Project Proposal

Project Title:

Practical Project: Designing & Building An Affordable Modified Electric Guitar With Built-In Effects Controller

I - Overview

The electric guitar has long been associated with various forms of effects processing. When used in live performance, many guitar effects are applied through the use of foot-operated pedals; however, this arguably offers little flexibility during live performance, as it can be difficult to change parameters whilst playing and using tools such as MIDI data to “generate effects that mimic those created by digital signal processing” is “increasingly common” (Roads, 1989). This project will look at an alternative to this method of control in order to allow a new form of musical expression in performance.

As with many traditional instruments, the electric guitar is played “by performing gestures shaped by the physical representation of the instrument”, (Kayali, Pichlmair & Kotik, 2008) which will have had “a material influence on the processes of composition and performance” (Manning, 2004). However the boundary between acoustic and digital sounds produced is arguably blurred by the use of effects. Therefore, challenging “this practical link with traditional performance” (Manning, 2004) by introducing a new form of gestural input may allow composition and performance to move in a new direction.

The use of a touch pad provides an interface similar to Max Mathews’ “Sequential Drum”, which consisted of “a grid of horizontal and vertical wires and an associated handheld beater” that generates “coordinates that are analysed by the Conductor program.” (Manning, 2004)

A unit such as the Korg Kaoss Pad, which is “built around a two dimensional touch controller” which “outputs MIDI data” (Steiner, 2005) allows the touchpad to control a wide range of effects built in to the unit. It also offers a MIDI Out connection. Given that “less obvious uses of MIDI data include the control of lighting by assigning specific notes, patches or songs to specific lighting configurations” (Roads, 1989), this could allow a wide range of aspects of live performance to be controlled. By building this touch controller in to a guitar, a performer may use the effects using their hand when not playing the instrument itself.

In addition to this, due to the real-time control element of the control surface and the range of possible settings and effects, the output would be difficult to reproduce identically and therefore could be thought of as unique to each performance and arguably a “move toward conceiving of types of musical sound not amenable to conventional notation” (Kahn, 1999), adding a new semi-random element of impermanence to performance with the instrument.

II - Aims Of The Project

• Investigate the incorporation of effects controllers in to a guitar body. 
• Produce a fully functional guitar with built in effects controller using materials that cost no more than £150. 
• Evaluate through detailed analysis and testing the effectiveness of the finished artefact.

III - Project Definition

In order to design the most effective possible design, the project will begin with in depth research, covering available options for layout and wiring. Existing products with any similarity to this project will be examined along with any similar modifications and the electronics involved.

After this, the item will be designed thoroughly and any parts required will be purchased.

Building the product will involve assembling the guitar itself, making any modifications required to the body in the process before. The effects controller will be installed during this process.

As it is designed for performance, the finished artefact will be evaluated based on its audio output, ergonomics and its aesthetics. Listening tests and interviews will be devised for impartial listeners. They will answer questions regarding the audio and aesthetic qualities of the device, which can then be evaluated to allow the conclusion as whether the build has succeeded in meeting each of the proposed targets.

IV - Plan Of Work

Background research, which began during the summer, will continue until all details of the proposal are finalised and a final design can be created. To save time after this, preliminary designs will also be created and any components that will definitely be needed for the final build will be gathered together.

Following the finalisation of the proposal, a final design will be created and any additional materials required will be purchased. The report will be started once this stage is reached. Building of the artefact will begin in mid-November with the goal of completing construction by Christmas.

Before returning from the Christmas break, preparation for the testing and evaluation of the completed guitar will begin. Listening tests and interviews will be conducted in January and February. Writing of the evaluation section of the report will begin around this time. Further tests with impartial listeners and guitarists will take place following this. Recordings will also be made to demonstrate the functionality of the finished artefact which will be submitted with the final report.

After the conclusion has been written, the final two weeks before submission on April 17^th will consist of proof reading and finalising the report.

A logbook and/or online blog will be kept throughout the process of designing, building and evaluating the artefact. Preparation for the Viva-voce in June will then begin.

V - Limitations

Due to time and budget restrictions, the guitar itself will not be built from scratch. However, as modifying a completed guitar may prove difficult and result in poor result aesthetically the guitar will be built using pre-purchased components.

In addition, some aspects of the final tests of the guitar may be affected by personal taste in guitar and therefore questions will need to be limited to non-subjective qualities of the design as far as possible.

The parts required for the build may need to be ordered online so any delay in delivery must be factored in to the build time.

VI - Resources

In designing and planning the guitar build, the books ‘Make Your Own Electric Guitar’ (Hiscock, 2006), ‘Building Electric Guitars’ (Kahn, 1999), ‘Electronic Projects for Guitar’ (Penfold, 1992) and ‘Audio Electronics’ (Linsley Hood, 1995) should provide most information required.

The modification of the guitar will require the use of electronics equipment, such as a soldering iron. Therefore access to the university electronics labs may be necessary.

After the building is complete, space will be required for the listening tests and for recording the evidence of functionality. The university recording studio space will be used for both of these tasks.

References

Bacon, T. & Day, P. (1993) The Gibson Les Paul Book. London: Balafon Books.

Hiscock, M. (2006) Make Your Own Electric Guitar. 2^nd Edn. NBS Publications.

Hunter, D. (2006) The Electric Guitar Sourcebook. USA: Backbeat Books

Kahn, D. (1999) Noise Water Meat. USA: MIT Press

Kayali, F., Pichlmair, M. & Kotik, P. (2008) Mobile Tangible Interfaces As Gestural Instruments. [Online] Available at: http://www.uni-ak.ac.at/ (Accessed: 24/09/11)

Koch, M. (2001) Building Electric Guitars. [Online] Available at: http://www.buildyourguitar.com (Accessed: 25/09/11)

Linsley Hood, J. (1995) Audio Electronics. Oxford: Newnes

Manning, P. (2004) Electronic & Computer Music. Revised & Expanded Edn. Oxford: Oxford University Press

Penfold, R.A. (1992) Electronic Projects for Guitar. Kent, PC Publishing

Roads, C. (1989) The Music Machine: Selected Readings from Computer Music Journal. USA: MIT Press

Steiner, H. (2005) Building Your Own Instrument With PD [online] Available at: http://citeseerx.ist.psu.edu/ (Accessed: 24/09/11)