Guitar Strings Tension Guitar string. Find the speed of the standing wave on the string and tension the player must use.?
A 50 cm long guitar string with a mass per unit length of 3.20 g/m is in a room where the speed of sound in air equals 3.40 m/s. The guitar player wants to play a noted with a fundamental frequency of 356 Hz. (a) What is the wavelength of the sound wave producing this 356 Hz sound? (b) what is the speed of the standing wave on the guitar string? (c) How much tension must the guitar player use in this string in order to produce this note?
I'll assume you meant 340 m/s for the speed of sound:
Setting Up an Electric Guitar : Guitar String Tension Tips
Guitar Tuning Tips - Techniques You Can Use to Keep Your Guitar in Tune
Keeping your guitar tuned is THE first step in sounding hot and professional. Tune-up perfectly and THEN play is the order of the day. Tuning tip number one starts right here. Get yourself a decent and well made guitar that naturally stays in tune without constant tweaking. No matter how much you perfect the art of guitar tuning, a cheap instrument will seriously hamper your efforts.
No matter how well you play your latest lick or arpeggio, it won't sound hot unless your in perfect Guitar Tune Nirvana either! Conclusion: Invest in a good or even great guitar and your halfway there regarding guitar-tuning dilemmas.
To start off, here's 2 simple but BIG tuning tips for any type of six-stringer:
After every sweaty, no-holds barred, gig or rehearsal, CLEAN YOUR STRINGS! It may sound painfully obvious, but this is the biggest guitar tuning problem and string-killer of them all. Some people, including yours truly, can rust and destroy a set of strings overnight, by gigging with them and not cleaning the chemicals and sweat off, immediately afterwards. When this happens, tuning can be almost impossible.
So cleaning your strings is step one to guitar tuning nirvana. This simple precaution lengthens their lifespan, maintains tone AND tuning. Use a lint-free cloth, wrap it under and around each string, one at a time, and wipe up and down, with a slight pressure, cleaning the complete surface.
Use pure alcohol on the cloth if necessary, you can buy a small bottle of Isopropyl Alcohol in the chemists. Squeaky clean!
WARNING: Be careful with this stuff it's poisonous if taken internally!
Be careful not to run your fingers along the string too, it cuts deep and hurts like hell! I tie the cloth around the neck afterwards (they tend to mysteriously disappear for some strange reason just when needed), and make it a regular habit.
Unless you're an experienced player, DO NOT PUT NEW STRINGS ON YOUR GUITAR BEFORE A GIG! ... hi John . If you must, try and allow about 30-45 Minutes to fit, stretch and warm them and yourself up.
If you've ever played a guitar which sounds fine in the lower regions but goes out of tune as you move up the neck, the answer could well be dirty or kaput strings. If you change them and the problem goes away, then you know. If it doesn't go away, it could be the guitar intonation. Get a good and trusted guitar-tech to check it for you.
When you put new strings on (if you have a Floating Bridge, do them one at a time, DO NOT take all the old ones off at once), tune them up to concert pitch, then spend about 20 minutes stretching them by hand. Left hand holds everything down at the nut, place 4 fingers of your right hand underneath one string, and slowly pull it out until you feel the tension and gently sort of bounce it forward and backwards, and S-T-R-E-T-C-H...and loosen...and S-T-R-E-T-C-H...and loos...
Slide your hand position up the neck along the string, pull it out at various points and so on, covering the entire length from nut to bridge. Then retune it and do it all again. The first few times the string tuning will drop by as much as an octave. After a few stretch/tune ups you'll notice it doesn't drop anymore. If you let this stretching happen naturally, it can take a week or so until the guitar strings stop jumping out of tune every 2 seconds. Your guitar will be as fit as a fiddle.
So adhering to these two simple but effective steps will improve any guitars tuning and even playability. Once you get into the habit of cleaning and stretching your guitar strings and it becomes second nature, you can turn your attention to other important playing points without having to tune up every few minutes. It's well worth the effort.
Next we look at some Strat whammy bar tips, Lee Chang specials to avoid, and how a humble home pencil can save your guitar life .
A keen player and experienced guitar teacher, he is also the author of the popular standard, lefthand, reverse guitar, and piano / keyboard series of Basic Chord Families -- Not just another random selection of 1000s of chords, but the key to fast learning and playing 1000s of songs with under 60 chords!
This article may be freely reproduced as is, provided it is keep it intact, and that the above resource box is maintained - thank you.
Acoustic String What type of string should i use for my acoustic guitar?
The 'A' string on my acoustic guitar broke and i want to replace it.
What type of string should i use?
Use Daddario, or GHS or Martin strings just to name a few or Elixir. If you really want to have a very nice acoustic sound, get PHOSPHOR bronze strings. They are slightly more expensive but it will make up for the quality of the sound it brings out of a guitar
The most serious piano teachers will adamantly point their students in the direction of an acoustic piano. For serious piano studying, I agree with this completely for reasons I will discuss shortly. But for many reasons, a genuine handcrafted instrument may not be the best choice for you. With the affordability, portability, and the many features that come with digital pianos, you may wish to head the other way. Summarily, the question of acoustic versus digital boils down to a matter of authenticity versus everything else.
Mostly, the drawbacks of an acoustic piano are matters of practicality, such as price. For what you could get a new, decent quality digital piano with, you’ll be dealing with a rather meager acoustic. This can encompass a number of problems. For instance, aside from any tuning it might need, the overall sound quality of a cheap acoustic piano can be quite poor. This may not just be an issue of bad strings, but can result from an infinite number of possible factors arising from any of the complex mechanics of the piano being in disrepair. Other common problems of old pianos are broken keys and sticky keys, which is when the keys fail to spring up the way they should. There may also be faults with the framework that can range from nuisances to impending hazards. The list of the possible troubles of a bad acoustic continues indefinitely, and it is likely that the piano will need a decent amount of initial maintenance, in addition to periodic maintenance, which is likely to pull a few additional large bills out of your wallet right way.
Also, because of its bulk and weight, an acoustic may be a very difficult accommodation for people living in tight or elevated spaces, such as dorm rooms and certain city apartments. Some buildings may even prohibit pianos, particularly on floors above the ground level, because the weight and bulk of pianos make them quite cumbersome and possibly hazardous to either the tenants or the buildings themselves. This raises the issue of portability as well. Do you gig? Do you relocate frequently? Toting a 500 pound upright piano isn’t possible for most people; moving one across the room is a challenge for most people. If your music should ideally be ready to go, your hulking wooden companion is not going to be sympathetic.
Acoustic pianos also lack the many features present in digital pianos nowadays that may be valuable tools to you. For example, volume control may be necessary in dormitory, or close living, situations. Newer digitals also come with a suite of onboard functions, including on-the-fly recording, voice customization, electronic metronome, and even music mixing features, which you won’t have. You will also lack the benefit of porting your music to your PC; a simple MIDI connector would feed your performance directly into your computer’s audio card without any ambient noise or loss of sound quality, which will probably beat any recording made with an acoustic piano and consumer grade recording hardware available at a neighborhood electronics store.
In light what you’re giving up in bells and whistles, surely you will be at a degree of inconvenience being committed to an acoustic piano. Still, despite the great deal of effort digital piano makers have put into their product, none have been able to truly reproduce the sound and feel of a good acoustic piano. First, lets talk about the piano sound. To most people, casual or occasional listeners of piano music, the sounds made with an acoustic piano and a digital piano are quite identical and equally satisfactory musically. But listen closely, because there is an important difference.
A digital piano outputs high quality recordings of the sounds that were made by a real piano at one time. During the process of making a digital piano, each key of a real concert grand piano is struck a number of times at varying velocities and recorded with sophisticated equipment. This array of high quality recordings will serve as the digital voice, and will give the digital piano a rather broad range of tonality and an overall likeness of an acoustic piano in varying music dynamics. But once the notes have been recorded and finally integrated with the digital piano’s voicing mechanism, they are never going to be changed. Even though the aesthetic quality of the sound may be state of the art, it is the way the sounds should behave but cannot because they are fixed recordings that is the fundamental problem of digital pianos.
An acoustic piano uses a complex array of hammers, strings, a soundboard, and other moving parts that function in collaboration. This means that when any note is played, it is not played with entire independence, but is highly affected by the current state of the surrounding components of the piano. For example, playing a chord on a digital piano will simply result in three notes being played, as they were recorded individually, at the same time, whereas with an acoustic piano, the three notes will interact with each other through the soundboard and become a stew of vibrations, producing a different, more complex, and ultimately richer sound. Lacking this quality of pliability, what comes out of digital speakers will typically be quite simplistic and boring, and will be most unsatisfactory to aficionados of the true piano tone.
An acoustic piano is also an analog instrument, which means is has virtually infinite range. For example, there is no limit to the loudness or softness a note may be played on an acoustic piano. With digital pianos, there is a point at which a minimum or maximum will be achieved. This means there will be occasions when you will not be able to play a note as softly or as loudly as you wish. In order words, true pppp or ffff are probably beyond the scope of digital pianos without you resorting to adjusting the volume dial while you’re performing. Even if you were to do that, the tonal quality of the notes would remain static from that point on, when it would further continue to dull or brighten on an acoustic piano.
Another problem of digital devices is the matter of intervals. In photography, for example, pixels are the intervals. With a traditional film camera, the amount of detail you are able to capture is theoretically unlimited because film is a single and continuous malleable body. The “film” of a digital camera is not single or continuous but is a multitude of pixels, each of which is only able to record a solid block of color. The amount of detail a digital camera is able to capture will depend on how small the pixels are and how tightly they’re packed together. If the pixels, or intervals, are small enough and packed closely enough, the amalgam of the blocks of color they record will appear to be smooth curves and gradients to the human eye.
There is a similar issue of intervals with digital pianos, which is mainly the issue of touch sensitivity. Digital pianos have a finite number of intervals when it comes to key pressure. The more intervals there are and the closer they are to each other, the more realistically the piano will respond to your dynamics. High end digital pianos will have quite a lot of them. But digital pianos within the means of average shoppers may not have sufficient sensitivity. This means that while the vast difference between piano and forte may be noticeable, the most intricate variances of touch pressure may be disregarded. This will be quite a nuisance to pianists seeking a highly responsive instrument, particularly when it comes to meticulous classical music.
It also manifests in pedaling. Piano pedals are ranged. Between simple on and off, or up and down, there are degrees. “Half-pedaling” and “quarter-pedaling” are crude terms describing the manner of pedaling in which the pedal is only pressed partially down in order to create an intermediate effect. For instance, rather than completely depressing the pedal so that the full brilliance of a note is sustained, you may wish to depress it only half way to dampen about half of the note and let only the remainder of it sustain for a subtler, suppressed quality. Certainly a scrupulous pianist will wish to employ the complete range of pedaling available to him, which may not be represented entirely accurately in a digital piano.
Aside from sound, as mentioned previously, key touch is also an important issue. Digital piano makers these days have gone to great lengths to reproduce the feel of acoustic pianos. For the most part, they’ve done a good job. They’ve even gone as far as implementing graded hammer action, which is in line with the hammers of acoustic pianos gradually becoming lighter from left to right. As a matter of fact, if you could take a look at the inner workings of a digital piano, you would be quite surprised and impressed with the complexity of the hammer mechanics. However, as long as digital pianos look the way they do, being the shape and size they are, there is going to be a limit as to how authentically the key feel can be made.
The hammers in a digital piano are simply extensions of the pianist’s fingers. When the pianist presses a key down, it will raise the opposing side of the lever, which touches an electronic pad inside the piano that serves as the string. The hammers in an acoustic piano do not behave this way. Instead of being extensions of the pianist’s fingers, they are rather like projectiles that are sprung at the strings high above them. Imagine the carnival game where you hit the pad on the ground with a mallet, which flings a projectile up the meter towards the bell at the very top. The finger is the mallet, the visible piano key is the pad, the hammer inside the piano is the projectile, and the string is the bell. First of all, this means if you press a key all the way down but not with the minimum amount of force needed, the projectile hammer will never leave its seating and the string will actually never be struck. On the part of the pianist, this launch-pad-like action will need a slightly different technique than the seesaw-like action of digital piano hammers, predominantly in difficult works. Secondly, it will feel noticeably different under the fingers.
The only way this can truly be reproduced in a digital piano is by the use of bona-fide acoustic hammers. And there’s nothing wrong with doing that. But the problem is there isn’t enough room for them inside the compact size of most of the digital pianos today. That’s why as long as they look the way they do, the action of digital pianos will not feel completely akin to that of acoustic pianos. Certain higher end models do integrate the acoustic hammer action simply to recreate the key feel. Even higher end models, which are called “silent pianos,” integrate strings as well and are bona-fide acoustic pianos with the added ability to remove the strings from the action and toggle on digital mode in order to provide volume control! But these tend to be even more expensive than acoustic pianos.
In terms of what the average piano shopper will be able to afford, the difference in the overall performance between a digital and acoustic piano will be stark. To restate what I said at the beginning of the article, it really boils down to the authenticity versus everything else. And the authenticity is usually going to cost you more to get. What you should think about is how important it is to you that the piano truly resembles an acoustic. Are you a classical piano student looking at a long road of perfection and possibly a career as a concert performer? Then a digital piano is probably not what you want to be practicing on, even as a temporary substitution, because there is a good chance it will hurt your technique. It is possible to get financing on an acoustic piano, so I would recommend going that route, using your budget of cash as a down payment. If this is not necessarily what you have in mind for your musical venture, then perhaps a digital piano is all you require. Depending on your needs, it may not be a mere reduction of an acoustic, but a substantial upgrade with all the features you’re going to get. Typically, a digital piano will be more than enough to satisfy one’s musical appetite.
About the Author
E. Chung is a student of classical piano and webmaster at Piano Lessons with Master Teachers, a freely available collection of interviews held with over 30 legendary concert pianists and teachers concerning the art of piano mastery. To learn more, visit his website at http://www.piano-lessons-master-teachers.com.
Guitar Strings Lot Are the strings of a guitar a lot like the lines of notebook paper?
No, not at all. First, lines of notebook paper are only one dimensional while guitar strings are 3D, having length, width, and height. Second, the lines on notebook paper are exactly parallel while the six guitar strings are closer together at the nut than they are at the saddle. Typically they're spaced around 1 5/8" to 1 3/4" apart at the nut but are about 2 1/4" apart at the saddle.
I remember when I picked up my first guitar. I was only five.Neon Green Guitar Strings My dad wanted to try to teach me. He showed me the D chord.
What happened? It hurt so bad I don't think I actually picked up another guitar until I was 14! At least not to really play it. I remember pushing hard to get the strings down onto the frets, and boy was that work! How to play chords on guitar is tougher than you might think, at least for a five year old playing steel strings. However, once tender youth has expired and you can push through the finger pain, playing chords actually isn't that difficult.
The strings on a guitar are arranged as follows - E A D G B E with that last E being the thinnest, or highest string.
Pressing our finger on a fret allows us to change the effective length - and pitch - of the string. We can do this on individual strings to play a melody, for example.
How to play chords on guitar is as easy as putting multiple fingers on multiple strings at once, and playing those strings simultaneously. Technically, a chord is just two notes played at the same time. Of course, to play a chord that sounds good, you have to arrange your fingers in a way to play the notes that make up that chord. For that reason, how to play chords on guitar depends on knowing a lot of different fingerings.
You have all your major chords - A B C D E F G. Then, you have minor variations - Am Bm Cm Dm Em Fm Gm. Then you have sevenths, augmented, minor sevenths, the list goes on and on.
If someone were to ask me how to play chords on guitar, I would start with all the major chords, then I would teach them a few of the sevenths, and then the minors. That way, they have a pretty good chance of playing most popular songs. But there are a lot more chords than that. We'll keep it for another lesson though.
Bullet For My Valentine Hand of Blood (String Tribute)
"Seven Startup Silver Bullets"
The title indicates these points are of value to start-ups; and they are. In reality, they are worth remembering for businesses of any size.
Cash is King - Cash is a frequent topic of conversation, but stating cash is king, puts it in its proper perspective. Without cash your business is dead. It's important to know as much about your cash position as possible. Know what your absolute, available cash is every day. Forecast your cash position, if possible by the week, and certainly no less than by the month.
A little success can create a lot of overhead - We feel good about ourselves and our businesses when things are going well. When we're signing up new customers and when revenues are growing. It's easy to feel we've turned a corner and things will to continue to be positive. It's also easy to feel we can now relax the purse strings and buy the equipment or increase the staff we had been thinking about. Before you make those moves; step back and think twice. Do a 'with and without' cost justification of the expenditure and be absolutely positive you can afford to commit the current, as well as future cash, to the expenditure. Otherwise, when the inevitable slowdown or reversals come, you could find yourself short of cash to operate your business.
It's blocking and tackling stupid - We all enjoy planning and initiating bold initiatives, especially when they work out the way we thought they would. As stimulating as bold initiatives can be to us as business owners, we need to keep in mind it is truly the behind the scenes, day-to-day routines, the blocking and tackling, that keeps the business running smoothly and the customers satisfied.
It's good to understand the P&L statement; it's mandatory to understand the cash flow statement - Simply put, your P&L statement will let you know, if you're making money and your cash flow statement will let you know, if you have money… cash. Your P&L can be a good indicator as to how effectively you're managing the business. Only your cash flow statement, not your P&L, will let you know if you have the cash required to continue operating.
You don't run your company; your employees do - Before you get all upset over this point, give it a second thought. Yes, you own the company and you may well have frequent interaction with a number of your customers. However, your employees have direct contact with all of your customers in a variety of ways every day. One negative action, planned or unplanned, can undo years of good will and lead to a loss of the customer. Make certain you have happy, loyal and committed employees.
You can grow broke - Even if you avoid the unnecessary overhead, mentioned above, there are costs associated with growth that require cash you may not have. It's important to recognize the carrying costs for increased inventories, and/or receivables in determining how much growth you can afford to fund. A big order or a series of larger orders will put demands on your cash well in advance of your ability to receive that cash from payment of the receivables for the orders.
Cash ain't cash unless its cash * - If it seems like I'm hung up on cash, you're right. That's why almost every one of these tips, in one way or another, involves cash. I've seen too many examples where a business owner thought they were doing the right things, but they weren't paying attention to their cash and ultimately got in serious trouble. Don't confuse yourself by thinking that your receivables or the conversion value of inventories or anything else is cash. Cash is not cash unless you can write a check today and it can be covered today.
Do you know your cash balance today?
About the Author
Sam Langfitt has more than 40 years of diverse business experience. This experience was gained leading companies overseas as well as domestically, with successful turnaround, M & A, joint venture and strategic partnering activities. He has served on Boards of Directors in Europe, Canada and the U.S. Mr. Langfitt has owned and operated two businesses, including his current practice, advising business, owners, CEOs and Presidents.
. If you must, try and allow about 30-45 Minutes to fit, stretch and warm them and yourself up. 
.
