão E Guitarra. - História Dos Captadores Eletromagnéticos
...e ainda: - Confusão entre Viola, Violão e Guitarra. - História dos captadores eletromagnéticos. … entre outros. Por: João Gravina para Ebora Guitars Ebora Guitars agradece ao Luthier brasileiro João Gravina os textos cedidos, abaixo, para ajudar a entender melhor o mundo da guitarra. O mestre Gravina, pelo que nos é dado a conhecer, é sem dúvida uma voz a ter em conta no mundo da Luthearia pelos anos de prática e conhecimentos adquiridos. … a ele um muito obrigado! Francisco Chinita (Ebora Guitars) O QUE É UMA GUITARRA ELÉTRICA? Tudo começou quando o captador eletromagnético foi criado em 1931, pois antes disso só havia guitarras/violas 100% acústicas. A intenção não era criar um instrumento novo, mas sim aumentar o volume delas num amplificador, para poder tocar guitarra em grupos musicais onde houvesse piano, bateria e metais, ou seja, instrumentos com som muito mais forte. Entretanto, a amplificação acabou conduzindo a uma sonoridade diferente, o que deu na criação de um novo instrumento chamado GUITARRA ELÉTRICA. Só que essa guitarra microfonava muito devido ao seu corpo oco. A busca pelo fim da microfonia é que levou à invenção da guitarra de corpo maciço (solidboby guitar). Esse novo instrumento criado após a Segunda Guerra, a GUITARRA SOLIDBODY, ganhou personalidade própria no início dos anos 50, mudando o curso da História, pois a Música nunca mais foi a mesma a partir daí. Uma das solidbody pioneiras foi a Fender, que dominou pouco a pouco o mercado, devido à sua inteligente postura de marketing. Em poucos anos, seus modelos tornaram-se ícones nas mãos dos ídolos musicais. -
Joe's Jazz & Blues Fest
CONTACT: Somerville Arts Council Vera Vidal 50 Evergreen Ave. [email protected] Somerville, MA 02145 617-935-7086 www.somervilleartscouncil.org FOR IMMEDIATE RELEASE: Oct. 11, 2012 Mayor Joseph A. Curtatone & The Somerville Arts Council present: JOE’S JAZZ & BLUES FEST Oct. 27-Nov.3 The festival starts with a free outdoor festival at Powderhouse Park on 10/27 (rain date 11/4); just across the street from 136 College Ave. From left to right: Jeremy Lyons, Sonic Explorers About the Event: The brain child of Mayor Joe, who played trumpet in the Somerville High School Jazz Band, Joe’s Jazz and Blues Festival is back this year. Kicking off on Saturday, October 27th, with an all-day free concert at Pow- derhouse Park from noon to 6pm, the festival will then make its way through local hot spots throughout the following week until November 3rd. On Saturday, October 27th, get ready for a free all-day outdoor event at Powderhouse Park! The Somer- ville High School Jazz Ensemble will kick off the concert at noon, getting the crowd going with sounds ranging from American Jazz to Delta Blues. From then on, there will be non-stop music until 6 pm. The lineup includes Agachiko, The Jellyrollers, Jeremy Lyons Trio, Sonic Explorers and The Tim Gartland Group. During the week, area venues will showcase some of the incredible local talent in our musical midst. To get things started, Cantina la Mexicana will host on October 27th the Sarah Levecque Band; expect to hear a mix of original roots, country and blues. -
Patented Electric Guitar Pickups and the Creation of Modern Music Genres
2016] 1007 PATENTED ELECTRIC GUITAR PICKUPS AND THE CREATION OF MODERN MUSIC GENRES Sean M. O’Connor* INTRODUCTION The electric guitar is iconic for rock and roll music. And yet, it also played a defining role in the development of many other twentieth-century musical genres. Jump bands, electric blues and country, rockabilly, pop, and, later, soul, funk, rhythm and blues (“R&B”), and fusion, all were cen- tered in many ways around the distinctive, constantly evolving sound of the electric guitar. Add in the electric bass, which operated with an amplifica- tion model similar to that of the electric guitar, and these two new instru- ments created the tonal and stylistic backbone of the vast majority of twen- tieth-century popular music.1 At the heart of why the electric guitar sounds so different from an acoustic guitar (even when amplified by a microphone) is the “pickup”: a curious bit of very early twentieth-century electromagnetic technology.2 Rather than relying on mechanical vibrations in a wire coil to create an analogous (“analog”) electrical energy wave as employed by the micro- phone, “pickups” used nonmechanical “induction” of fluctuating current in a wire coil resulting from the vibration of a metallic object in the coil’s magnetized field.3 This faint, induced electrical signal could then be sent to an amplifier that would turn it into a much more powerful signal: one that could, for example, drive a loudspeaker. For readers unfamiliar with elec- tromagnetic principles, these concepts will be explained further in Part I below. * Boeing International Professor and Chair, Center for Advanced Studies and Research on Inno- vation Policy (CASRIP), University of Washington School of Law (Seattle); Senior Scholar, Center for the Protection of Intellectual Property (CPIP), George Mason University School of Law.