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Journal articles on the topic 'Electric guitar'

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Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Li, Tianchang. "Processing Measures for the Beautiful Tone of the Electric Guitar." Arts Studies and Criticism 4, no. 1 (October 25, 2023): 10. http://dx.doi.org/10.32629/asc.v4i1.1272.

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A beautiful tone can not only make the electric guitar present a better performance effect, but also enable the player to immerse himself in the performance atmosphere and convey his performance demands to the audience. However, the factors affecting electric guitar tone include multiple individuals in both software and hardware, such as pickups, string lengths, circuits, paints, and musician's musical aesthetic ability, so it is necessary to apply tone processing methods according to the basic tone requirements, apply differentiated tone processing techniques based on the construction of electric guitars, regulate the tone in steps in accordance with the basic process, and continuously improve the musician's artistic comprehensive literacy.

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12

Bandini, S., and F. Sartori. "From handicraft prototypes to limited serial productions: Exploiting knowledge artifacts to support the industrial design of high quality products." Artificial Intelligence for Engineering Design, Analysis and Manufacturing 24, no. 1 (January 29, 2010): 17–34. http://dx.doi.org/10.1017/s089006040999014x.

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AbstractThis paper presents a conceptual and computational framework to support experts in the design and manufacturing of high quality products. The framework is based on the development of specific knowledge artifacts characterized by tools for the management of functional, procedural, and experiential knowledge. As a case study, the GUITAR HERO project is presented. The project aims at building a knowledge-based system to support experts of a handicraft enterprise involved in the design and manufacturing of electric guitars characterized by an aluminum body. The domain of the project is extremely innovative, because electric guitars are typically manufactured with different kinds of wood rather than metals or other materials. To this aim, an ontological representation of the electric guitar has been implemented exploiting NavEditOW, a computational framework for the codification, navigation, and querying of ontologies over the Internet, based on the OWL language.

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13

Herbst, Jan-Peter. "Distortion and Rock Guitar Harmony." Music Perception 36, no. 4 (April 1, 2019): 335–52. http://dx.doi.org/10.1525/mp.2019.36.4.335.

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Research on rock harmony accords with common practice in guitar playing in that power chords (fifth interval) with an indeterminate chord quality as well as major chords are preferred to more complex chords when played with a distorted tone. This study explored the interrelated effects of distortion and harmonic structure on acoustic features and perceived pleasantness of electric guitar chords. Extracting psychoacoustic parameters from guitar tones with Music Information Retrieval technology revealed that the level of distortion and the complexity of interval relations affects sensorial pleasantness. A listening test demonstrated power and major chords being perceived as significantly more pleasant than minor and altered dominant chords when being played with an overdriven or distorted guitar tone. This result accords with musical practice within rock genres. Rather clean rock styles such as blues or classic rock use major chords frequently, whereas subgenres with more distorted guitars such as heavy metal largely prefer power chords. Considering individual differences, electric guitar players rated overdriven and distorted chords as significantly more pleasant. Results were ambiguous in terms of gender but indicated that women perceive distorted guitar tones as less pleasant than men. Rock music listeners were more tolerant of sensorial unpleasant sounds.

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14

Decker, John A. "Graphite-Epoxy Acoustic Guitar Technology." MRS Bulletin 20, no. 3 (March 1995): 37–39. http://dx.doi.org/10.1557/s0883769400044390.

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We have successfully developed an acoustic guitar (Figure 1) composed of graphite. Trademarked the RainSong® graphite guitar, this instrument uses no endangered tropical tonewoods. The instrument's sound quality is equal to that of a fine wooden guitar. At high frequencies, the clarity, sustain, and play-ability surpasses that of wooden guitars. Because of its construction, the instrument is sturdy and is impervious to humidity, heat, and water.The development of this guitar required analysis of the theory of anisotropic sound propagation in the guitar soundboard and body, and resulted in two patents. We designed prototype guitars in collaboration with Pimentel & Sons, Guitar Makers, and used combinations of unidirectional and woven graphite and aramid fibers in an epoxy-resin matrix.The goal of our project was to accurately duplicate—panel by panel—the acoustic properties of a fine wooden guitar. We had the resulting acoustic modes and frequencies verified in the laboratory. We then developed and constructed open-mold and resin-transfer molding tooling for a family of classical, steel-string acoustic and hollow-body electric guitars, which are now in commercial production.Possibly the first all-composite acoustic guitar, the RainSong® represents a fundamental change in stringed-instrument construction, perhaps the first since the 17th Century Italian masters.The RainSong® technology allows musicians to skirt the effects of climate and transport damage on their instruments. The instrument contains essentially no wood, and hence negates environmental concerns about rapid depletion of the virgin-forest woods, from which stringed instruments have traditionally been made.

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15

Ghabili, Kamyar, Mohammadali M. Shoja, Ali D. Tabrizi, and Pooya Kamran. "Prostate Cancer in Electric Guitar Players." Medical Problems of Performing Artists 22, no. 3 (September 1, 2007): 130. http://dx.doi.org/10.21091/mppa.2007.3027.

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Among the various risk factors for prostate cancer, the electromagnetic field (EMF) by which the electric guitar produces sound may pose a risk for electric guitar players. In addition, the acoustic features of the electric guitar may partly contribute to the underlying cause of prostate cancer among the guitarists. With the guitar held near the pelvic region of the guitarists, one may postulate that induction or progression of prostate cancer may occur by the potential carcinogenetic effects of both the EMF and loud noise from the electric guitar.

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16

Park, SeoHyun, and Jungshin Park. "Aspects of Comparison of Sound according to Pick Material." Korean Society of Culture and Convergence 45, no. 9 (September 30, 2023): 1375–81. http://dx.doi.org/10.33645/cnc.2023.09.45.09.1375.

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In modern pop music, electric guitars are played in many different genres. When playing an electric guitar, use the pick to hit the strings of the guitar. The pick varies depending on the material, thickness, and shape, and it often has a great influence on other sound changes depending on the material and thickness of the pick. Nevertheless, there are no guidelines for pick selection in Korea according to the material of the pick. Therefore, the purpose of this study is to analyze the frequency of how the electric guitar sound changes depending on the material of the pick and to present the criteria for the selection of the pick. The research method analyzed graph changes through PAZ Analyzer after the same performer played using four types of picks in the same environment. As a result of the analysis, Ultem emphasized the middle range, and the sound sounded solid. Derlin had a flat middle range. Celluloid material showed a sound that emphasized the middle of Ultem and Derlin, and Nylon showed a high-pitched range.

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17

Wallace, Stephen M. "Electric stringless toy guitar." Journal of the Acoustical Society of America 89, no. 6 (June 1991): 3027. http://dx.doi.org/10.1121/1.400774.

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18

Lindroos, Niklas, Henri Penttinen, and Vesa Välimäki. "Parametric Electric Guitar Synthesis." Computer Music Journal 35, no. 3 (September 2011): 18–27. http://dx.doi.org/10.1162/comj_a_00066.

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19

Fjellman-Wiklund, Anncristine, and Kris Chesky. "Musculoskeletal and General Health Problems of Acoustic Guitar, Electric Guitar, Electric Bass, and Banjo Players." Medical Problems of Performing Artists 21, no. 4 (December 1, 2006): 169–76. http://dx.doi.org/10.21091/mppa.2006.4036.

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The aim of this cross-sectional study was to describe self-reported problems among guitarists and to examine differences associated with type of guitar played. Data for the study were extracted from the University of North Texas Musician Health Survey (UNT-MHS) data set. Subjects for the present study (n = 520) were included if they identified acoustic guitar, electric guitar, electric bass or banjo as their primary instrument. Prevalences for musculoskeletal problems were determined for the total group, by guitar-specific groups, and by gender. Prevalences for nonmusculoskeletal, overall health problems were established for the whole guitar group and by instrument. Of the total subjects, 81% reported one or more musculoskeletal problems. The acoustic guitar group reported the highest prevalence (83%), followed by the banjo (78%), electric bass (77%), and electric guitar groups (74%). The highest site-specific prevalences for the whole group were the left fingers (32.9%), left wrist (29.8%), and left hand (24.7%). Regarding nonmusculoskeletal problems, 66% of the total group perceived stress due to work environment as a moderate to high problem. The total group reported mostly problems with fatigue, depression, headache, and eye strain. The overall findings of the study show that musculoskeletal problems as well as stress-related health problems are a major concern for the guitar community.

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20

Li, Tianchang. "Research and Application of Artificial Intelligence in Electric Guitar Performance." Journal of Electronic Research and Application 8, no. 1 (January 18, 2024): 46–50. http://dx.doi.org/10.26689/jera.v8i1.5939.

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The article explores the application of artificial intelligence technology in electric guitar playing. It delvesinto the advantages of artificial intelligence and its seamless integration into electric guitar performance. Additionally, itinvestigates the application of artificial intelligence technology through an intelligent playing robot. The research aims tooffer substantial support for the advancement of artificial intelligence in electric guitar performance.

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21

Ables, Charles A. "Electric bow for the electric bass guitar." Journal of the Acoustical Society of America 78, no. 6 (December 1985): 2160. http://dx.doi.org/10.1121/1.392599.

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22

Shockley, Gary. "Acoustic and electric combination guitar." Journal of the Acoustical Society of America 90, no. 1 (July 1991): 627. http://dx.doi.org/10.1121/1.402312.

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23

Ostberg, Jacob, and Benjamin J. Hartmann. "The electric guitar – marketplace icon." Consumption Markets & Culture 18, no. 5 (June 4, 2015): 402–10. http://dx.doi.org/10.1080/10253866.2015.1046255.

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24

Carfoot, Gavin. "Acoustic, Electric and Virtual Noise: The Cultural Identity of the Guitar." Leonardo Music Journal 16 (December 2006): 35–39. http://dx.doi.org/10.1162/lmj.2006.16.35.

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Guitar technology underwent significant changes in the 20th century in the move from acoustic to electric instruments. In the first part of the 21st century, the guitar continues to develop through its interaction with digital technologies. Such changes in guitar technology are usually grounded in what we might call the “cultural identity” of the instrument: that is, the various ways that the guitar is used to enact, influence and challenge sociocultural and musical discourses. Often, these different uses of the guitar can be seen to reflect a conflict between the changing concepts of “noise” and “musical sound.”

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25

., Paryono, Sarana ., and Suharto . "GUITAR SIDE BODY MAKING TECHNIQUE USING SCREW PRESS AND HEATER." International Journal of Innovative Research in Advanced Engineering 8, no. 7 (July 30, 2021): 161–66. http://dx.doi.org/10.26562/ijirae.2021.v0807.004.

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The guitar musical instrument industry located in Baki District, Sukoharjo, Central Java, Indonesia, is still using the manual method of guitar manufacturing process currently. The problem is that the guitar production time is not only 2 hours and is considered a long time and non-uniformity of the quality. A better Technology is needed to help improve the quality and quantity of guitar production. The purpose of this research is to design and manufacture a guitar side body press with a heater using an electric element and a gas stove. The benefit of this tool is that it speeds up the process of forming the side body of the guitar. The research method begins with a preliminary study, design, manufacture, assembly, and testing the performance of the guitar side body-forming machine. The research resulted in a unit of guitar side body pressing machine with a length of 1200 (mm) Width 520 (mm) Height 1000 (mm). 2000 (watt) electric heater. The pressing process uses a manual screw press. Testing showed that the best performance of the guitar side body press machine is at a temperature of 75℃ with 5 minutes pressing time. The machine produced by this research can be used by guitar SMEs to improve quality, productivity, and competitiveness.

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26

Braasch, Jonas, Joshua L. Braasch, and M. Torben Pastore. "Psychoacoustic phenomena in electric-guitar performance." Journal of the Acoustical Society of America 149, no. 4 (April 2021): A25—A26. http://dx.doi.org/10.1121/10.0004420.

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27

Palazzolo, Nicholas P. "Detachable electric guitar pick‐up system." Journal of the Acoustical Society of America 87, no. 3 (March 1990): 1385. http://dx.doi.org/10.1121/1.399464.

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28

Pagelli, Claudio. "Rotatable pickup head for electric guitar." Journal of the Acoustical Society of America 90, no. 4 (October 1991): 2221. http://dx.doi.org/10.1121/1.401590.

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29

McSwain, Rebecca. "The power of the electric guitar." Popular Music and Society 19, no. 4 (December 1995): 21–40. http://dx.doi.org/10.1080/03007769508591605.

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30

Marmaras, Nikos, and Nikos Zarboutis. "Ergonomic redesign of the electric guitar." Applied Ergonomics 28, no. 1 (February 1997): 59–67. http://dx.doi.org/10.1016/s0003-6870(96)00032-4.

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31

Li, Tianchang. "Analysis of Electric Guitar Improvisation Techniques." Journal of Contemporary Educational Research 7, no. 9 (September 26, 2023): 86–90. http://dx.doi.org/10.26689/jcer.v7i9.5350.

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As an important form of modern fusion music performance, electric guitar improvisation is widely praised and welcomed for its unique performance style. The main points and difficulties of its performance lie in tone switching, speed playing skills, and grasping the title, mood, and style of the music. Therefore, it is necessary to integrate the conventional techniques of string sweeping, pizzicato, and dotted strings with improvisation, applying differentiated rhythmic rhythms, timbre modulation, and special playing techniques to deepen the distinctive art-rock music characteristics.

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32

Jameson, Ben. "‘ROCK SPECTRALE’: THE CULTURAL IDENTITY OF THE ELECTRIC GUITAR IN TRISTAN MURAIL'S vampyr!" Tempo 69, no. 274 (September 7, 2015): 22–32. http://dx.doi.org/10.1017/s0040298215000340.

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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.

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33

Miranda-Bonilla, Sergio. "Spiral Ouroboros: Metasimulacrum in Rock and Metal Electric Guitar Processing and Modeling Technologies." Artificial Intelligence in Music, Arts, and Theory Revisited, no. 12 (July 23, 2024): 63–80. http://dx.doi.org/10.51191/issn.2637-1898.2024.7.12.63.

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The article reviews Jean Baudrillard’s concept of simulacrum and puts it in dialogue with the evolution of signal processing technologies for electric guitar, introducing the concept of metasimulacrum—a simulacrum of a simulacrum—to describe the historical trajectory from early electric guitar amplification to recent advances in digital signal processing, taking a critical stance on technological determinism

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34

Ray, Tony, Jasmin Kaljun, and Aleš Straže. "Comparison of the Vibration Damping of the Wood Species Used for the Body of an Electric Guitar on the Vibration Response of Open-Strings." Materials 14, no. 18 (September 14, 2021): 5281. http://dx.doi.org/10.3390/ma14185281.

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Research show that the vibrations of the strings and the radiated sound of the solid body electric guitar depend on the vibrational behavior of its structure in addition to the extended electronic chain. In this regard, most studies focused on the vibro-mechanical properties of the neck of the electric guitar and neglected the coupling of the vibrating strings with the neck and the solid body of the instrument. Therefore, the aim of the study was to understand how the material properties of the solid body could affect the stiffness and vibration damping of the whole instrument when comparing ash (Fraxinus excelsior L.) and walnut (Juglans regia L.) wood. In the electric guitar with identical components, higher modal frequencies were confirmed in the structure of the instrument when the solid body was made of the stiffer ash wood. The use of ash wood for the solid body of the instrument due to coupling effect resulted in a beneficial reduction in the vibration damping of the neck of the guitar. The positive effect of the low damping of the solid body of the electric guitar made of ash wood was also confirmed in the vibration of the open strings. In the specific case of free-free vibration mode, the decay time was longer for higher harmonics of the E2, A2 and D3 strings.

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35

Dairianathan, Eugene, and Larry Hilarian Francis. "Teaching and Learning the Electric Guitar: A Case Study in a Singaporean Higher Education Teacher-Preparation Institution." IASPM Journal 5, no. 1 (January 29, 2015): 81–99. http://dx.doi.org/10.5429/ij.v5i1.715.

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Many electric guitarists have earned their reputation as expert performers and connoisseurs, despite the absence, at least until very recently, of school-based curricula or internationally recognised examination bodies, and usually without any institution to validate their credentials. Despite recent initiatives to support new pedagogical paradigms in teaching and learning, teachers of the electric guitar continue to be confronted with problems of preparing learners for soundscapes beyond a gig setting or one of the recent electric guitar examinations. Instrumental fluency cannot be understood merely as a function of mechanical achievement (that is, musical and instrumental techniques), but as a function of human capacity as “instrumentality”: how “human beings have puzzled over […] something they acquire without knowing how, that they possess but which something possesses them even more, that is not a part of them but without which they would not be what they are” (Sigaut 2002: 421). This paper is based on a case-study with an undergraduate music education trainee teacher at the National Institute of Education, Nanyang Technological University who undertook lessons with a music faculty member in the electric guitar as part of his music ensemble activities. The findings from this interaction explore an electric guitar practitioner’s technology in four ways: first as a musical and instrumental technique which has been consolidated in the global practice of electric guitarists; second as a way of devising strategies to study electric guitar within its own unique glocal soundscape; third, as a way of encouraging learners across social and cultural contexts to find their own voice through the instrument; and fourth, through these means, to come to terms with the difference and distance between the practitioner-as-learner, and the learner-as-future-classroom teacher/practitioner.

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Steiger, Henry Martin. "Method and apparatus for producing acoustical guitar sounds using an electric guitar." Journal of the Acoustical Society of America 117, no. 4 (2005): 1706. http://dx.doi.org/10.1121/1.1920043.

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Pesatori, Alessandro, and Michele Norgia. "Multi-Sensor Laser System for Electric Guitar Pitch-Detection." Sensors 24, no. 8 (April 12, 2024): 2468. http://dx.doi.org/10.3390/s24082468.

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To attain a direct MIDI output from an electric guitar, we devised and implemented a sophisticated laser sensor system capable of measuring finger positions. This sensor operates on the principle of optical triangulation, employing six lasers and seven position-sensing detectors that are time-multiplexed. The speed and precision of this sensor system meet the necessary criteria for creating an electric guitar with a direct digital output, perfectly satisfying the application’s requirements.

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Charan Agrawal, Vrushank. "The Effect of Thickness of A Plectrum Used on The Sound Produced by A Guitar String." Oriental Journal of Physical Sciences 3, no. 2 (December 25, 2018): 87–91. http://dx.doi.org/10.13005/ojps03.02.03.

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It is believed that the human ear is very sensitive to subtle changes in sounds. In the context of a guitar, the myriad of sounds produced by the strings depends majorly on the plucking technique of the player, but it is hypothesized that the sound produced by a string is also influenced, to some degree, by the thickness of the plectrum used for playing. This has led many to speculate whether bands and artists like the Beatles, Led Zeppelin and the Rolling Stones would have sounded very different if they hadn't used the right guitar plectrum. In this research paper, three plectrums of different thickness have been used to pluck electric guitar strings and the output electric voltage has been documented using the software Visual Analyzer. The observations show that the thickness of a plectrum indeed influences the sound produced by a guitar string to a significant extent

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Seption, Moch Faisal, Supriando Supriando, Della Rosa Panggabean, and Andranofa Andranofa. "Pertunjukan Solis Gitar dengan Repertoar Concerto in D Major Rv 93, Laila Canggung, dan Ephiphany (Guitar Solis Performance with Repertoire Concerto in D Major Rv 93, Laila Awkward, and Ephiphany)." Musica: Journal of Music 3, no. 1 (July 3, 2023): 49. http://dx.doi.org/10.26887/musica.v3i1.3484.

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Artikel ini memuat tentang pertunjukan repertoar gitar dan analisis permainan karya seni musik instrumen gitar klasik dan elektrik dengan repertoar yang dipilih yaitu Concerto In D Major, Laila Canggung dan Ephiphany. Analisis yang dihadirkan berupa permainan teknik gitar klasik serta gitar elektrik seperti Tirando dan appoyando, Apergio Right Hand, Legato, Barrer, Palm Mute, Vibrato, Slide dan Bending, Form Musik, gaya dan genre, serta metode pertunjukan. Ketiga repertoar yang dipilih ditinjau dari tingkat kesulitan sebagai bentuk pencapaian dari hasil pembelajaran musik di kampus ISI PadangpanjangKata Kunci: Pertunjukan Solois; Teknik Gitar Klasik dan Elektrik; Repertoar; ConcertoABSTRACTThis article contains an repertoire show and analysis of the playing of classical and electric guitar instruments with the selected repertoire of Concerto In D Major, Laila Canggung and Ephiphany. The analysis presented is in the form of playing classical guitar and electric guitar techniques such as Tirando and appoyando, Right Hand Apergio, Legato, Barrer, Palm Mute, Vibrato, Slide and Bending, Music Form, style and genre, and performance methods. The three repertoires chosen are reviewed from the level of difficulty as a form of achievement from the results of music learning at the ISI Padangpanjang campus.Keywords: Soloist Performance; Classical and Electric Guitar Technique; Repertoire; Concerto

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Young, Lawrence P. "Acoustic‐electric guitar with interior neck extension." Journal of the Acoustical Society of America 91, no. 3 (March 1992): 1792. http://dx.doi.org/10.1121/1.403735.

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Minakuchi, Kiyoshi. "Electric guitar having an electronic vibrato apparatus." Journal of the Acoustical Society of America 86, no. 5 (November 1989): 2054. http://dx.doi.org/10.1121/1.398502.

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Soffer, Alfred. "The Electric Guitar, Eardrums, and Medical Meetings." Chest 100, no. 3 (September 1991): 594–95. http://dx.doi.org/10.1378/chest.100.3.594.

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Trianov, M. "Microtonality in the Works for Guitar Ensemble of Agustín Castilla-Ávila." Culture of Ukraine, no. 80 (June 30, 2023): 110–17. http://dx.doi.org/10.31516/2410-5325.080.14.

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The relevance is determined by the necessity of a comprehensive systematical study of contemporary microtonal music for the academic guitar ensemble and its significance in the works of Agustín Castilla-Ávila. The purpose of the article is to study the peculiarities of microtonality as a special technique of the musical composition in the A. Castilla-Ávila’s works for guitar ensembles. The methodology. In the process of research, the methods of abstraction, analysis and synthesis were applied as well as special musicological methods such as methods of musical analysis: theoretical notation-based analysis, interpretative analysis. The results. Microtonality, which originates from the ancient traditional musical culture, rapidly developed in the music of the XX century as a complexification and alteration of the equal temperament. Since the 1950s, which were marked by a qualitatively new type of guitar performance, there has been a gradual adaptation of the guitar technique to the performance of microtones. The combination of traditionally and microtonally tuned guitars in the ensemble allows the composer to use a wide range of microtonal systems (third, quarter tones and various edos — equal division of the octave). Agustín Castilla-Ávila is one of the most prominent guitar composers nowadays. In his works, microtonality appears to be one of the main creative and aesthetic principles. Decided not to modify the traditional classical guitar, Agustín Castilla-Ávila uses: – retuning the strings (microtone scordatura) as the most effective way to get microtones on the guitar. In the works of the early period, the composer often replaces a set of guitar strings with six of the same type in thickness tuned in 36edo; – extended techniques: band, bi-tone, glissando, playing with the slider; – preparations. The whole list of microtonal ensemble works of A. Castilla-Ávila can be classified into three main periods. For early works six same strings and 36edo are typical. The next period is characterized by using of bi-tones and harmonics. In the third period, he combines the material of two previous phases with using of electric guitar. The scientific novelty. The study is within the field of actual research on a classical guitar ensemble and its contemporary repertoire. The practical significance. The materials of this article can be used as a basis for further research of guitar ensemble music. In particular, obtained results can be useful for contemporary music performers.

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Pastore, M. Torben, and Nikhil Deshpande. "The evolution and maturation of the electric guitar as a system." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A182. http://dx.doi.org/10.1121/10.0011034.

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The electric guitar came to its initial prominence in the 1940s when its volume allowed jazz guitarists like Charlie Christian to step out in front of the rhythm section like other soloists, competing with the brass, wind, and piano. Further changes in the playing and design of the instrument came with exploitation of the interaction of the electric guitar, tube amplifiers, and analog effects as a larger system. Especially in the rock and funk idioms, the playing and construction of the overall instrument evolved and expanded rapidly with the mainstream embrace of digital technology. This talk will consider the evolution of the electric guitar as a system up through today and consider why it seems the instrument has fully evolved and is unlikely to experience further seismic shifts, especially as the overall thrust of music has shifted to digitally-manipulated sound that is often entirely independent of the physical playing of any instrument.

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Chen, Keyu. "Legal Obligations and Potential Risks for Chinese Electric Guitar Enterprises from a Perspective of International Commercial Law." Frontiers in Business, Economics and Management 14, no. 1 (March 21, 2024): 341–43. http://dx.doi.org/10.54097/6q08c473.

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da Rosa Garcia, Marcos. "Mundell Lowe’s Accompaniment Style on the Electric Guitar." International Journal of Literature and Arts 10, no. 1 (2022): 16. http://dx.doi.org/10.11648/j.ijla.20221001.13.

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Carriveau, Ronald S. "Electric guitar apparatus having magnetic and crystal pickups." Journal of the Acoustical Society of America 89, no. 5 (May 1991): 2484. http://dx.doi.org/10.1121/1.400858.

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Dempsey, P. "Taking a system to the axe [electric guitar]." Engineering & Technology 5, no. 18 (December 4, 2010): 34–35. http://dx.doi.org/10.1049/et.2010.1807.

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Horton, Nicholas G., and Thomas R. Moore. "Modeling the magnetic pickup of an electric guitar." American Journal of Physics 77, no. 2 (February 2009): 144–50. http://dx.doi.org/10.1119/1.2990663.

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Gunawan, Caroline, Helena Margaretha, Lina Cahyadi, and Petrus Widjaja. "PEMODELAN FREKUENSI DAN SIMULASI GETARAN SENAR GITAR BASS LISTRIK DAN GITAR AKUSTIK [FREQUENCY MODELING AND VIBRATION SIMULATION OF ELECTRIC BASS AND ACOUSTIC GUITAR STRINGS]." FaST - Jurnal Sains dan Teknologi (Journal of Science and Technology) 7, no. 2 (November 30, 2023): 173. http://dx.doi.org/10.19166/jstfast.v7i2.7594.

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<p><em>Mathematical equations can represent numerous real-world scenarios, a process known as mathematical modelling. Within this paper, we undertake modelling two musical instruments, specifically the electric bass guitar and the acoustic guitar. Our approach uses partial differential equations (PDEs) to represent these instruments accurately. By establishing the initial condition, we derive the final solution and simulate the frequency using parameters obtained from this solution alongside a frequency formula. The PDE for the electric bass guitar is of non-homogeneous second order, while the PDE for the acoustic guitar is of homogeneous fourth order. The simulation outcomes demonstrate that a lower vibration frequency for the electric bass guitar corresponds to a decreased string density, given a fixed tension. Similarly, this correlation holds for the acoustic guitar. With fixed string tension and Young's Modulus, a lower string density leads to a higher frequency and reduced inertia. Additionally, we provide graphical representations of the analytical solutions for both PDEs. </em></p><p><em><br /></em><strong>Bahasa Indonesia Abstract</strong>:</p><p>Persamaan matematika dapat memodelkan banyak situasi dalam dunia nyata. Proses ini disebut pemodelan matematika. Salah satu contoh yang dapat dimodelkan adalah frekuensi alat musik (gitar bass listrik dan gitar akustik). Kedua alat musik tersebut dimodelkan frekuensinya dengan persamaan diferensial parsial (PDP). Solusi akhir akan diperoleh berdasarkan kondisi awal. Simulasi frekuensi dilakukan berdasarkan parameter yang ditemukan dari solusi akhir dan rumus frekuensi. PDP untuk gitar bass listrik adalah orde dua non-homogen, dan PDP untuk gitar akustik adalah orde empat homogen. Hasil simulasi menunjukkan bahwa untuk gitar bass dengan tegangan tertentu, senar dengan densitas rendah menghasilkan frekuensi getaran yang lebih rendah. Hasil yang konsisten juga ditunjukkan untuk gitar akustik. Pada tegangan senar dan Modulus Young yang diberikan, senar dengan densitas rendah menghasilkan frekuensi yang lebih tinggi dan inersia yang lebih rendah. Beberapa grafik solusi analitik dari kedua PDP tersebut juga ditampilkan dalam artikel ini.</p>

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