Fully Automated Guitar Tuner
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TOPIC 1.3: Sound
TOPIC 1.3: Sound Students will be able to: S3P-1-17 Investigate to analyze and explain how sounds are produced, transmitted, and detected, using examples from nature and technology. Examples: production of sound by a vibrating object, drums, guitar strings, cricket, hummingbird, dolphin, piezocrystal, speakers… S3P-1-18 Use the decision-making process to analyze an issue related to noise in the environment. Examples: sonic boom, traffic noise, concert halls, loudspeakers, leaf blowers… S3P-1-19 Design, construct (or assemble), test, and demonstrate a technological device to produce, transmit, and/or control sound waves for a useful purpose. Examples: sound barrier or protective headphones to reduce the effects of noise, electromagnetic speakers, echo chamber, microphone, musical instruments, guitar pickup, electronic tuner, sonar detector, anechoic chamber, communication devices… S3P-1-20 Describe and explain in qualitative terms what happens when sound waves interact (interfere) with one another. Include: production of beats S3P-1-21 Experiment to analyze the principle of resonance and identify the conditions required for resonance to occur. Include: open- and closed-column resonant lengths S3P-1-22 Experiment to calculate the speed of sound in air. S3P-1-23 Compare the speed of sound in different media, and explain how the type of media and temperature affect the speed of sound. S3P-1-24 Explain the Doppler effect, and predict in qualitative terms the frequency change that will occur for a stationary and a moving observer. S3P-1-25 Define the decibel scale qualitatively, and give examples of sounds at various levels. S3P-1-26 Describe the diverse applications of sound waves in medical devices, and evaluate the contribution to our health and safety of sound-wave- based technologies. -
Ultimate Guitar Online's Revisions: Instrument
1.5 6.0 6.0 178.3 279.6 29.2 120.0 29.2 54.1 171.5 54.1 7.5 11.5 16.0 12.0 4.5 4.5 A B 2.4 6.0 3.0 228.5 54.1 120.4 54.1 151.3 26.5 98.3 26.5 11.5 16.0 5.0 4.5 4.5 10.7 10.7 104.6 C E 4.8 7.2 3.0 6.0 385.3 117.1 54.1 61.9 54.1 51.6 109.6 54.1 26.5 64.2 26.5 11.5 16.0 5.0 4.5 M D 3.0 3.0 23.4 197.1 210.1 26.5 144.2 26.5 26.5 157.1 26.5 5.0 5.0 192.3 F G 3.0 224.7 251.7 26.5 171.7 26.5 26.5 198.8 26.5 5.0 5.0 H J 3.0 3.0 205.7 165.6 26.5 152.7 26.5 26.5 112.6 26.5 5.0 5.0 K L Certain Luthiers Tune The Top By Making The Top Progressively Thinner As It Reaches The Guitar Edge And Remain Full Thickness At The Top. If You Do This Do Not Reduce The Edges Below 2.2mm And Make The Center Slightly Thicker. Center Bridge Brace On 660mm Line For Scale 52.4 Length. (4500 C F Brace Key Numbers. Refer To Brace Diagram Plan For 54.0 Bracing Layouts 20.8 4.8 (4500 G 29.1 R 36.8 Dashed Line Indicates Rossette 85.7 12.7 1.2 Reinforcement Extends Beyond Rossette Approx. -
Fully Automated Guitar Tuner
Fully Automated Guitar Tuner ECE 445 Final Report Benjamin Wang, Brandon Ramos, Cooper Ge Team 71 TA: Vassily Petrov 5/8/20 1 Abstract The problem we chose to address is that tuning guitars is a time consuming and undesirable task for guitar players of all levels. When tuning by ear, it is extremely hard to find the right pitch. The original solution was similar to current commercial tuners; it told you the closest approximate pitch and graphically indicated how sharp or flat you were. Our new solution is an all-in-one tuning solution with minimal user input. Rather than just displaying the input graphically, our device will automatically handle both strumming and tuning to mechanically tune the guitar. The main improvement is convenience for the user. 2 Table of Contents Abstract 1 Table of Contents 2 1 Second Project Motivation 3 1.1 Problem Statement 3 1.2 Solution 3 1.3 High-Level Requirements 3 1.4 Visual Aid 4 1.5 Block Diagram 4 2. Second Project Implementation 6 2.1 Physical Design 6 2.1.1 Physical Design Implementation 6 2.1.2 Physical Design Implementation Analysis 7 2.2 Algorithm 8 2.2.1 Background 8 2.2.2 Algorithm Summary 9 2.2.3 Testing Results 11 Figure 2.2.3.1 Testing Results 1 11 2.2.4 Algorithm Improvements 11 Figure 2.2.4.1 Testing Results 2 12 2.3 Control Logic 12 Figure 2.3.2 Control Logic Pseudocode 13 2.4 Microcontroller 13 2.5 Audio System 14 2.5.1 Audio System Implementation 14 2.5.2 Audio System Implementation Analysis 14 2.6 Bill of Materials and Cost 15 3 Second Project Conclusions 17 3.1 Implementation Summary 17 3.1.1 Algorithm Implementation 17 3.2 Unknowns, Uncertainties and Testing Needed 18 3.3 Safety and Ethics 18 3.4 Project Improvements 19 4 Progress made on First Project 20 5 References 21 3 1 Second Project Motivation 1.1 Problem Statement It’s an unfortunate fact of life that guitars fall out of tune over time. -
Layout 1 (Page 1)
OWNER’S MANUAL 1550-07 GUS © 2007 Gibson Guitar Corp. To the new Gibson owner: Congratulations on the purchase of your new Gibson electric guitar—the world’s most famous electric guitar from the leader of fretted instruments. Please take a few minutes to acquaint yourself with the information in this booklet regarding materials, electronics, “how to,” care, maintenance, and more about your guitar. And then begin enjoying a lifetime of music with your new Gibson. The Components of the Solidbody Electric Guitar 4 Gibson Innovations 6 The History of Gibson Electric Guitars 8 DESIGN AND CONSTRUCTION Body 13 Neck and Headstock 13 Pickups 14 Controls 15 Bridge 17 Tailpiece 18 CARE AND MAINTENANCE Finish 19 Your Guitar on the Road 19 Things to Avoid 20 Strings 21 Install Your Strings Correctly 22 String Gauge 23 Brand of Strings 23 NEW TECHNOLOGY The Gibson Robot Guitar 24 64 Strap Stopbar Tune-o-matic Three-way 12th Fret Button Tailpiece Bridge Pickups Toggle Switch Marker/Inlay Neck Fret Fingerboard Nut Headstock The Components of the Solidbody Electric Guitar Featuring a Les Paul Standard in Heritage Cherry Sunburst Input Jack Tone Volume Binding Body Single Truss Machine Tuning Controls Controls Cutaway Rod Heads Keys Cover 57 Strap Stopbar Tune-o-matic 12th Fret Button Body Tailpiece Bridge Pickups Neck Marker/Inlay Fret Fingerboard Nut Headstock Three-way Toggle Switch The Components of the Solidbody Electric Guitar Featuring a V-Factor Faded in Worn Cherry Input Jack Tone Volume Pickguard Truss Machine Tuning Control Controls Rod Heads Keys Cover 6 Here are just a few of the Gibson innovations that have reshaped the guitar world: 1894 – First archtop guitar 1922 – First ƒ-hole archtop, the L-5 1936 – First professional quality electric guitar, the ES-150 1947 – P-90 single-coil pickup introduced 1948 – First dual-pickup Gibson, the ES-300 1949 – First three-pickup electric, the ES-5 1949 – First hollowbody electric with pointed cutaway, the ES-175 1952 – First Les Paul guitar 1954 – Les Paul Custom and Les Paul Jr. -
Client Price List.Pdf
Page 1 Price List.xls Brand Model DESCRIPTION Retail Price GUITARS CLASSIC GUITARS STARFIRE SAC31 1/8 SIZE 523.09 STARFIRE SAC34 1/2 SIZE 523.09 STARFIRE SAC36 3/4 SIZE 523.089 STARFIRE SAC39 4/4 SIZE 654.189 SUZUKI SG1B 1/2 SIZE NYLON STRING GUITAR WITH BAG 916.389 SUZUKI SG2B 3/4 SIZE NYLON STRING GUITAR WITH BAG 916.389 SUZUKI SG3B 4/4 SIZE NYLON STRING GUITAR WITH BAG 916.389 SUZUKI SCG6CE CLASSIC 4/4 SIZE EELECTRIC CUTAWAY GTR W/NYLON BAG 1566.645 SUZUKI SCG36CE CLASSIC 4/4 SIZE EELECTRIC CUTAWAY GTR W/NYLON BAG 1566.645 ARIA AKN15 CLASSIC 1047.489 ARIA AK20 CLASSIC - 1/4, 1/2, 3/4 1173.35 ARIA AK30 CLASSIC 1566.65 ARIA AK35 CLASSIC 2091.05 ARIA AC25 CLASSIC PRO MADE IN SPAIN - CEDER TOP 6548.445 ARIA AC25CE CLASSIC WITH FISHERMAN PICK UP & EQ 9301.545 ARIA AC35 CLASSIC PRO MADE IN SPAIN - CEDER TOP 8383.845 ARIA AK30CE CLASSIC - WITH PICK UP & EQ. 2615.45 ARIA AC35CE CLASSIC WITH FISHERMAN PICK UP & EQ 10612.545 ARIA AC50SP CLASSIC PRO MADE IN SPAIN - CEDER TOP 11792.445 ARIA AC50CE CLASSIC WITH FISHERMAN PICK UP & EQ 9437.889 ARIA AC70F FLAMENGO CLASSIC MADE IN SPAIN - CEDER TOP 10219.245 ARIA AC70FCE FLAMENCO CLASSIC MADE IN SPAIN - WITH CUTAWAY AND PICKUP 17429.745 ARIA AC80SP CLASSIC PRO MADE IN SPAIN - SPRUCE 18740.745 ARIA AK45 CLASSIC 2163.15 ARIA AK40 CLASSIC-SPRUCE TOP 1304.445 WASHBURN C40 CLASSIC ACOUSTIC GUITAR 1965.189 WASHBURN C44CE CLASSIC ACOUSTIC ELECTRIC GUITAR 2746.545 WASHBURN C80S CLASSIC ACOUSTIC GUITAR 2615.445 WASHBURN C64SCE CLASSIC ACOUSTIC GUITAR 3800.589 WASHBURN ACB40PROWAK AON CLASSIC ELECTRIC BASS -
Pedagogical Practices Related to the Ability to Discern and Correct
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2014 Pedagogical Practices Related to the Ability to Discern and Correct Intonation Errors: An Evaluation of Current Practices, Expectations, and a Model for Instruction Ryan Vincent Scherber Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC PEDAGOGICAL PRACTICES RELATED TO THE ABILITY TO DISCERN AND CORRECT INTONATION ERRORS: AN EVALUATION OF CURRENT PRACTICES, EXPECTATIONS, AND A MODEL FOR INSTRUCTION By RYAN VINCENT SCHERBER A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2014 Ryan V. Scherber defended this dissertation on June 18, 2014. The members of the supervisory committee were: William Fredrickson Professor Directing Dissertation Alexander Jimenez University Representative John Geringer Committee Member Patrick Dunnigan Committee Member Clifford Madsen Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii For Mary Scherber, a selfless individual to whom I owe much. iii ACKNOWLEDGEMENTS The completion of this journey would not have been possible without the care and support of my family, mentors, colleagues, and friends. Your support and encouragement have proven invaluable throughout this process and I feel privileged to have earned your kindness and assistance. To Dr. William Fredrickson, I extend my deepest and most sincere gratitude. You have been a remarkable inspiration during my time at FSU and I will be eternally thankful for the opportunity to have worked closely with you. -
Hammered Dulcimer Owners Guide.Indd
H D O’ G Dusty Strings Company Founded in 1978, Dusty Strings is a company of dedicated instrument build- ers whose love of wood, fi ne craftsmanship, and music results in some of the fi nest hammered dulcimers and harps available. We invite you to write or call us any time with questions you may have, or simply to let us know about yourself and your dulcimer. We hope your Dusty Strings hammered dulcimer will provide you with many years of musical enjoyment. © 1998 Dusty Strings 3450 16th Ave. W. • Seattle, WA 98119 • (866) 634-1656 www.dustystrings.com Contents Introduction and History .......................................................................................1 Anatomy of the Hammered Dulcimer ....................................................................2 Maintenance and Care of Your Dulcimer ............................................................... 2 String Maintenance .........................................................................................2 String Types .................................................................................................... 3 Replacing Broken Strings ................................................................................ 3 Restringing the Whole Dulcimer..................................................................... 4 String Buzzes ...................................................................................................4 Finish ..............................................................................................................5 General -
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. -
1 Basic Tuning for the Autoharp Introduction Setting the Foundation
Basic Tuning for the Autoharp There are many options in tuning, especially for an autoharp. The more experienced player has learned that there are different tuning possibilities in addition to what is referred to as "standard" tuning. However, the beginner should understand and employ the basics, especially when expecting to play with other instruments in a jam. It is simply not true that all other instruments use purely "standard" tuning, but in a group situation, virtually all players depend upon various devices which provide or measure a standard reference pitch. The autoharper's life is easiest when owning and using an electronic tuner. However, there are more traditional methods for obtaining satisfactory results, in the absence of an electronic tuner and special expertise. A pitch pipe, tuning fork, or other instrument already "in tune" are useful references to obtain the foundation pitch(s) for autoharp tuning. In this attempt to provide a method for tuning we will provide two approaches. The first will be a basic guide to using an electronic tuner. The second will be a method for tuning by ear with a reference pitch. Introduction The typical autoharp has 36 or 37 strings with a pitch range of 3 octaves plus a fifth interval. For example, the standard chromatic autoharp starts on F for the lowest note and ranges to C at the highest note. The "middle" octave is the principal melody octave around which most arrangements are built. This octave should be tuned first as the "foundation" for all other octaves. The middle octave begins at 2-3 strings above the corner at the tuning pin end, where the strings become progressively shorter. -
Catalogo 2017.Pdf
ACCESSORIESWOODWINDS DESIGNED FOR MUSICIANS BY MUSICIANS At D’Addario, our favorite word is “innovation,” and we live and breathe it every day. We love when we have one of those moments that make us ask, why hasn’t anybody done this sooner? One problem we continually struggled to solve was getting a strap onto acoustic guitars with end-pin jacks. We knew there had to be a better way, so we set out to find it—enter the Acoustic CinchFit. The CinchFit loops through the end of any instrument strap and eliminates the need to modify your strap, providing added security to make attaching and removing the strap a “cinch.” The CinchFit’s magnetic clamping action allows easy application as well as removal and utilizes the weight of the instrument to remain locked onto the end-pin so your guitar is always held securely…problem solved. Over the years, we’ve also added many innovative advancements to the electronic tuner market. This year, we take our technology back to the basics with our release of the Eclipse Tuner—a high- priced tuner in performance at a low-cost price point. Available in six colors, these tuners feature an intuitive vertical display with two swivel points for limitless positioning on any instrument. The display’s 360-degree rotation also allows it to be used by left- and right-handed musicians and mounted on the front or discretely behind the headstock. Lastly, to complement our newest innovations, this year we welcome the return of The Beatles picks and straps. Once again, we are offering our top-selling woven and vegan straps along with picks in 10-packs and commemorative tins. -
18Th Century Quotations Relating to J.S. Bach's Temperament
18 th century quotations relating to J.S. Bach’s temperament Written by Willem Kroesbergen and assisted by Andrew Cruickshank, Cape Town, October 2015 (updated 2nd version, 1 st version November 2013) Introduction: In 1850 the Bach-Gesellschaft was formed with the purpose of publishing the complete works of Johann Sebastian Bach (1685-1750) as part of the centenary celebration of Bach’s death. The collected works, without editorial additions, became known as the Bach- Gesellschaft-Ausgabe. After the formation of the Bach-Gesellschaft, during 1873, Philip Spitta (1841-1894) published his biography of Bach.1 In this biography Spitta wrote that Bach used equal temperament 2. In other words, by the late 19 th century, it was assumed by one of the more important writers on Bach that Bach used equal temperament. During the 20 th century, after the rediscovery of various kinds of historical temperaments, it became generally accepted that Bach did not use equal temperament. This theory was mainly based on the fact that Bach titled his collection of 24 preludes and fugues of 1722 as ‘Das wohltemperirte Clavier’, traditionally translated as the ‘Well-Tempered Clavier’ . Based on the title, it was assumed during the 20 th century that an unequal temperament was implied – equating the term ‘well-tempered’ with the notion of some form of unequal temperament. But, are we sure that it was Bach’s intention to use an unequal temperament for his 24 preludes and fugues? The German word for ‘wohl-temperiert’ is synonymous with ‘gut- temperiert’ which in turn translates directly to ‘good tempered’. -
Guitars, Keyboards Wind/Brass Instruments and Accessories ROL-243 61-Key Keyboard with LCD Display
www.rollinsguitar.com Guitars, Keyboards Wind/Brass Instruments and Accessories ROL-243 61-key keyboard with LCD display Touch sensitivity. Metronome. MIDI Output. Vibrato/Sustain/Transpose. 128 Rhythms/128 Timbres. One-key/Ensemble. 61 keyboard percussion. Headphone Jack/Speaker Outputs(L/R)/MIDI 15 Demonstration Songs. Output Jack. Volume Control/Tempo Control. Keyboard Split Feature. Record and playback. Memory function: M1/M2/M3. Single Finger/Fingered Chord/Full Chords. AC/DC Adaptor Included. Rhythm Programming Function/Sync/Fill-in/Intro/ Ending. 2 www.rollinsguitar.com ROL-343 61-key keyboard with LCD display USB Capability/MIDI(USB line is included). Programming Editing/Intro/Ending/Fill-in. Touch sensitivity. Metronome. 128 Rhythms/128 Tones. Vibrato/Sustain/Transpose/Tune. 8 panel percussion & 61 keyboard percussion. 3-Lesson Feature:One-key/Follow/Enesmble. 30 Demonstration Songs. Headphone Jack/Speaker Output(L/R). Volume Control/ Tempo Control. AC/DC Adaptor Included. Record and playback. Chord Accompaniment: Single-finger,Bass. www.rollinsguitar.com 3 ROL-443 61-key keyboard with LCD display USB Capability/MIDI(USB line is Metronome. included). Vibrato/Sustain/Transpose. Touch sensitivity. 3-Lesson Feature: Lesson 1/Lesson 2/Lesson 200 Rhythms/162 Timbres. 3/Left&Right Hand Lesson Mode. 8 panel percussion & 61 keyboard Headphone Jack/Speaker Outputs (L/R)/Sus- percussion. tain Pedal Jack. 100 learning songs & 2 Demo Songs. Keyboard Split Feature. Volume Control/ Tempo Control. Memory function: M1/M2/M3/M4/M5/M6 Record and playback. Pitch Bend/Vibrato Bend. Chord Function/Chord Dictionary. AC/DC Adaptor Included. Programming Editing/Sync/Fill in A & B/Intro/ Ending/Fade in/Fade Out.