The device of an electric guitar on the example of Fender Stratocaster:
1-Vulture. 2-body. 3-head neck. 4-upper nut. 5-Porozhek fret. 6-Kolka. 7-bridge (with tremolo). 8-pickup humbucker. 9-Pickup single. 10-Lever. 11-pickup switch. 12-tone control 13-volume control. 14-Socket for connecting the cord. 15-Hole for adjusting the anchor. 16-belt attachment. 17-fret marker.
The fretboard of the electric guitar (1) is practically no different from the acoustics and consists of two parts: the fretboard itself and the overlay fastened with glue. Recall that the fingerboard is its upper part, on which the frets are located. On the head of the neck (3) there are also pegs (6), and inside the neck there is an anchor, the task of which is still the same – to prevent the strings from bending the neck. The bar can be glued to the deck, or it can be attached with screws (this is one of the differences from acoustics). Continue reading
Music in itself sounding in the head. Is that familiar?
Probably this happens with everyone, which is already there. Some “Praskovya girl” will get attached, spin, spin, and stop. Another thing is when a melody begins to sound continuously and is perceived as if it comes from outside. This is a disaster.
“A song playing from time to time in your head is normal. Another thing is musical hallucinations, they become a serious problem. People cannot sleep, they cannot think,” says British psychiatrist Victor Aziz, who, along with a colleague Nick Warner recently returned the attention of scientists to the psychopathological problem of “music in the brain.”
What are these hallucinations, and what is it like to live with them – we explain with an example. Continue reading
Daniel Levitin worked with Stevie Wonder, Van Morrison and Santana and knows a lot about music, except for one thing – where does it come from.
In the early morning, students slowly fill out one of the classrooms at New York University, where a lecture on music perception will take place. Two girls came first – one with black painted nails, the other in hooligan vintage high-heeled boots.
Behind them is a young man with turquoise hair. It is easy to imagine how they would react to Professor Daniel Levitin, a 40-year-old lecturer, with a mobile phone on his wrist dressed in black jeans and a tie with a crazy pattern – what is it, the fiber of wood? Or bacteria unrealistically magnified by a microscope?
Levitin’s lecture, based on his new book, “This is Your Brain on Music,” begins with a tortured metaphor: something about lakes, boats, and a cork popping out of a bottle. So the neuroscientist is trying to explain to students the amazing sensitivity of the eardrum – “just a pair of skin flaps tightly stretched over the bone and oscillating back and forth.” Continue reading