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onde leciona na área de Comunicação e Artes e desenvolve projetos em tecnologia, mídia, produção audiovisual e criação sonora. Resumo Este artigo discute as transformações na indústria fonográfica, desde os anos 90, provocadas pelo formato MP3, que, numa abordagem superficial, é apontado como responsável pelo declínio das vendas de discos e por promover a pirataria fonográfica em escala mundial. Neste recorte, conceitos como autoria, direito autoral e outros têm de ser repensados à luz desta tecnologia, ao mesmo tempo em que se discute seu potencial criativo e sua capacidade de democratizar a produção sonora.

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The electric guitar is a musical instrument that was born out of attempts to improve the sound projection of the acoustic guitar, the Hawaiian guitar and the acoustic archtop guitar. The first electric guitars were Hawaiian guitars and archtops on which were installed magnetic pickups that send auditory information to a device that became known as the amplifier. Thus, an electric guitar is only effective as a musical instrument in the total meaning of the terms when it is connected to an amplifier. Over the years, the amplifier has also been made in order to process the sound through built in equalizers, reverbs and tremolo effect. These types of sound processing began to be offered in external devices, which gave rise to the effects pedals. In this way, a network of interfaces had been created and became characteristic of the electric guitar. Therefore, the electric guitar was born as a technological instrument, and is always evolving and being connected to an increasing number of technological artifacts. From this, each player can set up his network in ways quite different and particular, with the aim to establish his personal stamp on choosing equipment and interfaces that best suit their musical technique. Because of the nature of the electric guitar, beyond the musical technique, the guitar player needs to exercise the technological technique, which consists in working on the technological equipments, programming their parameters according to the musical situation. The present work aims to investigate the different ways that each musician makes use of technological artifacts as his expressive means in the context of the pop music market, and what kinds of different results can be obtained as artistic expression. In order to accomplish this, it will be presented and discussed the technologies that have been made available throughout the evolutionary history of the guitar, especially the modern technology that simulates equipments and instruments that is present in effects processors, guitars and music software.xvi

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