Guitar

Poem

Acoustic, electric and virtual noise : the cultural identity of the guitar

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."

Perceptual thresholds for acoustical guitar models

Synthesised acoustic guitar sounds based on a detailed physical model are used to provide input for psychoacoustical testing. Thresholds of perception are found for changes in the main parameters of the model. Using a three-alternative forced-choice procedure, just-noticeable differences are presented for changes in frequency and damping of the modes of the guitar body, and also for changes in the tension, bending stiffness and damping parameters of the strings. These are compared with measured data on the range of variation of these parameters in a selection of guitars. © S. Hirzel Verlag © EAA.

Photonic Guitar Pick-up: Fiber Strain Sensors Find Applications in Music Recording

In this report we give a summary of our work on the development of low-noise fiber-optic strain sensors. Three types of strain sensors were developed and were tested by attaching them to the bodies of acoustic guitars. The fibers are strained as the soundboards of the guitars vibrate. The resulting spectral shift of either a Fiber Bragg Grating or a fiber Fabry-Perot cavity is then used to record the sound of the instrument.

Improving the robustness of the iterative solver in state-space modelling of guitar distortion circuitry

Iterative solvers are required for the discrete-time simulation of nonlinear behaviour in analogue distortion circuits. Unfortunately,these methods are often computationally too expensive for realtime simulation. Two methods are presented which attempt to reduce the expense of iterative solvers. This is achieved by applying information that is derived from the specific form of the non linearity.The approach is first explained through the modelling of an asymmetrical diode clipper, and further exemplified by application to the Dallas Rangemaster Treble Booster guitar pedal, which provides an initial perspective of the performance on systems with multiple nonlinearities.

The Guitar Ensemble May 11, 2002

Concert Program for The Guitar Ensemble May 11, 2002

Guitar Ensemble May 24, 2001

Concert Program for Guitar Ensemble May 24, 2001