PLAY IT LOUD
Ever since the guitar became an electronic instrument and ceased, for all practical purposes, to be a guitar in the classic sense, there has been an unending stream of little black boxes which can be connected between the guitar and the amplification system.
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PLAY IT LOUD
by Guitar Arnie
Getting A Grip On Guitar Gadgets
Ever since the guitar became an electronic instrument and ceased, for all practical purposes, to be a guitar in the classic sense, there has been an unending stream of little black boxes which can be connected between the guitar and the amplification system. In the midsixties, when musicians were still thinking of their guitars as their instruments and their amplifiers as sound expansion units, the fuzz tone and wah-wah were introduced. Connected between the signal generated by the guitar/musician and the head-end of the amp, these two units marked the beginning of the totally electric guitar capable of producing sound configurations that Segovia couldn’t make if he wanted to.
At first fuzz and wah-wah were treated as novelties, which they were in the established concept of the guitar as a six-stringed instrument capable of producing note combinations called chords as well as note series called melodies. But the bubbling brains of the psychedelic era soon began to relalize that the exploration of electric sound demanded controls such as fuzz and wah-wah and anything else that the electronics wizkids such as Mike Mathews of Electro-Harmonix could produce. Hendrix and Sly Stone helped a good deal by showing that the bending signal was a valid form of expression, more relevant to the times than anything that could be produced by plucking the nylon strings of an acoustic guitar. By the Seventies, guitarists were thinking of their guitar, amp and the and reshaping of the electric guitar controls in-between as their equipment for making music/sound — a major psychological break-through that has resulted in the advancement of rock esthetics into the twentieth century world of the totally, purely electric.
At present the ultimate extension of this is the sound warp console being produced by B.C.M. Sound Systems in Cincinnati (B.C.M., P.O. Box 17112, Cincinnati, Ohio, 45217). Everyone from Mark (Farner) to Mick (Taylor) has outfitted themselves with the B.C.M. Mode Synthesizer, Series Custom III, Model 1200 and the results are encouraging to say the least.
Foot activated, the B.C.M. unit incorporates all guitar special effects into one unit, utilizing a single foot pedal, and will accomplish the following effects: wah-wah and fuzz, siren, tone expander, screeming, echo, swell, sustain and rotating. In all, 20 individual special guitar effects can be produced with the one unit. Four different models of the B.C.M. machine will eventually be available, ranging in price from $350 to $575, expensive, but as the manufacturer points out, no more expensive than if you were going to go out and buy a different box to accomplish each of these effects and certainly a lot less of a clutter problem than having a dozen effects foot switches spread out in front of you from one end of the stage space to the other. With the B.C.M. the guitarist is totally remoted from his amp, no dashing back and forth, to flip switches or engage particular units; hookup time is less since everything is in one unit; and all the effects can be accomplished through using one foot pedal thus once you get the feel of that pedal you can concentrate on creating the effects rather than worrying about the sensitivity of the unit in relation to how you use it.
W.E. “Eddie” Nelson, who’s president and in charge at B.C.M. informs me that the boys in the backroom are also working on other electronic marvels at the moment for the future. These include the possibility of custom tailored sound effects systems; chordless remote guitar units; and vertical column portable light shows which will be usable in conjunction with B.C.M. so.und systems.
In other musical equipment news this month, Univox has introduced two models of an electret condenser microphone which is battery powered, offers high sensitivity, and can be had with either high or low (line) impedance outputs. Model CE-1 is low impedance and retails for $42.95; model CE-2 has a Cannon-type connector and costs $55. Both models are ruggedly made, incorporate a built-in pop filter, and are totally transistorized. The price is very reasonable for an electret condenser; check them out at your local music dealer carrying the Univox line.
Guild has entered the p.a. system race with their PA-153 which will put out 150 watts, has both hi and low impedance inputs and can be used as a recording mixing board as well as a sound system mixer /reproducer. Two well designed sound columns are included, there are six inputs on the board, a vu meter so you can keep track of what you’re doing, and a practical, easy to use design of both the board section and the columns. Check your dealer for prices .. . And, a special plug for a special friend, if you’re interested in a cross section of the guitars and amps on the market plus some interesting info on sound, lights and all those kinds of extras that can turn your show into an extravaganza, get a copy of Electric Rock: The Rock Musician's Guide to Electric Guitars and Amplifiers (Pyramid) which you can find at your local paperback bookstore. If they haven’t got it, tell ’em to order it. Wfo
