DOCSLIB.ORG

Yamaha GUITARS

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Yamaha GUITARS Yamaha GUITARS 2018 PRODUCT LINEUP CATALOG CONTENTS ACOUSTIC GUITARS L SERIES ·························································································3 A SERIES ·························································································6 FG SERIES ······················································································8 TA SERIES ·····················································································12 F SERIES ·······················································································13 APX/CPX SERIES ··········································································14 NX SERIES ····················································································16 SILENT GUITARTM ···········································································18 ELECTRIC SYSTEM ········································································19 COMPACT SIZE SERIES ································································20 GC SERIES ····················································································22 CG SERIES ··················································································· 24 C SERIES ····················································································· 27 CGS SERIES ················································································· 28 ELECTRIC GUITARS REVSTAR ·······················································································29 SG ································································································ 30 PACIFICA ····················································································· 31 RGX ·······························································································34 SA ································································································ 35 RGXA2 ···························································································36 ELECTRIC BASSES RBXA2 ···························································································36 BB ································································································ 37 TRBX ···························································································· 39 TRB ·······························································································41 SIGNATURE ······································································· 42 AMPLIFIERS THR ······························································································ 44 SessionCake ········································································ 46 PACKAGE & ACCESSORIES PACKAGES ··················································································· 45 ACCESSORIES ···············································································46 1 CONTENTS CONTENTS 2 LL16D ARE/LL16-12 ARE/LL16L ARE SPECIFICATIONS Model: LL16D ARE/LL16-12 ARE/LL16L ARE L Series n Scale Length: LL16D ARE/LL16L ARE: 650mm (25 9/16”), LL16-12 ARE: 634mm (25”) n Body Depth: 100-125mm (3 15/16”-4 15/16”) n Nut Width: LL16D ARE/ LL56 CUSTOM ARE/LS56 CUSTOM ARE LL16L ARE: 44mm (1 3/4”), LL16-12 ARE: 46mm (1 13/16”) n Top: Solid Engelmann Spruce A.R.E. n Back/Sides: Solid Rosewood n Neck Material: Mahogany + Rosewood 5ply SPECIFICATIONS n Fingerboard/Bridge: Ebony n Fingerboard Radius: R400mm (15 3/4”) Model: LL56 CUSTOM ARE/LS56 CUSTOM ARE n Nut/Saddle: Urea n Tuners: LL16D ARE/LL16L ARE: Die-cast Gold (TM29G), LL16- n Scale Length: 650mm (25 9/16”) LL16D ARE LL16-12 ARE LL16L ARE 12 ARE: Die-cast Gold (TMW28) n Body Finish: Gloss n Electronics: Passive System n 100-125mm (3 15/16”-4 15/16”), + SRT Piezo Pickup n Case: Hard Bag Body Depth: LL56 CUSTOM ARE: Black Natural Natural LS56 CUSTOM ARE: 100-120mm (3 15/16”-4 3/4”) n Nut Width: 44mm (1 3/4”) n Top: Solid Engelmann Spruce A.R.E. n Back/Sides: Solid indian Rosewood n Neck Material: Mahogany + Rosewood 5ply n Fingerboard/Bridge: Ebony COLOR FINISH n Fingerboard Radius: R400mm (15 3/4”) n Nut/Saddle: Bone n Tuners: Die-cast LL16D Colors LL16-12/LL16L Color LL56 CUSTOM ARE LS56 CUSTOM ARE Gold (TM67G-Y22) n Body Finish: Gloss n Case: Hardshell Case Natural Natural Natural Black Natural COLOR FINISH Natural LL16 ARE/LS16 ARE/LJ16 ARE SPECIFICATIONS Model: LL16 ARE/LS16 ARE/LJ16 ARE n Scale Length: 650mm (25 9/16”) LL36 ARE/LS36 ARE n Body Depth: LL16 ARE/LJ16 ARE: 100-125mm (3 15/16”-4 15/16”), LS16 ARE: 100-120mm (3 15/16”-4 3/4”) n Nut Width: 44mm (1 3/4”) SPECIFICATIONS n Top: Solid Engelmann Spruce A.R.E. n Back/Sides: Solid Rosewood n n Model: LL36 ARE/LS36 ARE Neck Material: Mahogany + Rosewood 5ply Fingerboard/Bridge: Ebony n Fingerboard Radius: R400mm (15 3/4”) n Nut/Saddle: Urea n Tuners: Die-cast n Scale Length: 650mm (25 9/16”) Gold (TM29G) n Body Finish: Gloss n Electronics: Passive System + SRT Piezo Pickup n Body Depth: LL36 ARE: 100-125mm (3 15/16”-4 15/16”), LL16 ARE LS16 ARE LJ16 ARE n Case: Hard Bag n Strings: Elixir NANOWEB 80/20 Bronze Light LS36 ARE: 100-120mm (3 15/16”-4 3/4”) n Nut Width: 44mm (1 3/4”) Natural Brown Sunburst Natural n Top: Solid Engelmann Spruce A.R.E. n Back/Sides: Solid indian Rosewood n Neck Material: Mahogany + Rosewod 5ply n Fingerboard/Bridge: Ebony LL36 ARE LS36 ARE n Fingerboard Radius: R400mm (15 3/4”) n Nut/Saddle: Bone n Tuners: Die-cast COLOR FINISH Natural Natural Gold (SG301-Y22) n Body Finish: Gloss n Case: Hardshell Case Blown Natural Sunburst Dark Tinted COLOR FINISH Natural LL6 ARE/LS6 ARE/LJ6 ARE SPECIFICATIONS LL26 ARE/LS26 ARE Model: LL6 ARE/LS6 ARE/LJ6 ARE SPECIFICATIONS n Scale Length: 650mm (25 9/16”) n Body Depth: LL6 ARE/LJ6 ARE: 100-125mm (3 15/16”-4 15/16”), Model: LL26 ARE/LS26 ARE LS6 ARE: 100-120mm (3 15/16”-4 3/4”) n Nut Width: 44mm (1 3/4”) n Scale Length: 650mm (25 9/16”) n Top: Solid Engelmann Spruce A.R.E. n Back/Sides: Rosewood n Body Depth: LL26 ARE: 100-125mm (3 15/16”-4 15/16”), n Neck Material: Mahogany + Rosewood 5ply n Fingerboard/Bridge: Rosewood LS26 ARE: 100-120mm (3 15/16”-4 3/4”) n Nut Width: 44mm (1 3/4”) n Fingerboard Radius: R400mm (15 3/4”) n Nut/Saddle: Urea n Tuners: Die-cast n Top: Solid Engelmann Spruce A.R.E. n Back/Sides: Solid Rosewood Gold (TM29G) n Body Finish: Gloss n Electronics: Passive System + SRT Piezo Pickup n Neck Material: Mahogany + Rosewood 5ply n Fingerboard/Bridge: Ebony LL6 ARE LS6 ARE LJ6 ARE n Case: LL6 ARE/LS6 ARE: None LSJ6 ARE: Hard Bag n Strings: Elixir NANOWEB n R400mm (15 3/4”) n Bone n Open Gear Fingerboard Radius: Nut/Saddle: Tuners: Dark Tinted Natural Natural 80/20 Bronze Light LL26 ARE LS26 ARE Gold (SE700X XG) n Body Finish: Gloss n Case: Hardshell Case Natural Natural COLOR FINISH COLOR FINISH LL6 Colors Natural Blown Natural Sunburst Dark Tinted Black LS6/LJ6 Colors Blown Natural Sunburst Dark Tinted 3 ACOUSTIC GUITARS ACOUSTIC GUITARS 4 LL16M ARE/LS16M ARE SPECIFICATIONS Visit our website: www.yamaha.com/a-series/ Model: LL16M ARE/LS16M ARE A Series n Scale Length: 650mm (25 9/16”) n Body Depth: LL16M ARE: 100-125mm (3 15/16”-4 15/16”), LS16M ARE: 100-120mm (3 15/16”-4 3/4”) n Nut Width: 44mm (1 3/4”) n Top: Solid Engelmann Spruce A.R.E. A5R ARE/AC5R ARE n Back/Sides: Solid Mahogany n Neck Material: Mahogany + Rosewood 5ply SPECIFICATIONS n Fingerboard/Bridge: Ebony n Fingerboard Radius: R400mm (15 3/4”) n Nut/Saddle: Urea n Tuners: Die-cast Gold (TM29G) Model: A5R ARE/AC5R ARE LL16M ARE LS16M ARE n Body Finish: Gloss n Electronics: Passive System + SRT Piezo Pickup n Scale Length: 650mm (25 9/16”) n Body Depth: A5R ARE: 100-118mm (3 15/16”- Natural Natural n Case: Hard Bag n Strings: Elixir NANOWEB 80/20 Bronze Light 4 5/8”), AC5R ARE: 100-120mm (3 15/16”-4 3/4”) n Nut Width: 43mm (1 11/16”) n Top: Solid Sitka Spruce A.R.E. w/Scalloped Bracing n Back/Sides: Solid Rosewood n Neck Material: African Mahogany 3ply n Fingerboard/Bridge: Ebony COLOR FINISH n Fingerboard Radius: R400mm (15 3/4”) n Nut/Saddle: TUSQ n Tuners: Open Gear A5R ARE AC5R ARE Chrome (Gotoh) n Body Finish: Gloss n Electronics: SYSTEM71 (SRT2 System) + SRT Natural Vintage Natural Vintage Natural Piezo Pickup n Case: Hardshell Case n Strings: Elixir NANOWEB 80/20 Bronze Light COLOR FINISH Vintage Natural LL6M ARE/LS6M ARE SPECIFICATIONS A3R ARE/AC3R ARE Model: LL6M ARE/LS6M ARE SPECIFICATIONS n Scale Length: 650mm (25 9/16”) n Body Depth: LL6M ARE: 100-125mm (3 15/16”- Model: A3R ARE/AC3R ARE 4 15/16”), LS6M ARE: 100-120mm (3 15/16”-4 3/4”) n Nut Width: 44mm (1 3/4”) n Scale Length: 650mm (25 9/16”) n Body Depth: A3R ARE: 100-118mm (3 15/16”- n Top: Solid Engelmann Spruce A.R.E. n Back/Sides: Mahogany 4 5/8”), AC3R ARE: 100-120mm (3 15/16”-4 3/4”) n Nut Width: 43mm (1 11/16”) n Neck Material: Mahogany + Rosewood 5ply n Fingerboard/Bridge: Rosewood n Top: Solid Sitka Spruce A.R.E. w/Scalloped Bracing n Back/Sides: Solid Rosewood n Fingerboard Radius: R400mm (15 3/4”) n Nut/Saddle: Urea n Tuners: Die-cast n Neck Material: African Mahogany 3ply n Fingerboard/Bridge: Ebony LL6M ARE LS6M ARE Gold (TM29G) n Body Finish: Gloss n Electronics: Passive System + SRT Piezo Pickup n Fingerboard Radius: R400mm (15 3/4”) n Nut/Saddle: Urea n Tuners: Die-cast Natural Natural n Case: None n Strings: Elixir NANOWEB 80/20 Bronze Light A3R ARE AC3R ARE Chrome (TM29T) n Body Finish: Gloss n Electronics: SYSTEM71(SRT2 System) + SRT Vintage Natural Tobacco Brown Sunburst Piezo Pickup n Case: Hard Bag n Strings: Elixir NANOWEB 80/20 Bronze Light COLOR FINISH Natural
Load more

Recommended publications
  • Yamaha Guitar Information
    Yamaha Strengths, Artist’s Advantage “Yamaha Guitars: Essential Knowledge” has been created to give you a behind-the-scenes view of the surprisingly vast and varied resources, facilities, skills, and people involved in making Yamaha guitars the special instruments that they are. Yamaha’s enviable position in musical instrument manufacturing is not only a result of more than 120 years of experience (the company was established in 1887), but also of the unique strengths that its expansive operations bring to bear. From research and development through design and manufacturing to sales and support, Yamaha goes to lengths that are simply beyond the capabilities of most guitar makers. But an underlying dedication to music and the creation of fine musical instruments is always there, forming a steadfast foundation that often results in profit taking a back seat to the pursuit of quality. Yamaha’s true strengths as a guitar maker are not apparent in product brochures or specifications, but they are clearly reflected in the sound, playability, dependability, and overall quality of every guitar that bears the Yamaha name. “Essential Knowledge” includes information that will hopefully provide a clearer picture of the prodigious resources and effort that give artists who choose Yamaha a significant musical advantage. Contents Research & Material Optimization......................p.4 Woods ...................................................................p.6 The Acoustic Guitar Elements of Sound and Playability ....................p.8 The Electric
    [Show full text]
  • Artists and Yamaha
    Artists and Yamaha CONTENTS Turning The Artist’s Imagination INTRO CONTENTS 1 ELECTRIC BASSES OTHERS YAMAHA GUITAR DEVELOPMENT 3 RBX4A2/4A2M/5A2 22 GIGMAKER 39 YASH (YAMAHA ARTIST SERVICES HOLLYWOOD) 3 BB INTRO 23 ACCESSORIES/AMP 40 YMC (YAMAHA MUSIC CRAFT) 4 Into Tomorrow’s Music. BB2024/2024X/2025/2025X 25 YAMAHA ARTISTS 41 ELECTRIC GUITARS BB1024/1024X/1025/1025X 27 For over 60 years, we’ve been committed to improving the quality, sound, playability, durability, and design of our instruments. Feedback SG INTRO 5 BB424/424X/425/425X 29 from our valued customers and the professional musicians that use our instruments has always played an instrumental role in our passion SG FEATURES 7 ATTITUDE LTD3 31 for constant improvement. Because we believe that instruments are the tools musicians use to create music, our strive to create the ideal SG1820 9 BB714BS 32 instrument for the player is never ending. SG1820A/1802 11 BBNE2 33 Professional musicians are the most critical when it comes to requests and requirements, and we focus a great deal of time and effort bringing CV820WB 13 TRBJPII 34 their ideas to life. Our purpose is to turn what exists only in their imagination, into something they can hold and use in their hands—fi nding PAC1511MS 14 TRB1006J/1005L/1004J 35 the right type of tone, the perfect attack, or a neck that fi ts better in the hand. PAC212VFM/VQM/112V 15 RBX374/375/270J/170 37 The evolution of Yamaha guitars has always been closely related to our long-standing relationships with the musicians that use them.
    [Show full text]
  • Medieval to Metal: the Art and Evolution of the Guitar MEDIEVAL to METAL: the ART and EVOLUTION of the GUITAR September 29Th, 2018-January 6Th, 2019
    EXHIBITION RESOURCE PACKET Medieval to Metal: The Art and Evolution of the Guitar MEDIEVAL TO METAL: THE ART AND EVOLUTION OF THE GUITAR September 29th, 2018-January 6th, 2019 How to use this resource: This packet is designed to be flexible. Use it to help prepare for a docent-led tour of the museum, to inform a self-guided tour, or to discuss selected artworks in your classroom, whether you’re able to physically visit the museum or not. The suggested activities (page 7) should be used in conjunction with in-depth discussion of at least one related artwork. The guitar has been a signature element of world culture for more than 500 years. As the guitar’s ancestors evolved over centuries from the earliest ouds and lutes to the signature hourglass shape we all know today, guitar makers experimented with shapes, materials, and accessories, seeking the perfect blend of beauty and sound. Spanning centuries of design and craftsmanship, this exhibition takes visitors through the history of an object that is one of the most recognizable items on the planet. Art and music transcend cultural boundaries while the most recognized musical instrument—the guitar—has influenced culture beyond music. Through the years the guitar and its shape have been integral elements for artists such as Vermeer and Picasso and today they are incorporated into the advertisements of everything from clothes to car. What guitars are in the show? The following 40 guitars are included in the exhibition: Oud (North Africa) Maccaferri Plastic Lute (Europe) Silvertone 1487 Speaker
    [Show full text]
  • The Center of Performance Auf Der CENTER STAGE (Festival BLVD F10.0) Performt Heute Unter Anderem Steve Stevens (& Band Feat
    Frankfurt e-Paper daily Samstag, 8.April 2017 / Saturday, April 8, 2017 the center of performance Auf der CENTER STAGE (Festival BLVD F10.0) performt heute unter anderem Steve Stevens (& Band feat. Franky Perez), bekannt durch seine Zusammenarbeit mit Billy Idol, Michael Jackson, Vince Neil und Robert Palmer – und natürlich auch durch seine Solo-Alben. Weitere Acts auf der Center Stage: 10:30 Neue Philharmonie Frankfurt 13:00 Martin Engelien & GO MUSIC feat. Jutta Weinhold 15:00 Helmut Hattler Trio Among the performers on the CENTER STAGE today (Festival BLVD F10.0) is Steve Stevens (& Band featuring Franky Perez), known for his work with Billy Idol, Michael Jackson, Vince Neil and Robert Palmer – and of course for his solo albums. Other acts on the Center Stage: Guitar Camp Hero 10:30 am Neue Philharmonie Frankfurt 1:00 pm Martin Engelien & GO MUSIC Herman Li, bestens featuring Jutta Weinhold bekannt als Saiten- 3:00 pm Helmut Hattler Trio bändiger von Dragon- force, ist heute ab 13:45 in der „Sweat, Blood and Tears Box“ zu erleben. Metal in Reinkultur! Herman Li, best known for his rapid licks and exotic scale runs with Dragon- force, is performing Best of Show live today from 1:45 pm in the “Sweat, Blood and Tears Box”. Power In den beiden neuen Brandworlds metal close-up! Drums und Guitar in der Halle 11.0 erleben Besucher spektakuläre Perfor- mances weltbekannter Künstler. Herz- stück ist die „Sweat, Blood and Tears Box“: In der intimen, schalldichten Kabine kommen die Besucher Top- Musikern näher als bei jedem Konzert. Karl Brazil, Drummer Täglich sind Stars der Drummer- und von Robbie Williams, Gitarristen-Garde mit ihren Original- James Blunt und Instrumenten und -setups zu erleben.
    [Show full text]
  • Kennelly Keys Music Hot List!
    Kennelly Keys Note: Most items on this list are either discontinued by the manufacturer, or Kennelly Keys Music. Most items are like new, in the box. Many are one-of-a-kind, shop worn, open-box or old. Please Music Hot List! call or email for information about a specific item. 1-800-426-6409 Dept. Item Category Descriptions MSRP % Off Final Sale Price Brass Qty.* Trombone (Student) 5 151171 X Tromb Jiggs Pbone Mini Red Jiggs Pbone Mini $77.77 Red Eb Trombone - PBONE2R $149.99 48% 2 151174 X Tromb Jiggs Pbone Black Jiggs Pbone $97.77 Black Plastic Trombone - PBONE1BLK $179.99 46% Brass Accessories Qty.* Accessories 1 100809 X Pouch Mpce Tuba 1804 Bach Bach Accessories $5.77 Ruber for Tuba or Sousa Tuba MP Pouch - 1804 $11.00 48% 15 104033 X Stand TR Hercules Hercules Brass $21.77 Swivel Legs Trumpet Stand - DS510B $48.99 56% 2 104040 X Stand TR KB500 Hamilton $31.35 43% $17.77 7 105014 X Wax Band Inst Redland $10.99 57% $4.77 3 108020 X Silent Brass Flugelhorn Yam $77.77 Silent Brass - SB69C $199.99 61% Qty.* Cases 3 106032 X Case TR Gator Red $144.99 59% $59.77 Qty.* Mouthpieces 1 100106 X Mouthpiece TB Bach K350 11C Bach Megatone $87.77 11C Med Shlw Cup Small Shank TB Mouthpiece - K35011C $178.00 51% 9 100130 X Mouthpiece Cornet Bach 7C $84.00 55% $37.77 4 100140 X Mouthpiece Flugl Bach 1-1/2C $84.00 43% $47.77 6 100145 X Mouthpiece Flug Bach 10-1/2C $84.00 43% $47.77 2 100182 X Mouthpiece Flugel Yam 16F4 Yamaha $32.77 Standard Flugel Mouthpiece - YACFH16F4 $61.99 47% 1 100206 X Mouthpiece TB Bass Bless 1½G $62.20 52% $29.77 1 100267
    [Show full text]
  • Hexaphonic Guitar Article
    Digital audio processing system for live electronics performance based on a hexaphonic pickup guitar ! ! ! Vladimir Vlaev! Institute of Sonology! Royal Conservatory! The Hague, The Netherlands! ! [email protected]! ! ! ! ! Abstract the use of a hexaphonic guitar pickup as an ! initial device. This pickup captures and This paper presents an ongoing project for introduces the instrumental sound as designing a digital audio processing system multichannel input of the digital audio based on the acoustic input from a processing system. The environment of Max/ hexaphonic guitar pickup. The artistic aim for MSP has been used for building the above the project is to use this system as an interface mentioned digital processing network for live electronics performance. The article designed to function as set of modules. Each discusses compositional, aesthetic and module represents a complex audio technical ideas which have been implemented processing of the incoming acoustic signal. in the design. It describes also the steps which Furthermore, a variety of transformations and have been taken in the process of building the sonic textures have been achieved by hardware and the software components of the incorporating these modules in different system. Finally, it traces possible future ways. Additionally, compositional strategies development of the instrument. along with mathematical procedures have ! been used to determine the behavior of the Autor Keywords system. As a result a significant part of the ! decision making during a performance is held Augmented Instrument, Acoustic-Digital by the computer. On the other hand , the System, Real-Time Digital Processing, behavior of the system, accordingly the sound Spatial Live Electronics output determines the next step that the ! performer will take by listening to this output.
    [Show full text]
  • Yamaha Reface Mobile Mini Keyboards Bring Great Sound, Control and Playability to a Portable Package
    Yamaha reface Mobile Mini Keyboards Bring Great Sound, Control and Playability to a Portable Package NASHVILLE (EMBARGO July 9, 2015)—Yamaha today announced that it introduced the new reface Mobile Mini Keyboards at the 2015 Summer NAMM Show. Building on Yamaha’s 40-year heritage of creating some of the most heralded and renowned electronic keyboards, reface reimagines the interface of four classic Yamaha instruments. The series offers great sound, built-in speakers, 37 keys with professional-grade HQ-Mini action (derived from the flagship Motif XF) and battery-powered portability for making music on the go. But more than mere travel companions, these versatile keyboards connect with external speakers, smartphones, tablets, MIDI devices and computers for use on stage and in the studio. reface YC reimagines the YC Yamaha Combo organs, introduced in the late 1960s and used by Pink Floyd, Tangerine Dream and others. The YC offers all the expression of drawbars, rotary speaker, percussion and effects. It includes five retro organ sounds -- ranging from tonewheel to transistor to the original Yamaha Combo organ -- and 128-note polyphony. reface CP redesigns the Combo Piano, launched in 1975 and ubiquitous on stages during that era. The sound enhanced the work of Keane, U2, Genesis, Billy Joel and more. The CP model features six electric piano sounds including tine, reed, clav, toy and CP80 plus direct control of six different 1970s-style effects built into its retro-chic design. It also includes a sustain pedal input with a half-damper response and 128-note polyphony. reface CS rekindles the legacy of the CS-series Control Synthesizers, introduced in 1976 and played by Vangelis, Stevie Wonder and Michael Jackson, among others.
    [Show full text]
  • 1 William Hammond Written Thesis 4/21/2017 HOOK Student Guitars
    1 William Hammond Written Thesis 4/21/2017 HOOK Student Guitars Introduction: Hook Student Guitars attempt to reimagine the way that we teach, learn, and play music in public space. Developed in response to the defunding of arts in our public-school system, HOOK guitars have been designed to be more durable, more cost effective, and more easily storable than traditional wooden instruments. These guitars can be purchased by an organization, and then checked out by players via a corresponding guitar pick, a system that promotes communal learning and growth without posing a long-term cost to the institution. Contextual Background: The 2001 No Child Left Behind Act deemed that all national funding to the U.S. Public School System be doled out relative to school’s performance on standardized tests1. These tests encompass what is known as “Core” subjects in the school curriculum: Math, English, Science, and History. When a school performs poorly in these areas, and their funding diminishes, the institution will generally look outside of these areas to make cuts. The first subject to go in many Public K-12 Schools across the U.S. since 2001 has been Music Education2. Brightmoor, a suburb of Detroit, is a community that has seen a substantial amount of hardship since the economic collapse of the motor city in the early 2000’s. Faced with an exorbitant crime rate and a lack of jobs and public services, education in Brightmoor has also begun to suffer greatly. 1 Abernathy, Scott. No Child Left Behind and the Public Schools. Ann Arbor, US: University of Michigan Press, 2008.
    [Show full text]
  • Besonderheiten Bei Der Tonabnahme Von Akustikgitarren
    Besonderheiten bei der Tonabnahme von Akustikgitarren Masterarbeit Im Studiengang Audiovisuelle Medien vorgelegt am 21.12.2017 von Victor Gogröf Matrikelnummer: 31779 an der Hochschule der Medien Stuttgart zur Erlangung des akademischen Grades „Master of Engineering“ Erstprüfer: Prof. Oliver Curdt Zweitprüfer: Prof. Jens-Helge Hergesell Eidesstattliche Versicherung Name: Gogröf Vorname: Victor Matrikel-Nr.: 31779 Studiengang: AM3 Hiermit versichere ich, Victor Gogröf, an Eides statt, dass ich die vorliegende Masterarbeit mit dem Titel „Besonderheiten bei der Tonabnahme von Akustik-Gitarren“ selbständig und ohne fremde Hilfe verfasst und keine anderen als die angegebenen Hilfsmittel benutzt habe. Die Stellen der Arbeit, die dem Wortlaut oder dem Sinne nach anderen Werken entnommen wurden, sind in jedem Fall unter Angabe der Quelle kenntlich gemacht. Die Arbeit ist noch nicht veröffentlicht oder in anderer Form als Prüfungsleistung vorgelegt worden. Ich habe die Bedeutung der eidesstattlichen Versicherung und prüfungsrechtlichen Folgen (§19 Abs. 2 Master-SPO der Hochschule der Medien Stuttgart) sowie die strafrechtlichen Folgen (siehe unten) einer unrichtigen oder unvollständigen eidesstattlichen Versicherung zur Kenntnis genommen. Auszug aus dem Strafgesetzbuch (StGB) § 156 StGB Falsche Versicherung an Eides statt Wer von einer zur Abnahme einer Versicherung an Eides statt zuständigen Behörde eine solche Versicherung falsch abgibt oder unter Berufung auf eine solche Versicherung falsch aussagt, wird mit Freiheitsstrafe bis zu drei Jahren oder mit Geldstrafe bestraft. Stuttgart, den 21.12.2017 Ort, Datum Unterschrift Victor Gogröf 2 Masterarbeit Kurzzusammenfassung Die Arbeit widmet sich einer ganzheitlichen Betrachtung der wichtigsten Aspekte bei der Tonabnahme von Akustikgitarren. Dazu werden nach einer Einführung über Geschichte, Aufbau und Resonanzverhalten des Instrumentes die technischen Aspekte aller gängigen Tonabnahme Verfahren untersucht und auf ihren Nutzen in verschiedenen Situationen hin beurteilt.
    [Show full text]
  • Verzeichnis Der Testberichte Ausgabe 4/94 – 5/21
    Verzeichnis der Testberichte Ausgabe 4/94 – 6/21 1 Vorwort Die vorliegende PDF-Datei verzeichnet sämtliche Testberichte, die seit der Ausgabe 4/1994 in der Zeitschrift AKUSTIK GITARRE veröffentlicht worden sind. Die Testberichte sind in die Kategorien Gitarren, Equipment und Vergleichstests aufgeteilt. In den Unterkategorien, z. B. Westerngitarren sind die Modelle alphabetisch nach Herstellern geordnet. Hinter den Modellnamen steht kursiv und in Klammern die Ausgabe der Akustik Gitarre, in der das entsprechende Modell getestet wurde: Modell (Nr./Jahrgang) Bei den Vergleichstest steht die Ausgabe der Akustik Gitarre direkt hinter der Überschrift: Vergleichstest (Nr./Jahrgang) Wir fertigen Kopien vergangener Testberichte an und senden sie Ihnen gerne zu. Bitte à 0,50 EUR pro Test (Vergleichstests à 1,- EUR) + 1,50 EUR für Porto & Verpackung in Briefmarken beilegen (Stand: 01.01.2010). Einsenden an: AKUSTIK GITARRE, - Leserservice - , Postfach 19 45, 49009 Osnabrück Tel.: 05 41/71 00 20 E-Mail: [email protected] Internet: www.acoustic-music.de Ältere AKUSTIK GITARRE Ausgaben sind ebenfalls lieferbar (ab Ausgabe 1/96; folgende Ausgaben sind nicht mehr lieferbar: 1/97, 5/98, 2/02, 6/02, 6/03, 2/07). Der Preis pro Heft beträgt 4,20 EUR + 2,00 EUR Versandkosten (Stand: 01.01.2010). Bestelladresse: AKUSTIK GITARRE, - Leserservice - , Postfach 1945, 49009 Osnabrück Tel.: 05 41/71 00 20 E-Mail: [email protected] Internet: www.acoustic-music.de Recherche: Jessica Wamhoff Satz, Layout, PDF: Gerald Oppermann © 2010 Acoustic Music GmbH & Co. KG 2 Testarchiv AKUSTIK GITARRE – Ausgaben 4/94 bis 2/20 Inhaltsverzeichnis A. GITARREN ............................................................................................ 4 WESTERNGITARREN (STEELSTRINGS) ...................................................................................................................... 4 KONZERTGITARREN (NYLONSTRINGS) ..................................................................................................................
    [Show full text]
  • Yamaha Guitar Group Announces Acquisition of Legendary Bass Amp Brand, Ampeg
    PRESS RELEASE FOR IMMEDIATE RELEASE YAMAHA GUITAR GROUP ANNOUNCES ACQUISITION OF LEGENDARY BASS AMP BRAND, AMPEG Heralded and historic family of Ampeg bass amps and pedals will join existing offering of guitar products from Yamaha and Line 6 Calabasas, CA—May 10, 2018 – Yamaha Guitar Group, Inc., the newly formed U.S. subsidiary of Japan-based Yamaha Corporation, today announced the acquisition of the Ampeg brand from LOUD Audio, LLC., a portfolio company of Transom Capital Group. The addition of Ampeg to Yamaha Guitar Group’s portfolio alongside the Yamaha and Line 6 brands adds an iconic selection of bass amps, cabinets and pedals to the solutions already available to bass guitarists through Yamaha bass guitars and Line 6 wireless and modelers. With roots that go back to New Jersey in the 1940’s, the same decade that Yamaha started making guitars, the seeds of the Ampeg brand were planted when Everett Hull and Stanley Michaels began designing pickup and amplification systems for upright basses. In the early 1960s, Ampeg was the first company to incorporate reverb into a guitar amp and in 1969 they introduced the most powerful amplifier ever made – the 300-watt SVT, an amp that has graced the backlines of almost every tour and festival imaginable in its 49-year history. “We couldn’t be more excited,” said Marcus Ryle, Co-President of Yamaha Guitar Group. “Ampeg is arguably the most recognized bass amp brand in the world. They can even be credited with having invented the first bass amp. We are honored to take the baton in continuance of that legacy.” “There is enormous respect for Ampeg within Yamaha,” added Shoji Mita, Yamaha Guitar Group Co-President.
    [Show full text]
  • SLG-100S Owner’S Manual
    SLG-100S Owner’s Manual English Thank you for purchasing the Yamaha Silent Guitar. In order to obtain the maxi- mum performance and enjoyment from your Silent Guitar, we urge you to read this Owner’s Manual thoroughly before using the instrument. Please keep this Owner’s Manual in a safe place for later reference. Contents Precautions ................................................................... 3 Main Body/Accessories ................................................ 4 Nomenclature ................................................................ 5 Attaching the Frame ..................................................... 7 I About the Strap Pin ...................................................................... 7 Tuning ............................................................................ 8 Power Supply ................................................................ 9 I Supplying AC Power .................................................................... 9 I Installing the Battery .................................................................... 9 Using the Controls ...................................................... 10 I Using the LINE OUT jack ........................................................... 10 I Using the stereo earphones ....................................................... 10 Using the Soft Case .................................................... 11 Connecting External Devices .................................... 12 I AUX IN jack ...............................................................................
    [Show full text]