ONLY A FEW years ago, the Musical Instrument Digital Interface (known as MIDI) made its debut—on keyboard synthesizers. The capability of transmitting complex programming data via a single cable from one instrument to another — regardless of the manufacturer — became a reality. However, it remained a keyboards-only feature until just recently. But late last year, MIDI started to cut a fine path into the realm of signal processors; it was incorporated into Roland's ground breaking GR-700 guitar synthesizer, and the SynthAxe (profiled in the Mar. '85 issue of Guitar Player) is devoted solely to creating MIDI signals. Aside from these isolated examples, MIDI gear for guitarists was still entrenched somewhere in the Paleozoic era in early '85. At the National Association of Music Merchants International Music & Sound Expo in New Orleans in late June, the new concept finally bloomed, as MIDI for digital delays, reverbs, distortion and flanging devices, and programmable amps made simultaneous debuts.
Steinberger introduced its GL-2/GR and GL-2T/GR guitars ($2, 150.00 and $2, 450.00, respectively; the latter has a transposing tremolo) with built-in Roland GR-700 electronics
(webmaster note: this is incorrect, the electronics have the same features of the G-707/STK-1, though this was a custom circuit board unique to the Steinberger guitars)
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. In addition to the synthesizer hex pickup, each guitar has a pair of EMG pickups. Ibanez showed its Electronic Guitar, a prototype polyphonic MIDI synthesizer controller with an electronic whammy bar and a sleek profile. Actual samples of bass guitar sounds — from snapping and picking to bowed acoustic - are stored in the 360 Systems MIDI Bass, which can then be played by connecting the unit to any synthesizer, sequencer, or drum machine with a MIDI connector.
What does this mean for guitarists and bassists? Imagine being able to store various programs in a digital delay. Later, when you add a multi-effects unit, you can link the the delay to it with a MIDI cable and a standard audio patch cord, and then be able to recall programs including both units — all without any complex outboard switching unit. And because of this modularity, you can keep expanding: Add a digital reverb, connect it to your programmable amp (no need for channel switching — you can store a bunch of completely different settings and recall any of them at the push of a switch), and maybe slave a drum machine to the whole thing, so that when you play certain notes, drums sync in unison. The possibilities are boggling.
Perhaps the most extreme impact is in guitar synthesizers. A guitar that outputs via MIDI can control keyboard synthesizers such as a Yamaha DX7 or a Casio CZ-101 or several units at once. No longer must a player be restricted solely to the sound module (and its inherent timbres) that comes with a synthesizer guitar. Tired of the sounds your keyboard synth makes? Get rid of it, and buy a new one—without having to give up your guitar.
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Modeled after Roland's G-707 guitar synthesizer, the G-77 Bass was demonstrated in concerts put on by the manufacturer. The GR-77B synthesizer unit stores 64 programs and a MIDI output and 10 pedal switches; the instrument has standard pickup outputs as well as synthesizer controls and a 21-fret fingerboard. Like its guitar counterpart, it has the stabilizer bar between the headstock and body to reduce spurious vibrations. The 210-watt RMS solid-state model drives a pair of 12 speakers. Peavey also introduced its MIDI-addressable Programmable Effects Processor model 4000 which produces delays up to four seconds long and stores 10 programs. To control these and other MIDI devices, Peavey unveiled the RCM 2000 footswitch board.
The Octave-Plateau Voyetra MIDI Guitar (about $2, 000.00) is a polyphonic synthesizer controller. It has no sound generating circuitry, but it can link directly to any MIDI-equipped synthesizer. Programs can be recalled via the numerical keypad on its upper bout, and such parameters as vibrato and pitch bending can be programmed into the touch plate/pickguards. Besides putting out a MIDI signal, it has a standard guitar pickup output.
A hexaphonic pickup that comes with Cherry Lane Technologies' IVL Pitchrider 7000 guitar-to-MIDI converter ($995.00) can be mounted on any electric guitar. The rack-mountable unit is fully polyphonic. Other Pitchriders include stand-alone and monophonic models. Korg's SQD-I MIDI Recorder uses a 2.8 diskette to store up to 15, 000 notes and acts as a 16-channel sequencer. It can be linked to guitar synths and drum machines, and can record two tracks of information.
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But if you think the NAMM Expo was nothing more than a MIDI showcase, take a look at the following report, as well as next month's installment. The 20, 000 or so attendees also previewed advances in 5- and 6- string basses, a bevy of new guitars and signal processors, lots of recording and PA gear, amps of all descriptions, and a maze of accessories. Some list prices aren't shown here, in most cases because they hadn't yet been firmed-up. If you want more information regarding the equipment shown here, write to the manufacturers; addresses are listed in Crosscheck, page 126.
Aria introduced its Diamond Jet Series electric guitar and bass, featuring black anodized die-cast machine heads, and maple necks and bodies. The Jet Axe guitar has a bridge-position humbucker and two single-coils, coil-tapping, two tone controls, a master volume, and a 5-position selector. The bass has two pickups, a 3-way selector, one volume, and two tones. Black, metallic silver, and metallic red finishes are offered. Pennino's West solid body electric guitars come in several forms, including V types, offset single-cutaways, and double-cutaways. A variety of pickup and control configurations is offered.
Astro Guitars showed some of its custom line, which consists of everything from Strat-style to V-style bodies and a variety of headstock and neck/fingerboard combinations. Pickup types, pickup colors, the finish, tremolo model, and tuning keys are selected by the customer. List price: $1, 575.00.
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Mains Guitars showed several striking guitars and basses with zippers and chains imbedded in their faces. Many had radical graffiti-style paint jobs, and some had rivets and studs.
Great Britain's Wal showcased fine handcrafted fretted and fretless basses with laminated exotic woods, special-design tone circuits and pickups, and such features as gold-plated hardware. Active circuitry, a pickup mixing knob, and hand-rubbed and polished finishes are also included.
Acoustic presented a complete line of bass amplification gear, including three bass amps with 120, 220, and 320 watts RMS of power and integral graphic equalizers. Two models have built-in electronic crossovers. Speaker cabinets, combination amp/ speaker units, and powered cabinets for bass, as well as PA mixers and cabinets, are also available. Gollehon showed its KS-2 Keyboard Speaker and P4 Penetrater PA Speaker ($349.00 and $799.00, respectively); each cabinet handles 300 watts of power. Both handle a wide range of frequencies (KS-2: 55Hz to 15kHz; P4: 40Hz to 20kHz), and are suitable for bass, guitar synthesizer, etc. The 3-way KS-2 has 15 and 10 speakers, while the P4 has a 15 speaker and a 10 midrange radial horn. Polytone unleashed its 240-watt RMS Pro Series Bass Amp ($795.00 with speaker system). The rack-mountable unit has two individual power amps, two pre-amps, and a crossover for biamping. Each channel has its own bass, treble, midrange, and volume controls, as well as a bright/ dark tone switch.
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The Engl Digital Amp ($1, 395.00) is a 100-watt RMS tube-circuit guitar amp with a memory designed to hold eight presets. A footpedal unit lets the player call up any of eight programs, each remembering settings for tone, gain, overdrive, reverb, and volume. The master volume operates independently, and memories can be tamper-proofed by locking the unit with a key. Control settings can be checked by turning a knob, and when an LED above it lights, then the setting duplicates that of the one in storage. An effect multiplexer lets the guitarist use four effects loops.
Brian May demonstrates his Guild Brian May model solid-body electric and DiMarzio's BHM pickups. The hum buckers are sold in pairs ($ 100.00 per set), and are potted in an anti-squeal compound.
Martin Maple acoustics include Jumbo (J-65M and J 12-65M) and Auditorium (M-64 and MC-68) sizes. Features include gold-plated tuning machines, scalloped bracing, ebony fingerboards, and tortoiseshell-style binding.
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The cast aluminum Brunet MetalMaster electric guitar is designed for bright sustain and comes with a 22-fret rosewood fingerboard, DiMarzio MegaDrive pickup with master volume control, and a choice of colors. Options: Kahler locking tremolo, a pair of humbuckers or two single-coils, and an ebony fingerboard.
Sperzel's Trim-Lok tuning machines have rear-mounted locking knobs that adjust each machine to hold the strings like a locking nut. Graduated post heights also eliminate the need for string trees. Digicomp's AIM Harmonic Modifier 9500 ($319.95) combines distortion, compression, and noise gating into a single unit. Compression levels, mixing of even and odd harmonics, and noise gate sensitivity and decay can be independently controlled. A footpedal version is available for $299.95, and another footpedal with the same functions, but fewer controls, costs $139.95. Tascam introduced its Studio 8, a combination of an 8-Track I / 4 reel-to-reel recorder
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