DOCSLIB.ORG

Augmented Guitar; a Study of Extended Guitar Design and Methods

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Augmented Guitar; a Study of Extended Guitar Design and Methods Augmented guitar; a study of extended guitar design and methods. Brian Tuohy This annotated bibliography presents some of the sources of information studied when performing research on the augmented guitar. The research concentrates on answering questions about the guitar as an instrument for augmentation which include, amongst others; • Why has electric guitar been such a popular instrument for augmentation? • What are the properties that make it a good choice for extended design? • What has been the most popular direction for augmentation? • What evidence is there that the augmentations have given improved playability? • Do these augmentations address a natural issue that musicians have with the guitar or are they aspiring to simply create different possibilities? For the purposes of this study, the topic has been broken into several sections. Firstly, the integration of existing interfaces to extend the possibilities of the guitarist’s control of audio data. This section has subsequently been broken into four sections addressing The Wiimote, The iPhone, us of the guitar in computer game control and other interfaces such as the Monome or Kaoss Pad. The second section deals with electronic modifications where artists have used micro-controllers and other wiring augmentations to afford the guitarist more control over their sound. In the third section, sources are presented that deal with the area of prepared guitars as a method of augmentation. The fourth section consists of studies that have been conducted relating to the history and evolution of the electric guitar as a system that welcomes augmentation. The final section is a series of informal notes that have been made thus-far in the study which concern issues of authority integrity, source validity and the location of information that needs to be studied in forming an opinion on the subject. Where an abstract is not applicable, an attempt has been made to include a brief background of the author and/ or their work. In some cases, such as video sources, information on the author is limited and may even mean a lack of the author’s real name. In these cases, the screen name of the author is substituted in the reference. Integration with existing interfaces e.g. Wii, iPhone, etc. Wii N. Bouillot, M. Wozniewski, Z. Settel, and J.R. Cooperstock, “A mobile wireless augmented guitar,” International Conference on New Interfaces for Musical Expression, Genova, Italy, 2008. pp 189 - 192 Abstract: “We present the design of a mobile augmented guitar based on traditional playing, combined with gesture- based continuous control of audio processing. Remote sound processing is enabled through our dynamically reconfigurable low-latency high-fidelity audio streaming protocol, running on a mobile wearable platform. Initial results demonstrate the ability to stream the audio and sensor data over IEEE 802.11 to a server, which then processes this data and out- puts the resulting sound, all within a sufficiently low delay as required for mobile multimodal performance.” In this paper, the authors present several strong arguments supporting the use of instrument augmentation as a means for musicians to exploit gestural interaction in order to gain extra control over their sound. We are presented with the possibilities of using a WIFI network to transmit both audio and OSC data from a wiimote to facilitate the implementation a wireless, gesture – based control system for guitarists. Crucially, the authors address the issue of latency and offer a solution in the form of a low-latency audio streaming protocol. It could be argued that this paper is a good starting point for researchers with an interest in investigating augmented guitar systems as it presents a concise overview of the advantages in using augmented designs, while also assessing and proposing methods for manipulating modern devices, such as the wiimote, for integration into the system. N. Bouillot, M. Wozniewski, Z. Settel, and J.R. Cooperstock, (2010, October 10) Mobile Wii Augmented Guitar (McGill Shared Reality Lab). [Online]. Available: http://www.youtube.com/watch?v=9GBdfuzqGaI Abstract: See Above In this demonstration, the performer conveys the ideas expressed by the authors in their NIME paper. The wireless attributes of the system are evident and the video allows for a critical assessment of the success of the latency-reduction measures. A multi-instrument like interaction is presented. When analysed in tandem with the conference paper, this video presents a great advantage in assessing both the technical and aesthetic aspects of the project, allowing for a greater perception of overall effectiveness. A. Jones. (2010, October 10) Inventing The Future. [Online]. Available: http://thephoenix.com/boston/life/82943-inventing-the-future/ Abstract: N/A Author Details: This article was written by Abigail Jones for the Boston Phoenix, an American paper that emphasizes local arts and entertainment coverage as well as lifestyle and political coverage from a liberal perspective. In this article, the author presents a thorough review of the work of Rob Morris, a Master’s student at the M.I.T. Media Lab. The article concentrates mainly on Morris’ use of a guitar-mounted wiimote as a method of controlling parameters of effects pedals. Included in the article are an interview with the developer and a video of the device being used as part of a live performance. Similar to the wii-augmented example listed above, this system implements wireless control of audio parameters via gestural interaction. This article could arguably be seen as a testament to the coverage that these kinds of augmentation projects are receiving in mainstream media and possibly to the success and acceptance of the technology. B. Alfano. (2010, October 10) Wiimote Guitar Effects Tutorial. [Online]. Available: http://www.jedineon.com/guitar_rig.php Abstract: N/A Author Details: Bruno Alfano is a computer and electronics student at the Faculty of Aerospace Engineering, University Federico II of Naples. Alfano provides a short web-tutorial, which goes into more detail concerning the programming aspects of wiimote integration for control of guitar effects. The on-screen annotations provide helpful background information as to the mapping of functionality. However, even with the inclusion of a demonstrative video, it is difficult not to question the integrity of the source. This page clarifies some aspects of the coding process but the video does not propose a positive argument for the accentuation of the technology to improve playability. J. A. Romero. (2010, October 10) Guitar + Gamepad & Wii Remote # SuperCollider . [Online]. Available: http://www.youtube.com/watch?v=383DmSJtVic&feature=related Abstract: N/A Author Details: Juan A. Romero is a musician (guitarist) working predominantly in electronic music, live coding, and new technology. This video demonstrates a project that utilizes a wiimote and several extra buttons that have been built into a guitar in order to interact with a program written in SuperCollider. Again, annotations are provided to convey the main functions of the technology, however, no technical information is available to backup the processes that are taking place. This leads us to conclude that this source can only be used in an informal sense, as a demonstration of the technology in use and cannot justifiably be attributed any intellectual significance. D. Smith. (2010, October 10) Guitar Sense Project. [Online]. Available: http://www.youtube.com/watch?v=b5nwnmH9GFA Abstract: N/A Author Details: None Available Here, we can see another demonstration, which can be assessed in a similar fashion to the preceding example. We are presented with a video of a guitarist who uses a wiimote attached to the headstock of his guitar to interact with Max MSP. The control of the program depends on the data received from the accelerometer and the buttons in the wiimote. The Max MSP patch is shown in the video but again we receive no information regarding the processes of the software or the design approach taken. In addition, this author has no links to any external background information so we are left unaware of his sources or any validity to his methods. Marcelovid. (2010, October 10) MacBook Pro + Wiimote + Guitar. [Online]. Available: http://www.youtube.com/watch?v=1ahiP8uFaqA&feature=related Abstract: N/A Author Details: None Available Almost identical to the previous source, this video demonstrates without the inclusion of written explanation or background information; direct mapping of accelerometer data from a guitar-mounted wiimote to effects parameters in a software application. In this case, the user is controlling the Hi-Pass Filter, Decay Time and Feedback level of a Flanger effect in Ableton Live. This is a simple use of data mapping which seems to have been explored in many of the projects involving the wiimote. iPod Touch/ iPhone P. Kirn. (2010, October 9) Create Digital Music - Guitar Adds IPod Touch Controls, Plays Ableton, Lovely Ambient Music. [Online]. Available: http://createdigitalmusic.com/2008/12/23/guitar-adds-ipod-touch- controls-plays-ableton-lovely-ambient-music/ 2008 Abstract: N/A Author Details Peter Kirn is a composer/musician, media artist, educator, and technology writer, and the creator and editor of Create Digital Music. He’s the author of Real World Digital Audio from Peachpit Press, a comprehensive book on producing music with computers and digital technology. He also writes for Macworld, Make, Keyboard, and Computer Music magazines. Kirn, in this article, provides background information on guitarist Brian William Green’s use of two guitar- mounted iPod touches to create generative music with Brian Eno’s Bloom application running on one device and the other device being used to control Ableton Live. The author reiterates the point made by Bouillot, Wozniewski (et all) in the first source of this bibliography in noting that “smart devices can extend the performance possibilities of a traditional instrument, in a way a rig of effects pedals and stomp- boxes – no matter how sophisticated – never could”.
Load more

Recommended publications
  • Drowned in Sound Kort.Indd 1 19-06-2008 21:28:17 Zoppo & Avec-A Together with My School Friend Cees I Started a Band Called Zoppo
    30-05-2008, Primavera Sound Festival, Barcelona 3rd Bridge Helix From Experimental Punk to Ancient Chinese Music & Universal Physical Laws of Consonance This article is a written excerpt of my lecture I gave at the Primavera Sound Festival in Barcelona about my self built musical instruments. I explained what kind of instruments I make, why I make them and for which bands. I showed the audience my own copies and played a little on those instruments. Additionally I gave a deeper explanation about one particular instrument I have created, the Moodswinger. After finishing this instrument I rediscovered this instrument is not only a musical instrument, but also a educational measurement instrument which shows a universal system of consonant values based on simple physical laws. I discovered all musical scaling systems all over the world are derived from this basical system, inclusive the worst inharmonic deviated tuning system of all these variations, our Western 12-tone logaritmic equal tempered scale. - Yuri Landman The Beginning I bought my first guitar and bass guitar when I was 18. I always had a fascination for direct and simple punk rock structures instead of highly practised virtuose guitar playing used in symphonic rock and hard rock. In line of this estethical rule I refused to take traditional guitar lessons from a jazz or blues guitar teacher. I took notice of some chords and know where to put my fingers for a C7 or minor D-chord, but I have never practised long enough to play them well. I cannot even play Nirvana’s Polly properly for instance.
    [Show full text]
  • PDF Download a Concise History of the Classic Guitar 1St Edition
    A CONCISE HISTORY OF THE CLASSIC GUITAR 1ST EDITION PDF, EPUB, EBOOK Graham Wade | 9780786649785 | | | | | A Concise History of the Classic Guitar 1st edition PDF Book Important New Acquisitions Included in the 2nd Edition: 1. Many folks forget that the golden era of many instrument makers and companies starts decades into their lifespan. Unsourced material may be challenged and removed. Thanks in advance for your time. Geneva School, after Saussure R. History of East Asian phonetics E. The most striking thing is the separation between the notes, though, as every chord you play is crystal clear with each component part clearly audible. In all about fifty magnificent instruments are discussed and pictured; this is the first time nearly all these specific guitars have been documented. The influence of the Speculum majus was immediate and lasting. University of Edinburgh, UK. About this time an encyclopaedic dictionary known as Suda , or Suidas , broke with tradition by adopting alphabetical order for its contents. By signing up, you agree to our Privacy Notice. The A New Tune A Day books have the same logical, gentle pace, and keen attention to detail, but with a host of innovations: the inclusion of a DVD and an audio CD - with actual performances and backing tracks - will make practice even more fun and exciting, and the explanatory diagrams and photographs will help the student to achieve the perfect technique and tone. The first proposals were a failure, however, and Diderot was enlisted to plan what at that time was still essentially a translation on a much broader basis.
    [Show full text]
  • Patent Application Publication (10) Pub. No.: US 2017/0110097 A1 Sperr (43) Pub
    US 201701 10097A1 (19) United States (12) Patent Application Publication (10) Pub. No.: US 2017/0110097 A1 Sperr (43) Pub. Date: Apr. 20, 2017 (54) GUITAR CONVERSION SYSTEMAND (57) ABSTRACT METHOD Aguitar conversion system for the assembly of a guitar in an easy quick manner, from conventional guitar designs to (71) Applicant: Eric Sperr, South Plainfield, NJ (US) hybrid guitars. The guitar conversion system includes at least one main body portion and at least one side body (72) Inventor: Eric Sperr, South Plainfield, NJ (US) portion. Preferably a pair of side body portions is provided. The main body portion includes a headstock, machine heads (or pegheads, or tuners), a neck, and pickups in communi (21) Appl. No.: 13/844,781 cation with electronic controls located on the side body portion. The main body portion includes left and right edge walls having attachment means for releasably attaching at (22) Filed: Mar. 15, 2013 least one other main body portion or at least one side body portion to the main body. The side body portion includes at least one electrical control integrated therein for electronic Publication Classification communication with the main body portion. The side body portion comprising a top side wall and at least one side (51) Int. Cl. attachment portion that is adapted to mate with the attach GIOD L/08 (2006.01) ment means of the main body portion. The guitar conversion GIOH 3/8 (2006.01) system provides the ability to interchange the body portion (52) U.S. Cl. and/or each of the side body portions to change any resultant CPC ..............
    [Show full text]
  • Real-Time Composition As a Strategy for the 21St Century Composer
    Escola Superior de Música e das Artes do Espectáculo Real-Time Composition as a Strategy for the 21st Century Composer Óscar Rodrigues A dissertation submitted in fulfillment of the requirements for the degree of Master of Composition and Music Theory supervised by Prof. Dimitris Andrikopoulos September 27, 2016 Abstract Real-Time Composition, despite being a term commonly used in computer music and free improvisation circles, is also one whose definition is not clear. This dissertation aims to, in seeking and attempting its conceptualisation, permit a deeper look at the core of the activity of western classical music making. By discussing the concepts and current views on composition, improvisation, musical work, interpretation and performance, we will propose a working definition that will later serve as a model for music making; one that involves both the composer and performers, influenced by their context, as creators. This model borrows heavily from Walter Thompson’s Soundpainting technique. We will then analyse the outcome of three different concerts, of increasing complexity and level of control, that resulted from the previous discussion and end by concluding that Real-Time Composition is, in fact, fundamentally different from improvisation, and an extension of western classical music practice. Keywords: real-time composition, improvisation, soundpainting Abstract A Composição em Tempo Real, apesar de ser um termo regularmente utilizado nos cír- culos da música electrónica e da improvisação livre, não tem uma definição clara. Esta dissertação tem como objectivo, ao procurar a sua conceptualização, perceber de forma mais profunda o núcleo da actividade produtiva da música clássica ocidental. Ao discutir os con- ceitos e entendimentos correntes de composição, improvisação, obra musical, interpretação e performance, será proposta uma definição operacional que irá posteriormente servir como modelo para a criação musical; este modelo envolve tanto compositores como intérpretes, influenciados pelo seu contexto, enquanto criadores.
    [Show full text]
  • Eastman Guitar Specifications
    Series Name Parlor Orchestra Grand Auditorium Dreadnought Slope Shoulder Arch Top Originally designed to be played in small rooms, The Eastman Orchestra Model is most A popular guitar for vocal Acoustic Electric Flatpicking musicians, hard This guitar provides a Electric Description or “parlors”, the parlor guitar has a tight and popular size among fingerstyle guitarists. accompaniment, the Eastman Grand Versatile small-bodied, jumbo cutaway strummers and woodiness that's sweet A fine example of why Eastman focused sound. Eastman Parlor guitars are Large enough to be heard playing in a Auditorium models feature a very guiter perfect for fingerstyle, flatpicking, vocalist/guitarists often on the ears thanks to is a major force in the world of inspired by the great parlor guitars of the 30′s group. They are tight and focused, with balanced sound though the range. They and vocal backing. The solid Indian choose the Eastman the use of Adirondack archtop guitars. This beautiful and 40′s. Players and listeners alike are added volume. have volume sufficient for playing in a rosewood back and sides, an Alaskan Dreadnought guitars as spruce that's a popular guitar illustrates the harmonious surprised by the volume and tonally quality of group. Grand Auditoriums work well as Sitka spruce top, and an abalone rosette their “working” instrument. choice for flatpicking & relationship between premium Eastman Parlor guitars, despite their diminutive a hybrid guitar for fingerpicking and make these stunning instruments. Add in The tonal qualities make it a live vocal tonewoods and the time honored size. Most often used by fingerstyle and slide flatpicking.
    [Show full text]
  • Blank1 Page Intentionally Left Blank EDITORIAL
    Fellowship of European MAGAZINE Luthiers Published by the Fellowship of European Luthiers Magazine for luthiers, designers and lovers of stringed musical instruments Number 6 - 2014 / I blank1 Page intentionally left blank EDITORIAL Here we go again his adventure called SUSTAIN begins ades, and others just discovered this fascinat- its second year. Two things made it ing world. Many of you like working amidst T possible: the sawdust; others prefer the artistic side of 1) Our readers’ support. Your letters, com- lutherie. But all of you, dear lovers of all kinds ments, feedback and encouragement. of musical instruments, are the cause and the 2) Our authors’ contribution. Your articles are objective of this magazine. the heart and soul of the magazine. By shar- ing your experiences you have enriched us all. This past year we made new friends, we Some of you are professionals, some are am- learned things, and we welcomed a growing ateurs; some have been in the trade for dec- number of Fellows with the same interests. For all that, I thank you. And of course, here we go again, looking for- ward to another year talking about these won- derful chunks of wood we love to make music with. Leo Lospennato is luthier, author of books on lutherie and chief editor of SUSTAIN Magazine. He lives in Berlin, Germany. Visit www.lospennato.com 1 Imprint Letters Product news This issue’s cover Speed 2: The Making of a Winning Design By Leo Lospennato Research Laser Harps: Plucking Strings of Light By Cem Öcek Woodworking Measuring Moisture Content in Tonewood An interview with Flavia Santana Pohl Interview A Brief Guide to Copyright Law for Luthiers Advice from Dr.
    [Show full text]
  • The Duality of the Composer-Performer
    The Duality of the Composer-Performer by Marek Pasieczny Submitted for the Degree of Doctor of Philosophy School of Arts Faculty of Arts and Social Sciences Supervisors: Prof. Stephen Goss ©Marek Pasieczny 2015 The duality of the composer-performer A portfolio of original compositions, with a supplementary dissertation ‘Interviews Project: Thirteen Composers on Writing for the Guitar’. Abstract The main focus of this submission is the composition portfolio which consists of four pieces, each composed several times over for different combinations of instruments. The purpose of this PhD composition portfolio is threefold. Firstly, it is to contribute to the expansion of the classical guitar repertoire. Secondly, it is to defy the limits imposed by the technical facilities of the physical instrument and bring novelty to its playability. Third and most importantly, it is to overcome the challenges of being a guitarist-composer. Due to a high degree of familiarity with the traditional guitar repertoire, and possessing intimate knowledge of the instrument, it is often difficult for me as a guitarist-composer to depart from habitual tendencies to compose truly innovative works for the instrument. I have thus created a compositional approach whereby I separated my role as a composer from my role as a guitarist in an attempt to overcome this challenge. I called it the ‘dual-role’ approach, comprising four key strategies that I devised which involves (1) borrowing ‘New Music’ practices to defy traditionalist guitar tendencies which are often conservative and insular; (2) adapting compositional materials to different instrumentations; and expanding on (3) the guitar technique as well as; (4) the guitar’s inventory of extended techniques.
    [Show full text]
  • September 1988
    Cover photo by Ebet Roberts 18 AIRTO He calls himself the "outlaw of percussion" because he breaks all the rules, but that's what has kept Airto in demand with musicians such as Miles Davis, Chick Corea, and Weather Report for almost two decades. His latest rule-breaking involves the use of electronics, but as usual, he has come up with his own way of doing it. by Rick Mattingly 24 GILSON LAVIS Back when Squeeze was enjoying their initial success, drummer Gilson Lavis was becoming increasingly dependent on alcohol. After the band broke up, he conquered his problem, and now, with the re-formed Squeeze enjoying success once again, Lavis is able to put new energy into his gig. by Simon Goodwin 28 BUDDY Photo by Ebet Roberts MILES He made his mark with the Electric Flag, Jimi Hendrix's Band of Gypsies, and his own Buddy Miles Express. Now, active once again with Santana and the California Raisins, Buddy Miles reflects on the legendary music that he was so much a part of. by Robert Santelli 32 DAVE TOUGH He didn't have the flash of a Buddy Rich or a Gene Krupa, but Dave Tough made such bands as Benny Goodman's, Artie Shaw's, and Woody Herman's play their best through his driving timekeeping and sense of color. His story is a tragic one, and it is thus even more Roberts Ebet remarkable that he accomplished so much in his by relatively short life. Photo by Burt Korall VOLUME 12, NUMBER 9 ROCK BASICS PERSPECTIVES Heavy Metal Power Warming Up: Part 1 Fills: Part 1 by Kenny Aronoff by Jim Pfeifer 38 90 UP AND COMING DRUM SOLOIST ROCK'N'JAZZ David Bowler Max Roach: "Jordu" CLINIC by Bonnie C.
    [Show full text]
  • Nightlight: Tradition and Change in a Local Music Scene
    NIGHTLIGHT: TRADITION AND CHANGE IN A LOCAL MUSIC SCENE Aaron Smithers A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Curriculum of Folklore. Chapel Hill 2018 Approved by: Glenn Hinson Patricia Sawin Michael Palm ©2018 Aaron Smithers ALL RIGHTS RESERVED ii ABSTRACT Aaron Smithers: Nightlight: Tradition and Change in a Local Music Scene (Under the direction of Glenn Hinson) This thesis considers how tradition—as a dynamic process—is crucial to the development, maintenance, and dissolution of the complex networks of relations that make up local music communities. Using the concept of “scene” as a frame, this ethnographic project engages with participants in a contemporary music scene shaped by a tradition of experimentation that embraces discontinuity and celebrates change. This tradition is learned and communicated through performance and social interaction between participants connected through the Nightlight—a music venue in Chapel Hill, North Carolina. iii ACKNOWLEDGEMENTS Any merit of this ethnography reflects the commitment of a broad community of dedicated individuals who willingly contributed their time, thoughts, voices, and support to make this project complete. I am most grateful to my collaborators and consultants, Michele Arazano, Robert Biggers, Dave Cantwell, Grayson Currin, Lauren Ford, Anne Gomez, David Harper, Chuck Johnson, Kelly Kress, Ryan Martin, Alexis Mastromichalis, Heather McEntire, Mike Nutt, Katie O’Neil, “Crowmeat” Bob Pence, Charlie St. Clair, and Isaac Trogden, as well as all the other musicians, employees, artists, and compatriots of Nightlight whose combined efforts create the unique community that define a scene.
    [Show full text]
  • Contemporary Music Score Collection
    UCLA Contemporary Music Score Collection Title Lug Permalink https://escholarship.org/uc/item/8x66771x Author Boneh, Oren Publication Date 2020 eScholarship.org Powered by the California Digital Library University of California Lug for septet Oren Boneh 2017 Written for Ramón Souto and the Vertixe Sonora Ensemble for performance at the Galician Centre for Contemporary Art Performance Notes The score is transposed (saxophones, crotales, piccolo). Duration: approx. 15-16’ Accidentals carry until the next bar line. Instrumentation (one instrument per part in all cases): Piccolo, doubling Flute Soprano Saxophone in Bb, doubling Baritone Saxophone in Eb Percussion (see below for instrumentation) Prepared Piano with lid off (preparation explained below); equipped with two guitar slides (bottlenecks) Violin Viola Violoncello Percussion Instrumentation and Setup: Setup: The percussionist should arrange their setup such that they have very easy access to the low strings of the piano. There are many instances in this piece in which the percussionist is asked to perform various techniques inside the piano. For this reason, the piano lid should be removed. Instrumentation: 2 Crotales (see below), Tam-tam (with superball mallet and metal beater), 2 guitar slides, a plastic jewel CD case (or similar – a thick metal object would also work) Crotales (sounding two octaves higher): Piano Preparation: Performance Instructions per Instrument: Microtonal Notation: ¼ flat: ¼ sharp: ¾ sharp: ¾ flat: Piccolo/Flute: Pizzicato (percussive) Close the lips on the mouthpiece, covering the hole. The range of harmonics is obtained with extremely light pressure. To ascend in pitch, increase pressure. Blow air through the instrument. “ss” indicates to produce a hissing sound into the instrument.
    [Show full text]
  • YURI LANDMAN ENSEMBLE Feat
    YURI LANDMAN ENSEMBLE feat. JAD FAIR & PHILIPPE PETIT w/ Arnold van de Velde & René van Lien That's Right, Go Cats - LP (siluh037) Tracklist Side A That's Right, Go Cats (22:04) Interlude I (1:00) Side B Small Steps (2:19) Interlude II (0:43) Soundtrack to a Panic Attack (3:18) Interlude III (0:49) Slow Grow (4:37) Interlude IV (1:20) Structures to Ashes (4:03) Interlude V (0:42) Wall of Muur (5:42) Contact: [email protected] Artist: Yuri Landman Ensemble feat. Jad Fair & Philippe Petit 0043/69910920177 Title: That's Right, Go Cats Release: May 18th, 2012 Format: LP LISTEN >> Stream / Download Label: Siluh Records Labelcode: LC 15356 http://official.fm/playlists/90668 Cat. Nr: siluh037 Password: moonlander1979 Barcode: 9006472020721 Recorded by Arnold van de Velde & Philippe Petit Mastered by Philippe Petit Distribution: AL!VE (GER), Plastichead (GB), Sonic Rendezvous (BENELUX), Hoanzl (AUT), Sound Pollution (Scandinavia), Artwork: Soundworks (FRA), Max Musik (SUI), Soundforge (GRE), Paper Cut on Front Cover by Jad Fair Goodfellas (ITA), Green Ufos (ESP), Artunion (JPN), Fiomusica (POR), Supersounds (FIN), Indiego (HUN), Ordis (digital) Graphic Design by Julia Schneller & Yuri Landman CD via Thick Syrup Records! Release Info // Yuri Landman is a Dutch experimental luthier who has made several avantgardistic electric string instruments for a bunch of artists including Lee Ranaldo (Sonic Youth), Liars, Blood Red Shoes etc. This release is a colloboration of him with Jad Fair (Half Japanese) & avantgarde sound artist Philippe Petit. Bio // YURI LANDMAN Yuri Landman (1973) is an experimental instrument builder and musician. After a career as a comic book artist as well as a musician in the bands Zoppo and Avec-A, Yuri Landman began designing experimental musical instruments.
    [Show full text]
  • Volume I March 1948
    Complete contents of GSJs I II III IV V VI VII VIII IX X XI XII XIII XIV XV XVI XVII XVIII XIX XX XXI XXII XXIII XXIV XXV XXVI XXVII XXVIII XXIX XXX XXXI XXXII XXXIII XXXIV XXXV XXXVI XXXVII XXXVIII XXXIX XL XLI XLII XLIII XLIV XLV XLVI XLVII XLVIII XLIX L LI LII LIII LIV LV LVI LVII LVIII LIX LX LXI LXII LXIII LXIV LXV LXVI LXVII LXVIII LXIX LXX LXXI LXXII LXXIII GSJ Volume LXXIII (March 2020) Editor: LANCE WHITEHEAD Approaching ‘Non-Western Art Music’ through Organology: LAURENCE LIBIN Networks of Innovation, Connection and Continuity in Woodwind Design and Manufacture in London between 1760 and 1840: SIMON WATERS Instrument Making of the Salvation Army: ARNOLD MYERS Recorders by Oskar Dawson: DOUGLAS MACMILLAN The Swiss Alphorn: Transformations of Form, Length and Modes of Playing: YANNICK WEY & ANDREA KAMMERMANN Provenance and Recording of an Eighteenth-Century Harp: SIMON CHADWICK Reconstructing the History of the 1724 ‘Sarasate’ Stradivarius Violin, with Some Thoughts on the Use of Sources in Violin Provenance Research: JEAN-PHILIPPE ECHARD ‘Cremona Japanica’: Origins, Development and Construction of the Japanese (née Chinese) One- String Fiddle, c1850–1950: NICK NOURSE A 1793 Longman & Broderip Harpsichord and its Replication: New Light on the Harpsichord-Piano Transition: JOHN WATSON Giovanni Racca’s Piano Melodico through Giovanni Pascoli’s Letters: GIORGIO FARABEGOLI & PIERO GAROFALO The Aeolian harp: G. Dall’Armi’s acoustical investigations (Rome 1821): PATRIZIO BARBIERI Notes & Queries: A Late Medieval Recorder from Copenhagen:
    [Show full text]