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For the last few months I’ve been working with Fishman on the documentation for TriplePlay, their long-awaited wireless MIDI guitar system, which will finally ship this quarter. I had a blast demoing TriplePlay at MacWorld a few weeks ago, and I’m looking forward to doing so again at Musikmesse in Frankfurt in April.
But at times, it’s been frustrating. I power up TriplePlay to study some feature, get all excited, and then have to turn it off and write about it instead of going off and playing it for six hours. This little demo was my first real chance to just fool around with the thing. Thoughts and details after the video.
The recent post on Auto-Tune for Guitar generated much interesting discussion, plus a few good Auto-Tune jokes. Thanks, guys! :beer:
The comments from smgear particularly impressed me, because he managed to assemble a wish list for a future digital guitar with more detail and clarity than I could have managed.
It’s always a good idea for smart, articulate musicians to sound off about the musical tools they desire. But that’s especially true now, as manufacturers grapple with technological change with varying degrees of success. People really are listening!
Anyway, smgear wrote:
Basically, the problem is that the majority of the manufacturers seem locked into old paradigms. The bulk of their new designs are intended to mimic something else (Line 6), combine/integrate technologies (Roland) or make the ‘art’ less rigorous (Antares). Those are all fine pursuits and have resulted in some great tech, but they’re basically locking everyone into a pre-1980 palette of sounds, functions, and expression. Quite honestly, after my momentary enthusiasm has passed, I just pick up one of my no-name beater acoustics or electrics and dig in because every day I find a new sound, attack, approach, or whatever that allows me to express something in a new way. It’s true that I could do that playing through those tools, but I don’t need them and they are specifically designed to conform my sound to specific realms rather than to let me explore new spaces.
So with regards to this batch of hex-based modeling tech, my general requirements are fairly simple. I want clean and discrete signals from each string (check), I want a serious multi-core processor AND a couple programmable on-board control knobs/switches (semi-check), and I want an easily accessible and intuitive interface that gives me full control over how each particular string or any group of strings is processed/routed (no check).
I had to share this image sent by reader Gerald Good. (Thanks, man!)
Gerald Good made this pretty picture. (Click to embiggen.)
It’s a handy stompbox wiring diagram that’ll work with all the stompbox project on this site, and most other simple circuits. It’s not the only way to do it — there are other good options, especially for wiring that diabolical 3PDT footswitch. (You’ll find some of them here.)
But I like the configuration Gerald chose to illustrate, because it’s the most idiot-proof. And everything I touch need serious idiot-proofing. I’m embarrassed to admit how many pedals I had to build before I had these basic connections committed to memory. The footswitch wiring alone nearly used to bring me to tears. I kept an ugly, hand-drawn diagram glued to a plank alongside my breadboard for ages.
This is nicer. Print it out and post it at your workbench! :beer:
Has anyone checked out this video for axes equipped with Antares’s Auto-Tune for Guitar?
I haven’t tried one of these myself, though my pal Art Thompson at Guitar Player gave Peavey’s Auto-Tune-equipped AT-200 a glowing review.
I’d heard of the product, but must admit I hadn’t given it much thought, assuming it was chiefly a pitch-correction tool. But as Antares’s videos make clear, it also does many modeling tasks, and can no doubt be used in some very creative ways. According to the Antares site, the Peavey is the only currently available guitar pre-fitted with the system, though they hint at pending partnerships with other guitar companies. They’ve also announced the upcoming release of a Luthier Custom Kit, which means a) you’ll be able to install the system in a guitar of your choice, and b) there’s a product picture that reveals much about how the system works:
Coming soon: the Auto-Tune for Guitar Luthier Custom Kit.
UPDATE:My apologies if this page failed to load properly before. After a much screaming and crying some careful troubleshooting, it seems to be working correctly now.
I put together a little slideshow of some of the interesting things I saw last week at the 2013 NAMM show in Anaheim.
I covered some of the coolest new digital gear in this post. This time, the focus is analog guitars, amps, and effects. Plus: an ultra-rare sighting of a true California celebrity!
This first installment of my 2013 NAMM report focuses on products for the digital guitarist. In the coming days I’ll be doing posts on analog amps, guitar, stompboxes, and accessories. (But maybe not as quickly as I’d like, because I’ve also got to cover MacWorld in San Francisco this weekend.) This is cross-posted from Create Digital Music, one of the few music sites I visit every frickin’ day.
Source Audio’s Hot Hand USB wireless controller.
We guitarists tend to be a technologically conservative bunch, yet there was no shortage of forward-looking products at NAMM 2013.
Not that everyone was looking in the same direction. Guitar processors are getting smarter, but they’re doing so in different ways. Are we entering an era when every guitar, amp, and pedal in our effect chain will boast powerful processors and a dedicated editing environment? Or will we just simply centralize everything in some future i-device? (I suspect that latter, and tend to think that smart pedals and smart amps represent an evolutionary cul-de-sac. But that cul-de-sac might be a real nice place to hang out for a couple of years.)
Eventide’s H9 can play all the sounds from the company’s software-intensive stompboxes, and you can edit and control them wirelessly.
One release I found particularly telling was Eventide’s H9, the latest addition to the company’s software-intensive stompbox line. The H9 has few new sounds, but can run all the DSP algorithms from Eventide’s other guitar stompboxes. The $499 box will ship late this quarter, preloaded with 9 of Eventide’s 43 current algorithms. Players hungry for more will be able to purchase them а la carte from an online store. (Eventide hasn’t yet finalized the add-on pricing.) The H9 also includes a handsome and full-featured iOS app for editing and managing patches via Bluetooth. There are no current plans to release an editor for OSX or Windows.
My idea was to scour NAMM’s five massive exhibition halls in a fast, efficient fashion, and then retire to a nearby cafe to pen witty yet informative summaries, which I’d post effortlessly via my cunning little i-devices.
Instead I’ve been running around like a chicken with its head cut off and meth poured down its neck hole.
So much for the twice-daily updates I’d envisioned. But I am seeing lots of interesting stuff. Even the boring stuff is kind of interesting, because it says a lot about the current state of music, musicians, and musical instruments.
Oh wait — that was last month. Now it’s January. NAMM time!
I’ll be there for the duration, partly to hang out with my Pure Guitar pals, and partly to meet with Fishman about the upcoming TriplePlay release. But mostly to gawp at the weird shit admire the musical instrument industry’s latest offerings. :oogle:
I’ll be posting my findings here, and also doing a little write-up for my friends at Create Digital Music, one of my fave musician sites.
Actually, I have this perverse fantasy of spending an entire show in Hall E: the Anaheim Convention Center’s low-rent basement/dungeon, a dark, inhospitable region where Fender and Gibson fear to tread. That’s where the industry leaders of tomorrow rub elbows with mad scientists and perennial laughingstocks (AKA “my peeps”).
Any of you guys going? And if not, anything special you’re curious about?
Bartók: Smarter than math-rock — and way more violent.
My Bowie fandom is second to none. Yet I’ve always felt a vague sense of disappointment that the Spiders from Mars didn’t really sound much like spiders from Mars.
On the other hand, the fourth movement from Béla Bartók‘s Fourth String Quartet really does sound like Martian spiders — assuming the critters in question had been force-fed a diet of chord clusters, mathematics, Hungarian folk music, and some of the most astonishing counterpoint this side of J.S. Bach.
And dig it: This white-hot blast of dissonant modernism was composed in 1928!
And how does this string quartet music sound on guitars? Awesome, IMHO — largely because the movement is played entirely pizzicato (plucked, not bowed). Very few modifications were needed to adopt it for four electric guitars.
No disrespect to Chuck Berry, but I seriously doubt Johnny B. Goode played guitar just like a-ringin’ a bell unless he was using a ring modulator. That’s the only effect that can give you the complex, clangorous harmonics of a bell or a cymbal. Or make you sound like a ravenous horde of mutant robot ants.
Theoretically, Johnny could have used one. By 1958, when Berry documented the guitarist in song, the effect was already being exploited extensively by avant-garde classical composers, notably the late Karlheinz Stockhausen, who used it to terrifying effect in his Gesang Der Jünglinge [1956].
This post drips with perverse ring-mod love, including a demo of a rare vintage Electro-Harmonix Frequency Analyzer, and another featuring Roswell Ringer, a wicked ring mod plug-in.
