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Der Verzerrte Gitarrensound Entsteht, Wenn Bei Einem Reinen Gitarrensignal Zusätzliche, Ursprünglich Nicht Enthaltene Teiltöne Hervorgerufen Werden

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Der Verzerrte Gitarrensound Entsteht, Wenn Bei Einem Reinen Gitarrensignal Zusätzliche, Ursprünglich Nicht Enthaltene Teiltöne Hervorgerufen Werden J. J. Altersberger 2 Distorted Sound. Die Verstärkung [...] Inhaltsverzeichnis 1. Einleitung ..................................................................................................................... 5 1.1 Fragestellung und Zielsetzung.................................................................................... 5 1.2 Vorgehensweise und Methodik .................................................................................. 6 1.3 Untersuchungszeitraum .............................................................................................. 6 1.4 Begriffserklärungen.................................................................................................... 7 1.4.1 Der Sound................................................................................................................ 7 1.4.2 Verzerrung............................................................................................................... 8 1.4.3 Spielweisen............................................................................................................ 10 1.4.4 Die instrumentale Rockmusik im Zusammenhang mit der elektrischen Gitarre... 11 2. Die elektrische Gitarre................................................................................................ 13 2.1 Akustische Gitarre mit Stahlsaiten, die Archtop Gitarre und die Resonator Gitarre 13 2.2 Die Entwicklung der ersten elektromagnetischen Tonabnehmer............................. 15 2.2.1 Das Prinzip des Tonabnehmers ............................................................................. 15 2.2.1.1 Der Singlecoil Tonabnehmer.............................................................................. 16 2.2.1.2 Der Humbucker (Brumm-Unterdrücker) Tonabnehmer..................................... 16 2.3 Die Gibson ES 150 und der Gibson EH 150 ............................................................ 17 2.4 Cutaway.................................................................................................................... 18 2.5 Die Solidbody Gitarre............................................................................................... 19 2.6 Die Fender Broad- No- bzw. Telecaster................................................................... 20 2.6.1 Wirtschaftliche Verfügbarkeit ............................................................................... 20 2.7 Die Gibson Les Paul................................................................................................. 22 2.8 Die Fender Stratocaster ............................................................................................ 22 2.9 Weitere klassische E Gitarren-Modelle.................................................................... 24 3. Die Klangfarbe und Schwingungsdauer (Sustain) bei unverzerrten Gitarrenklängen 26 3.1 Klangfarbe ................................................................................................................ 26 3.2 Schwingungsdauer.................................................................................................... 27 4. Verstärker (Amplifier; Abk. Amp)............................................................................. 30 4.1 Bauarten.................................................................................................................... 31 4.1.1 Comboverstärker ................................................................................................... 31 4.1.2 Topteil und Box..................................................................................................... 31 4.1.3 Rack (Vor- und Endstufe) ..................................................................................... 32 4.2 Röhrenverstärker ...................................................................................................... 32 4.3 Transistorverstärker.................................................................................................. 34 4.4 Die Entwicklung der Verstärker- (Amp-) Verzerrung ............................................. 34 4.4.1 Beispiele für Verstärker ohne Master-Volume...................................................... 35 4.4.1.1 Frühere Verstärkermodelle der Firma Gibson.................................................... 35 4.4.1.2 Frühere Verstärkermodelle der Firma Fender .................................................... 36 4.4.1.2.1 Der Federhall................................................................................................... 37 4.4.1.3 Verstärkerbau in Großbritannien........................................................................ 38 4.4.1.3.1 Der Vox AC 15 und AC 30 ............................................................................. 38 4.4.1.3.2 Marshall........................................................................................................... 39 4.4.1.4 Mesa Boogie Mark I........................................................................................... 41 4.4.2 Beispiele für Verstärker mit Master-Volume ........................................................ 42 J. J. Altersberger 3 Distorted Sound. Die Verstärkung [...] 4.4.2.1 Marshall.............................................................................................................. 42 4.4.2.2. Mesa Boogie (Rectifier Serie) ........................................................................... 44 4.5 Amp-Verzerrung....................................................................................................... 44 4.5.1 Verzerrungs-Charakteristik des Verstärkers ohne Master-Volume....................... 45 4.5.2 Verzerrungs-Charakteristik des Verstärkers mit Master-Volume......................... 45 5. Verzerrer..................................................................................................................... 46 5.1 Unterschiedliche Gruppen von Verzerrer Boden Effektgeräten nach ihrer Verzerrungsintensität...................................................................................................... 47 5.2 Fuzz Boxes und Distortion Pedale ........................................................................... 47 5.2.1 Maestro FZ 1 (Fuzz Tone)..................................................................................... 48 5.2.2 Arbiter Fuzz Face .................................................................................................. 48 5.2.3 Electro Harmonix .................................................................................................. 49 5.2.4 DS 1 Distortion...................................................................................................... 50 5.3 Overdrive Pedale ...................................................................................................... 51 5.3.1 Der Overdrive OD 1 .............................................................................................. 51 5.3.2 Der Super Overdrive SD 1..................................................................................... 51 5.3.3 Der Tubescreamer.................................................................................................. 52 5.4 High Gain Verzerrer ................................................................................................. 53 5.4.1 Der MT 2 ............................................................................................................... 53 6. Die Klangfarbe und Schwingungsdauer (Sustain) bei verzerrten Gitarrenklängen ... 54 6.1 Klangfarbe ................................................................................................................ 54 6.2 Schwingungsdauer.................................................................................................... 55 7. Vibratosysteme ........................................................................................................... 58 7.1 Entwicklung von Vibratosystemen........................................................................... 59 7.1.1 Vibrola................................................................................................................... 59 7.1.2 Bigsby.................................................................................................................... 59 7.1.3 Vintage Vibrato System ........................................................................................ 60 7.1.4 Floyd Rose - Locking Vibratosystem.................................................................... 61 7.1.5 Klemmmechaniken (Locking Mechaniken) .......................................................... 62 8. Gitarrensounds und Spielweisen rockmusikalisch einflussreicher Gitarristen........... 63 8.1 Die Entwicklung des Solospiels ............................................................................... 63 8.1.1 Jazz ........................................................................................................................ 63 8.1.2 Rhythm & Blues.................................................................................................... 64 8.1.3 Les Paul ................................................................................................................. 65 8.1.3 Rock ´n´ Roll ......................................................................................................... 66 8.1.3.1 Chuck Berry........................................................................................................ 66 8.2 Repräsentative Beispiele für Vertreter des Genres „Instrumental Rock“ gegen Ende der 50er- und Anfang der 60er Jahre.............................................................................
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