Modeling the magnetic pickup of an electric guitar

2009 ◽  
Vol 77 (2) ◽  
pp. 144-150 ◽  
Author(s):  
Nicholas G. Horton ◽  
Thomas R. Moore
Keyword(s):  
Electric Guitar

Crossing the Electronic Divide

2018 ◽  
Author(s):  
Steve Waksman
Keyword(s):  
Digital Divide ◽  
Critical Reception ◽  
Electric Guitar ◽  
The Future ◽  
History Of ◽  
John Mclaughlin

Guitar synthesizers gained prevalence in the 1980s thanks to the work of guitarists such as Pat Metheny, John McLaughlin, and Allan Holdsworth. This chapter explores how the guitar synthesizer challenged prevailing ideologies of technology, technique, and tone in the guitar community and was ultimately a commercial failure. It traces a brief history of the electric guitar and the synthesizer and their subsequent conjoining. The chapter discusses three cases in detail: Metheny’s use of the Roland GR-300, McLaughlin’s use of the Synclavier II, and Holdsworth’s use of the SynthAxe. The chapter concludes with an examination of the critical reception of the guitar synthesizer and speculates about the future of technological synthesis across the analog/digital divide.

scholarly journals Distortion and Western Music Chord Processing

2018 ◽  
Vol 35 (3) ◽  
pp. 315-331 ◽  
Author(s):  
Paula Virtala ◽  
Minna Huotilainen ◽  
Esa Lilja ◽  
Juha Ojala ◽  
Mari Tervaniemi
Keyword(s):  
Auditory Processing ◽  
Rock Music ◽  
Standard Stimulus ◽  
Event Related Potentials ◽  
Special Role ◽  
Electric Guitar ◽  
Heavy Metal Music ◽  
Major Chord ◽  
Related Potentials ◽  
Cortical Auditory Processing

Guitar distortion used in rock music modifies a chord so that new frequencies appear in its harmonic structure. A distorted dyad (power chord) has a special role in heavy metal music due to its harmonics that create a major third interval, making it similar to a major chord. We investigated how distortion affects cortical auditory processing of chords in musicians and nonmusicians. Electric guitar chords with or without distortion and with or without the interval of the major third (i.e., triads or dyads) were presented in an oddball design where one of them served as a repeating standard stimulus and others served as occasional deviants. This enabled the recording of event-related potentials (ERPs) of the electroencephalogram (EEG) related to deviance processing (the mismatch negativity MMN and the attention-related P3a component) in an ignore condition. MMN and P3a responses were elicited in most paradigms. Distorted chords in a nondistorted context only elicited early P3a responses. However, the power chord did not demonstrate a special role in the level of the ERPs. Earlier and larger MMN and P3a responses were elicited when distortion was modified compared to when only harmony (triad vs. dyad) was modified between standards and deviants. The MMN responses were largest when distortion and harmony deviated simultaneously. Musicians demonstrated larger P3a responses than nonmusicians. The results suggest mostly independent cortical auditory processing of distortion and harmony in Western individuals, and facilitated chord change processing in musicians compared to nonmusicians. While distortion has been used in heavy rock music for decades, this study is among the first ones to shed light on its cortical basis.

‘ROCK SPECTRALE’: THE CULTURAL IDENTITY OF THE ELECTRIC GUITAR IN TRISTAN MURAIL'S vampyr!

Tempo ◽  
2015 ◽  
Vol 69 (274) ◽  
pp. 22-32
Author(s):  
Ben Jameson
Keyword(s):  
Popular Culture ◽  
Cultural Studies ◽  
Cultural Identity ◽  
Popular Music ◽  
Musical Instruments ◽  
New Music ◽  
Electric Guitar ◽  
Concert Music ◽  
Analytical Approaches

AbstractThe electric guitar is one of the most iconic musical instruments of the twentieth and twenty-first centuries and, due to its ubiquitous use in much rock and popular music, it has developed a strong cultural identity. In recent years, as the electric guitar has become increasingly common in contemporary concert music, its cultural associations have inevitably shaped how composers, performers and listeners understand music performed on the instrument. This article investigates various issues relating to the electric guitar's cultural identity in the context of Tristan Murail's Vampyr! (1984), in the hope of demonstrating perspectives that will be useful in considering new music for the electric guitar more generally. The article draws both on established analytical approaches to Murail's spectral oeuvre and on concepts from popular music and cultural studies, in order to analyse the influence that the electric guitar's associations from popular culture have in new music.

scholarly journals Design and Construction of an Electric Guitar Body Made of Carbon Composite

2021 ◽  
pp. 101-106
Author(s):  
Radoslav Vandžura ◽  
Vladimír Simkulet ◽  
Michal Hatala
Keyword(s):  
Composite Material ◽  
Carbon Composite ◽  
The Body ◽  
Electric Guitar ◽  
Carbon Composite Material ◽  
Selection Of ◽  
Design And Construction

This paper presents the selection of technology, technological and working procedures to construct the body of an electric guitar (Stratocaster type.). The used material for the electric guitar construction was carbon composite material offset by standardly used components. The carbon composite was chosen because of its excellent properties suitable for guitar construction. Described and used technologies were Manual Wet Lamination Technology and Vacuum Bag Molding (VBM) technology, and both are affordable and uncomplicated methods.

Real Time Implementation of Fuzz-Face Electric Guitar Effect

2009 ◽  
pp. 89-100
Author(s):  
Massimo Conti ◽  
Simone Orcioni ◽  
Marco Caldari ◽  
Franco Ripa
Keyword(s):  
Real Time ◽  
Electric Guitar
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