Relevant bibliographies by topics / Electric guitar

Academic literature on the topic 'Electric guitar'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Electric guitar"

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Oe, Hiroko, and Yasuyuki Yamaoka. "Exploring socioeconomic factors for the sustainability of electric guitar brands: focusing on traditional values and psychological attachment." SocioEconomic Challenges 7, no. 4 (December 31, 2023): 36–53. http://dx.doi.org/10.61093/sec.7(4).36-53.2023.

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The primary objective of this study was to conduct a comprehensive quantitative analysis to investigate the factors influencing the purchase of electric guitars. Building upon prior research related to the decision-making process behind electric guitar purchases, our research took a quantitative approach to shed light on this intricate process. We designed and tested six hypotheses, utilizing structural equation modeling to analyze a dataset consisting of 433 responses collected within the electric guitar community. The results of our study have uncovered intriguing insights into the factors that drive purchase intention among electric guitar enthusiasts. Notably, two out of the six variables examined, namely ‘Brand’ and ‘Heritage Value,’ were found to exert a significant impact on consumers’ intentions to purchase electric guitars. This discovery carries profound implications for the industry. It is worth highlighting that electric guitars possess inherent features that can enhance a player’s skill and convenience through cutting-edge digital technology. However, our findings reveal that players place a higher emphasis on the perceived heritage value and brand identity of electric guitars, which take precedence over their functional attributes when making guitar selection decisions. This preference for cultural and emotional aspects over utilitarian features is a significant revelation. In light of the current state of the electric guitar industry, which is experiencing a decline, our research suggests that emphasizing and promoting the heritage and brand values of electric guitars could prove instrumental in retaining existing customers and attracting new ones. This strategic shift could serve to revitalize the industry and counter the challenges posed by advancements in technology. In summary, our study reaffirms the importance of cultural and emotional elements in consumers’ decisions regarding electric guitar purchases, underscoring the need for industry players to adapt and focus on these aspects to remain competitive in a changing market landscape.
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Ralson, Roy A. "Electric guitar." Journal of the Acoustical Society of America 86, no. 5 (November 1989): 2053. http://dx.doi.org/10.1121/1.398496.

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Nyack, Norris, and Michael Nyack. "Electric guitar." Journal of the Acoustical Society of America 81, no. 6 (June 1987): 2006. http://dx.doi.org/10.1121/1.394702.

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Aprianno, Ryan Gredy. "PENGARUH ETUDE TERHADAP TEKNIK PERMAINAN GITAR KLASIK DAN GITAR ELEKTRIK." IKONIK : Jurnal Seni dan Desain 2, no. 2 (July 29, 2020): 103. http://dx.doi.org/10.51804/ijsd.v2i2.740.

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Banyak gitaris yang memainkan gitar klasik dan gitar elektrik secara beriringan. Namun banyak dari mereka yang merasakan bahwa kedua teknik permainan gitar tersebut agak bertolak belakang dan saling mempengaruhi. Tujuan penelitian ini adalah untuk menjembatani antara teknik permainan gitar klasik dan gitar elektrik. Metodologi yang digunakan dalam penelitian ini adalah pendekatan studi kasus, kajian pustaka dan karya dengan memanfaatkan jurnal online, buku serta partitur karya. Hasilnya adalah teknik permainan gitar klasik dan elektrik yang agak bertolak belakang tersebut dapat diatasi salah satunya dengan cara memainkan etude. Etude tersebut terdiri dari teknik-teknik permainan yang khas terdapat pada gitar klasik dan gitar elektrik. Selain itu teknik-teknik permainan yang khas tersebut dapat dikombinasikan sehingga menghasilkan teknik hybrid antara gitar klasik dan gitar elektrik. Dengan tujuan, gitaris klasik dan gitaris elektrik yang memainkan kedua gitar tersebut secara beriringan akan mengetahui teknik-teknik permainan yang khas terdapat pada gitar klasik dan gitar elektrik. Serta mengaplikasikan teknik hybrid tersebut kedalam permainan gitarnya, sehingga gitaris bisa melatih kedua teknik permainan gitar tersebut secara bersamaan, tanpa meninggalkan salah satunya.Many guitarists play classical guitar and electric guitar simultaneously. But many of them feel that the two guitar playing techniques are somewhat contradictory and influence each other. The purpose of this study is to bridge the technique between classical guitar and electric guitar. The methodology used in this research is a case study approach, literature review and works by utilizing online journals, books and scores of works. The result is that the classical and electric guitar playing techniques are somewhat contradictory, one of which can be overcome by playing etude. Etude consists of techniques that are typical of the game found on the classical guitar and electric guitar. In addition, these typical playing techniques can be combined to produce a hybrid technique between a classical guitar and an electric guitar. With the aim, the classical guitarist and the electric guitarist who play both guitars together will know the game techniques that are typical found on the classical guitar and the electric guitar. As well as applying these hybrid techniques into his guitar playing, so the guitarist can practice both guitar playing techniques simultaneously, without leaving one of them.
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Luchmansyaroni, Aditya Wahyu. "Design a Guitar Effects Controller Using a Wireless System." Jurnal Jartel: Jurnal Jaringan Telekomunikasi 5, no. 2 (November 1, 2017): 42–45. http://dx.doi.org/10.33795/jartel.v5i2.203.

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Wireless is a wireless network technology that can be used for voice and data communications. The need for a wireless network system makes the need for technology grow very rapidly starting from communication and data transmission media, one of the technological developments in data transmission media. One of them is in the field of music. Most of the musical instruments such as microphones, bass guitars, acoustic guitars, and electric guitars already use wireless. This can facilitate the movement of these musical players while playing their musical instruments on stage. Therefore, a wireless device for guitar effects is designed that is directly connected to a guitar instrument. This system itself aims to facilitate the movement of guitar players on stage and can also activate guitar effects without the need to step on the guitar pedals at their feet.
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Woodworth, Henry F. "Electric guitar mountable upon acoustic guitar." Journal of the Acoustical Society of America 97, no. 2 (February 1995): 1365–66. http://dx.doi.org/10.1121/1.412157.

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Ahvenainen, Patrik. "Anatomy and mechanical properties of woods used in electric guitars." IAWA Journal 40, no. 1 (February 28, 2019): 106—S6. http://dx.doi.org/10.1163/22941932-40190218.

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ABSTRACT Many endangered tropical hardwoods are commonly used in electric guitars. In order to find alternative woods, the current electric guitar woods need to be studied and classified as most research in this field has focused on acoustic instruments. Classification was done based on luthier literature, woods used in commercially available electric guitars, commercially available tonewoods and by interviewing Finnish luthiers. Here, the electric guitar woods are divided into three distinct classes based on how they are used in the guitar: low-density wood used in the body only (alder, poplar, basswood, ash), medium-density wood used in the body and neck (maple and mahogany), and high-density wood used in the fretboard only (rosewood and ebony). Together, these three classes span a wide range of anatomical and mechanical properties, but each class itself is limited to a relatively narrow parameter space. Statistically significant differences between these classes and the average hardwoods exist in the wood anatomy (size and organization of vessels, fibres, rays and axial parenchyma), in the mechanical properties (density, elastic modulus, Janka hardness, etc.) and in the average price per volume. In order to find substitute woods for a certain guitar wood class, density and elastic modulus can already be used to rule out most wood species. Based on principal component analysis of the elastomechanical and anatomical properties of commercially available hardwoods, few species are similar to the low- and high-density class woods. However, for all of the three electric guitar wood classes, non-endangered wood species are already commercially available from tonewood retailers that match the class characteristics presented here.
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Schlink, Robert. "Electric guitar/violin." Journal of the Acoustical Society of America 92, no. 3 (September 1992): 1798. http://dx.doi.org/10.1121/1.403864.

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Maloney, Terrance R. "Electric feedback guitar." Journal of the Acoustical Society of America 83, no. 3 (March 1988): 1212. http://dx.doi.org/10.1121/1.395997.

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Ciszak, Thomas, and Seth F. Josel. "OF NEON LIGHT: MULTIPHONIC AGGREGATES ON THE ELECTRIC GUITAR." Tempo 74, no. 291 (December 19, 2019): 25–49. http://dx.doi.org/10.1017/s0040298219000962.

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AbstractConsiderable research has been made into the harmonic properties and playability of woodwind multiphonics, while the utility of string multiphonics has received far less attention. In recent years, however, there has been an increasing amount of interest in the topic, and several publications have been devoted to acoustic guitar multiphonics. Primarily written for non-guitarist composers, these studies range from the scientific to the practical. Variously, they describe the sonic qualities of the multiphonics, discuss methods of performing them, or examine their spectral content and morphology. Until now, published research into guitar multiphonics has been limited to the acoustic guitar and has examined only its three lower strings. In this study, we analyse multiphonics on all six strings of the electric guitar and present a catalogue of harmonic aggregates on strings 3–1. We test these multiphonics on five different guitars and examine their response to three commonly used analogue effect pedals (compression, overdrive and distortion). In order to precisely indicate the spectral components and harmonic nodes, we have used the Extended Helmholtz-Ellis JI Pitch Notation (HEJI).
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Dissertations / Theses on the topic "Electric guitar"

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Gylling, Martin, and Ruben Svensson. "Robotic Electric Guitar Tuner." Thesis, KTH, Maskinkonstruktion (Inst.), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-226669.

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This report presents the process of building a system thattunes a guitar with the help of an Arduino board, writingalgorithms for processing signals from a microphone andcontrolling the tension of the strings according to the desiredfundamental frequency. The research question for thisproject is how different sample rates affects the accuracy ofthe tuning, different sample rates were examined in orderto find a sample rate that yields the best precision in tuningacross all strings of the guitar.
Denna rapport går igenom byggandet av ett system som harsom funktion att stämma en gitarr med hjälp av ett Arduinokort, samt implementering av algoritmer för behandlingav mikrofon signaler och styrning av strängarnas spänningenligt den önskade grundtonen. Forksningsfrågan för dettaprojekt är hur olika samplingstakter påverkar stämningensnoggranhet. Olika samplingstakter undersöktes för att finnaden som ger den bästa noggranheten för alla strängar.
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Klčo, Michal. "Electric Guitar to MIDI Conversion." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2018. http://www.nusl.cz/ntk/nusl-385891.

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Automatický přepis hudby a odhad vícero znějících tónu jsou stále výzvou v oblasti dolování informací z hudby. Moderní systémy jsou založeny na různých technikách strojového učení pro dosažení co nejpřesnějšího přepisu hudby. Některé z nich jsou také omezeny na konkrétní hudební nástroj nebo hudební žánr, aby se snížila rozmanitost analyzovaného zvuku. V této práci je navrženo, vyhodnoceno a porovnáváno několik systémů pro konverzi nahrávek elektrické kytary  do MIDI souború, založených na různých technikách strojového učení a technikách spektrální analýzy.
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Mohamad, Zulfadhli. "Estimating performance parameters from electric guitar recordings." Thesis, Queen Mary, University of London, 2018. http://qmro.qmul.ac.uk/xmlui/handle/123456789/36695.

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The main motivation of this thesis is to explore several techniques for estimating electric guitar synthesis parameters to replicate the sound of popular guitarists. Many famous guitar players are recognisable by their distinctive electric guitar tone, and guitar enthusiasts would like to play or obtain their favourite guitarist's sound on their own guitars. This thesis starts by exploring the possibilities of replicating a target guitar sound, given an input guitar signal, using a digital filter. A preliminary step is taken where a technique is proposed to transform the sound of a pickup into another on the same electric guitar. A least squares estimator is used to obtain the coefficients of a finite impulse response (FIR) filter to transform the sound. The technique yields good results which are supported by a listening test and a spectral distance measure showing that up to 99% of the difference between input and target signals is reduced. The robustness of the filters towards changes in repetitions, plucking positions, dynamics and fret positions are also discussed. A small increase in error was observed for different repetitions; moderate errors arose when the plucking position and dynamic were varied; and there were large errors when the training and test data comprised different notes (fret positions). Secondly, this thesis explored another possible way to replicate the sound of popular guitarists in order to overcome the limitations provided by the first approach. Instead of directly morphing one sound into another, replicating the sound with electric guitar synthesis provides flexibility that requires some parameters. Three approaches to estimate the pickup and plucking positions of an electric guitar are discussed in this thesis which are the Spectral Peaks (SP), Autocorrelation of Spectral Peaks (AC-SP) and Log-correlation of Spectral Peaks (LC-SP) methods. LC-SP produces the best results with faster computation, where the median absolute errors for pickup and plucking position estimates are 1.97 mm and 2.73 mm respectively using single pickup data and the errors increased slightly for mixed pickup data. LC-SP is also shown to be robust towards changes in plucking dynamics and fret positions, where the median absolute errors for pickup and plucking position estimates are less than 4 mm. The Polynomial Regression Spectral Flattening (PRSF) method is introduced to compensate the effects of guitar effects, amplifiers, loudspeakers and microphones. The accuracy of the estimates is then tested on several guitar signal chains, where the median absolute errors for pickup and plucking position estimates range from 2.04 mm to 7.83 mm and 2.98 mm to 27.81 mm respectively.
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Diedova, A. B. "An electric guitar as a small orchestra." Thesis, Sumy State University, 2014. http://essuir.sumdu.edu.ua/handle/123456789/45591.

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I cannot imagine my life without my electric guitar. It is not a thing. It is an extension of myself. It is who I am. Today not many people can tell about creation of this instrument. An electric guitar is a guitar that uses a pickup to convert the vibration of its strings into electrical impulses. Some of the earliest electric guitars adapted hollow bodied acoustic instruments and used tungsten pickups. The first electrically amplified guitar was designed in 1931 by George Beauchamp. George Beauchamp was born in Coleman County, Texas. Beauchamp performed in vaudeville, playing the violin and the lap steel guitar, before he settled in Los Angeles, California.
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Banks, Zane. "The electric guitar in contemporary arts music." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/11805.

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Since 1950 the electric guitar has occupied an ever-increasing presence in contemporary art music both as a solo and chamber instrument. Although the electric guitar is still on the fringe of mainstream classical music, the instrument is more popular now amongst contemporary art music composers and contemporary art music ensembles than in previous times. This dissertation is divided into three sections. The first, Section A, is an introduction to the electric guitar, with a focus on its history and role in both western popular music and western art music. Chapters 2 and 3 address the development of the electric guitar, the electric guitar in American popular music and the development of art music repertoire featuring the electric guitar. Section B (Chapter 4) includes the analysis of forty-eight interviews given by musicians involved in composition, performance and musicology for the electric guitar. The focus of this section is on the interviewees’ experiences with and common views, perceptions and attitudes towards the electric guitar’s role in art music. It also contains common recommendations made by the interviewees regarding writing successfully for the instrument, and addresses the nature of previous collaborative partnerships between composers and electric guitarists. The final section, Section C (Chapter 5 and 6), is partly an auto-ethnography. It includes the proposition of useful collaborative models. This section also features an in-depth discussion regarding how technological mediation can affect the collaborative process as well as proposing performance and recording logistics that composers should keep in mind when composing for the electric guitar. This dissertation culminates in a detailed, first-hand account of a successful composer-electric guitarist collaboration so that future composers1, considering writing for the instrument, have a model to assist them in their artistic endeavours. Included in the ‘Creative Work’ portfolio of this dissertation is an mp4 recording (on a USB) of my performance of Georges Lentz’s unaccompanied electric guitar composition Ingwe at the 2012 Amsterdam Guitar Heaven Festival and my Naxos CD recording of Ingwe2. 1 The term ‘composer’ in this context refers to composers who have never written for the electric guitar but are interested in writing a work for the instrument. 2 Georges Lentz, "Ingwe from ‘Mysterium’ (“Caeli Enarrant...” Vii) for Solo Electric Guitar (2003–2009) Performed by Zane Banks," ([Hong Kong] Naxos, 2011)
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Karnes, Addison S. "The Development of a Laminated Copolyester Electric Guitar." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etd/2442.

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This thesis is an investigation of the fabrication and assembly methodologies employed in the development of a proof-of-principle prototype electric guitar composed of laminated copolyester. The objective of the project was to develop the processes and procedures to create an optimized physical and visual bond between layers to minimize vibratory dissipation, thus maximizing sustain. A high speed CNC router, abrasive waterjet, laser engraver-cutter, as well as various manual fabrication and assembly methods were investigated in the construction of the guitar prototypes. The lamination processes explored include low-temperature, heat-assisted pressure bonding, solvent and chemical welding, and contact adhesives. The project concluded with the completion of a working guitar comprised of a laminated copolyester body and a traditional bolton wooden neck.
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Ledroit, Christien. "Streamlined : for chamber orchestra with electric guitar and digital audio." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79289.

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Streamlined is a musical composition for chamber orchestra. The entire piece was created from four basic musical fragments. These fragments are used melodically and as "roots" for chord progressions, eventually rendering melody and harmonic progression as one entity. These chord progressions move slowly from one chord to the other, through several intermediate chord progressions, metamorphosing into each other through carefully calculated and executed transformative processes.
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Douglas, David M. "An improved mechanical vibrato device for the electric bass guitar." Full text, Acrobat Reader required, 1998. http://viva.lib.virginia.edu/etd/theses/douglas98.pdf.

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Turner, George. "Electric guitar performance techniques : meaning and identity in written discourse." Thesis, University of Sheffield, 2015. http://etheses.whiterose.ac.uk/12685/.

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This thesis presents an in-depth analysis of selected electric guitar performance techniques and technologies, including the power chord, the wah-wah pedal and finger tapping. Employing discourse analysis, the purpose of the thesis is to identify and understand themes within a wide range of written source material pertaining to the electric guitar. I analyse primarily Anglo-American originating, English-language sources that discuss these techniques and technologies, including archival and online materials, popular and trade publications, academic writing and my own participant interviews. From my analysis, I identify a number of themes that are present within written discourse pertaining to electric guitar performance techniques and technologies, and which also cut across them. The first three main chapters consider three particular aspects of electric guitar discourse. In Chapter 2, I explore the existence of clear invention and discovery narratives for each of the three performance techniques considered in the thesis, concluding with a general list of features that appear to promote the narratives’ continuity and prominence. In Chapter 3, I look at the contemporary meaning of virtuosity and the electric guitar, suggesting that ascriptions of virtuosity are closely linked with the assumptions that underpin aesthetic preference. In Chapter 4, I examine the meanings and attitudes that are apparent in discourse relating to new electric guitar technology, demonstrating that there is a clear yet inconsistent binary between acceptance and rejection of technological change. In Chapters 5 and 6, I theorise more generally about the electric guitar, situating a range of relevant written discourse within theories of late 20th and 21st Century Neoliberalism. I suggest that many of the values and attitudes I identify within electric guitar discourse reflect those of neoliberalism, particularly with respect to the shared value attached to authenticity, individuality, innovation and a willingness to engage with the marketplace.
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Welch, Chapman. "Tele using vernacular performance practices in an eight channel environment /." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20032/welch%5Fchapman/index.htm.

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Books on the topic "Electric guitar"

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Freeth, Nick. The electric guitar. London: Salamander, 2000.

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Profera, Tony. Electric funk guitar. Lake Havasu City, AZ: Player Educational Products, 1987.

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Hirst, Tom. Electric guitar construction. Anaheim Hills, CA: Centerstream Pub., 2003.

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Freeth, Nick. The electric guitar. Philadelphia: Courage Books, 1999.

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guitarist, Alexander Charles, ed. The electric guitar. London: Salamander, 2000.

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Trampert, Lothar. [Electric guitar]: Ein Buch. Augsburg: Sonnentanz, 1998.

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Electric Guitar (Electric Guitar). Hal Leonard Publishing Corporation, 1996.

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BRAMLEY. Electric Guitar. Pavilion Books, 1999.

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Electric Guitar. Hinkler Books Pty Ltd, 2008.

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Gelling, Peter. Electric Guitar (Guitar Method). Progressive, 2004.

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Book chapters on the topic "Electric guitar"

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Gough, Colin. "Electric Guitar and Violin." In The Science of String Instruments, 393–415. New York, NY: Springer New York, 2010. http://dx.doi.org/10.1007/978-1-4419-7110-4_22.

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Abeßer, Jakob. "Automatic String Detection for Bass Guitar and Electric Guitar." In From Sounds to Music and Emotions, 333–52. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-41248-6_18.

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French, Richard Mark. "Design Specifics for Electric Guitars." In Technology of the Guitar, 279–93. Boston, MA: Springer US, 2012. http://dx.doi.org/10.1007/978-1-4614-1921-1_7.

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de Castro Rabelo Profeta, Renato, and Gerald Schuller. "Feature-Based Classification of Electric Guitar Types." In Machine Learning and Knowledge Discovery in Databases, 478–84. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-43887-6_41.

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Chao, Chun-Tang, Kuo-An Li, and Nopadon Maneetien. "The Wireless Electric Guitar with Digitally Integrated Effector." In Intelligent Technologies and Engineering Systems, 633–41. New York, NY: Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4614-6747-2_74.

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Herbst, Jan-Peter. "‘Gear Acquisition Syndrome’ – A Survey of Electric Guitar Players." In Popular Music Studies Today, 139–48. Wiesbaden: Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-17740-9_15.

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Calleja, Pablo, Gabriel Caffarena, and Ana Iriarte. "FPGA Design of Delay-Based Digital Effects for Electric Guitar." In Lecture Notes in Computer Science, 213–18. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-05960-0_20.

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Dajbych, O. "Coefficient of Thermal Expansion of Electric Guitar String Material Determination." In Lecture Notes in Mechanical Engineering, 329–34. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-05203-8_45.

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Moriya, Genki, Tetsuya Oda, Kyohei Toyoshima, Yuki Nagai, Sora Asada, and Leonard Barolli. "An Intelligent Mixing System for Electric Guitar Using Fuzzy Control." In Advances on P2P, Parallel, Grid, Cloud and Internet Computing, 244–53. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-46970-1_23.

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Crich, Tim. "Electric Guitars Setup." In Recording Tips for Engineers, 77–89. Fourth edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315649085-5.

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Conference papers on the topic "Electric guitar"

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Raboanary, Toky Hajatiana, Fanaja Harianja Randriamahenintsoa, Heriniaina Andry Raboanary, Julien Amedee Raboanary, and Tantely Mahefatiana Raboanary. "Electric bass guitar e-learning system." In IEEE AFRICON 2015. IEEE, 2015. http://dx.doi.org/10.1109/afrcon.2015.7331992.

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Norgia, M., and A. Pesatori. "Laser Pitch-Detection for electric guitar." In 2010 IEEE Instrumentation & Measurement Technology Conference Proceedings. IEEE, 2010. http://dx.doi.org/10.1109/imtc.2010.5488209.

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Na, Junha, and Baron Kim. "Polyphonic detection system for electric guitar." In 2016 3rd International Conference on Systems and Informatics (ICSAI). IEEE, 2016. http://dx.doi.org/10.1109/icsai.2016.7811094.

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"Research on Electric Parameters Optimization of Electric Guitar Pickup." In 2018 2nd International Conference on Systems, Computing, and Applications. Francis Academic Press, 2018. http://dx.doi.org/10.25236/systca.18.014.

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Fiss, Xander, and Andres Kwasinski. "Automatic real-time electric guitar audio transcription." In ICASSP 2011 - 2011 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2011. http://dx.doi.org/10.1109/icassp.2011.5946418.

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Sanders, Sara J. "Making STEAM: Build Your Custom Electric Guitar." In SIGGRAPH '24: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3641235.3664444.

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Case, Alexander U., Agnieszka Roginska, Justin D. Mathew, and Jim Anderson. "Electric guitar - A blank canvas for timbre and tone." In ICA 2013 Montreal. ASA, 2013. http://dx.doi.org/10.1121/1.4800310.

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Pereira, Renato Santos, and Rodrigo Varejão Andreão. "Electric guitar distortion effects unit using a Raspberry Pi." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19436.

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Abstract:
With the advance of electronics, techniques and algorithms for digital signal processing, digital equipment has been gaining more and more space in the music scene. Micro-processed tools now generate several effects such as modulation, echo, and distortion of sounds generated by musical instruments, previously obtained only by analog units. In this context, this study aimed to develop aprototype of distortion effects unit using a Raspberry Pi (a low-cost small single-board computer) and affordable electronic components. Therefore, five nonlinear functionswere used, four of which are present in the literature andone of them was originally developed by the authors. These functions model the behavior of an active element (suchas transistors, valves, and operational amplifiers), which when they exceed their amplification thresholds produce distortions in the audio signals. Throughout this article, all the steps in the development of the analog circuits for signal acquisition and output will be presented, as well as the simulation and implementation of the functions in the microcontroller. At the end, with the finished prototype, the frequency response analysis is performed and the sound results achieved by the algorithms is compared with each other and with other distortion units.
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Mohamad, Zulfadhli, Simon Dixon, and Christopher Harte. "Pickup position and plucking point estimation on an electric guitar." In 2017 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2017. http://dx.doi.org/10.1109/icassp.2017.7952236.

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Khan, Anwar Ulla, Debjyoti Kumar Mandal, V. Visalakshi, Boby George, and Bharath Bhikkaji. "A new TMR based sensing technique for electric guitar pickup." In 2017 Eleventh International Conference on Sensing Technology (ICST). IEEE, 2017. http://dx.doi.org/10.1109/icsenst.2017.8304510.

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Reports on the topic "Electric guitar"

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Benson, Lisa M., and Karen Reczek. Guia estadounidense para el cumplimiento de requerimientos para equipos electricos y electrenicos. Gaithersburg, MD: National Institute of Standards and Technology, May 2018. http://dx.doi.org/10.6028/nist.ir.8118r1es.

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