FROM ZAPPA TO ALCATRAZZ

CREEM SHOWCASE

Billy Cioffi

YAMAHA COMPUTER ASSISTED MUSIC SYSTEM (YCAMS)

(Yamaha International Corporation)

With the refinement of the MIDI as well as the gigantic leaps in digital technology, electronic instrument companies have leapt feet first into the world of computers. Yamaha made its YCAMS (short for Yamaha Computer Assisted Music System) available to the U.S. in March. The system and its various components utilize FM digital technology to construct a composition, sequencing and playback chain compatible with (ideally Yamaha DX series) synthesizers and rhythm programmers (i.e., the RX).

There are four basic components involved in the system, all of which use the MIDI (Musical Instrument Digital Interface) to communicate with one another. What we’ve tried to do here is provide a brief and rather simplistic outline of each function. (To better understand the system’s possibilities, we advise a live demonstration.) In any case, here’s a brief overview.

The QXI is a digital MIDI sequence recorder that stores the performance of interfaced keyboards. The instrument permits editing, modification and perfection of the player’s performance. The user can record up to eight tracks. However, the QXI stores the notes as data, so overdub capability on each track is virtually unlimited.

Say, here’s something different. Remember a long time ago when we used to have that “Extension Chords” column? Well, we don’t either. Then we had that wacky CREEM Showcase, which—if you’ll recall—featured a beautiful model along with many beautiful musical instruments. Or how about that zany Now Sounds/New Stages, or whatever we called it?...that one lasted at least two

The Edit mode allows you to construct a piece step-by-step; the individual note can be modified in just about any way. The data can be stored on the floppy disk, using the machine’s built-in disk drive, which has a storage capacity of 80,000 notes. (This is the equivalent of about one LP’s worth of sounds.) Suggested retail price, $2,795.

The TX816 and TX216 are FM tone generation systems containing individual generation modules (called slots), each one similar in tone generation to one DX7 synthesizer. There are eight modules in the 816 and two in the 216. Each separate module is capable of storing 32 voices with function data including pitch bend, portamento and mod wheel settings for each voice. The TX series can issues. Many were the chuckles we had over that winsome feature.

What are we leading up to? Well, great news, actually! We’ve brought back CREEM Showcase! Aren’t we the unpredictable ones though? What’s even better, we’ve brought it back in a new, improved, non-sexist format, so that every reader can be proud to peruse this worthy section! So read it immediately or we’ll kill you.

also be used in conjunction with a DX7 as a performance instrument. The modules are also available separately for expansion of the TX216. Suggested retail price of TX816 and TX216 are $4,995 and $2,095 respectively.

A sample YCAM rig would feature the two previously mentioned products along with the already-available DX7, a QXI, a TX816, a D1500 and an RXI. How the system works: the DX enters the music onto the QXI, is edited and played back via the MIDI ports connected to a module on the TX. The RX connects to a module and receives data from the QXI’s clock signal. The QX then sends MIDI data to the D1500 to recall the presets. (This is a simplistic outline, but you get the general idea.) Many of us tend to get a little techno-phobic, but just about any manufacturer today takes special pains to make the instrument “musical” (that is, meant to be played) as well as “user friendly.” Yamaha International Corporation, P.O. Box 6600, Buena Park, CA 90622.

STEVE VAL: FROM ZAPPA TO ALCATRAZZ

RX11 DIGITAL DRUM MACHINE (Yamaha)

The RX11 Digital Rhythm Programmer is the expanded version of the RX15 machine that was introduced last year. The new model features 29 percussion sounds and can be played through a mixing console using twelve 1/4" phone jacks, stereo left and right, or any variation of the two.

The RX11 features a wide selection of percussion sounds that includes three bass drums, eight snare sounds, two rimshots, two open and two closed high hats, four tom toms, ride and crash cymbals, two variations of hand claps, cowbells and shaker. The rhythm patterns and songs may be stores in the machine or can be transferred to tape or the compatible Yamaha RAMI memory cartridge.

The compact design is easily transported with dimensions that measure 15 3/4" and 2 3/4" x 10 5/8"—and it weighs in at just under one-and-a-half pounds.

The RX11 features MIDI as well as accent and pan. The built-in memory allows for storage of 99 patterns and 10 songs that can contain as many as 235 parts per song. The RX11 suggested retail price of $895 makes it an affordable alternative for studio as well as live work. For further information write Yamaha International Corporation, Combo Products Division, P.O. Box 6600, Buena Park, CA 90622.

Steve Vai first came into prominence as a boy wonder playing guitar with Frank Zappa in the early 1980s. His technique and inventiveness soon put him in the vanguard of the new breed of young guitar players in rock ’n ’ roll. He can be heard on a host of Zappa’s recent recordings such as You Are What You Is, Tinsel Town Rebellion and the Shut Up And Play Your Guitar! series (all on Barking Pumpkin Records). Vai has also released a self-produced solo album. Flexible, which he recorded in his home studio (distributed by Important Records). Vai has recently replaced Yngwie Malmsteen as the lead guitarist for Alcatrazz—-whose new LP on Capitol Records was recently issued.

What was the first guitar you owned?

A piece of jdnW Tt waS'a'red Tempo Guitar with a whammy bar.

. (bought it tox five dollars when I was 14.

Who were your earliest musical influences on your guitar?

Danny Partridge, because he had that big, long curly white guitar cord. I saw that and said, “I gotta play an instrument.” I said, “I’ve gotta have one of those cords.” I got one and realized they weren’t as good as the straight ones. Actually, that’s true, but right after that I heard a Jimi Hendrix record, “The Star Spangled Banner.” My sister used to listen to Led Zeppelin II, and that was one of the biggest influences on me.

Did you start out on guitar?

Well, actually I started out playing the organ when I was six. And when I was 10,1 switched to accordion and played that for three years. I doused that and started on guitar.

What’s currently your favorite guitar?

I have a Charvel, this hideouslooking green Charvel that I beat up. The guitar really sings, it seems to be just right for what I’m doing now. It’s fairly new, about eight months old. And I have some Jacksons I think are great!

What players are you paying a lot of attention to right now?

It changes just about every other day; but as far as guitar players go...I just saw a video last night of Warren DeMartini (Ratt)...first time 1 ever saw him play and I thought he was real good. There is a guy name Eric Johnson who is releasing an LP on Warner Brother soon.

He’s a great player. Uli John Roth, I just got his new album from Capitol.

What other records?

I don’t buy or listen to records a lot. I would like to, I just don’t have time. I think the last record I bought was Night Ranger. I transcribed one of their solos for Guitar Player M agazi n e.

What is your present studio rig? Say for the forthcoming Alcatrazz record?

For the Alcatrazz record, it switched. I basically used a Marshall for about half the rhythm tracks on the record and a Carvin'for the rest of the rhythm tracks—and then all the solos. I also used a Pearce for a couple of things. I think Carvin was the best; it gave me the closest to the sound I was looking for.

What are you going to be using on stage?

My stage setup will be stereo Carvins, two SDB 3000’s, Lexicon PCM 60 Digital Reverb, and a Cry Baby Wah Wah with a Super Overdrive

Can you give us some idea of your warm-up and practice techniques?

When I get time to play these days, the thing that I try to do is put t on a metronome or drum machine and practice playing rhythm parts for a while-just getting into a groove with the machine. I have a variety of tapes I made with chord changes that I practice soloing to.

When I started playing guitar I used to have a list of things that I used to go through. I would practice about 10 to 15 hours a day, I would start with an hour of exercises, an hour of scales, an hour of chords.

Then I’d go back and do that three times, progressing to different types of exercises, harder and faster. Then I’d read music for a while and I’d make tapes to develop my ear. Then I’d just jam.

Can you tell us the musicians who influenced you the most?

OSCar LEAD SYNTH The OSCar is a monophonic lead synth manufactured in England, offering a quality alternative to some of the more wellknown instruments of the same ilk. The designers of the OSCar feel the keyboard competes on three different levels: it is easy to use and strong enough to withstand the punishment that only a roadie could inflict. Secondly, it provides a complexity of sound possibilities that had previously been available only in higher priced systems. And thirdly, it includes a relatively sophisticated sequencer so that it may be used as a serious compositional tool.

The system has two oscillators that use wavetdbles stored in memory, allowing the use of conventional analog wave forms as well as pure sine wave combinations (this is your basic synthesizer sound building tool). In addition to the standard features (pitchbend, arpeggiator, etc.), the newer models are equipped with the allimportant MIDI interface so it can be used in conjunction with the rest of the player’s rig. The sequencer section is pretty up-todate for the dough, with full step functions and 1,500 step time events shared between 12 sequences and 10 chains—as well as single or continuous loop playback. The sequencer can also be clocked from an external source via the trigger input. The OSCar is fully programmable and

has an internal battery, so that information is protected when power is shut off. The instrument also allows you to dump your memories to tape via cassette interface of the

MIDI. All in all, a pretty potent package for the price tag—a suggested retail price of $975.

Joe Satriani, who was my guitar teacher when I was back in New York. He’s probably my biggest influence. Jimi Hendrix, Jimmy Page, Elton John—for the Construction of his songs—and John McLaughlin.

While we*re on the subject of teachers, what kind of formal training did you have? fii,ji;J&ad a very good private teacher. I studied with Joe for three years. I had a good teacher in high school, a man named William Westcott. He had a theory class. Than I went to Berklee for four straight semesters. What I learned in Berklee was how to play with other musicians.

Was that the end of your formal training?

My formal training didn’t even begin until I started working for Frank Zappa!

How did you get involved with Zappa ’s band?

I was always a fan of Frank’s music, I had his phone number, so I called him and asked if I could send a tape. He said “sure,” so I sent him a tape he loved it. He wanted to fly me out to audition for his group, but T was a little too young to start touring the world. So I started transcribing forhim. Eventually I moved out to Los Angeles to play on one of his records.

How long did you work with Zappa?

From 1980 to 1983 . about three-and a half years.

Why do you say your formal training began with Frank Zappa?

Because who’s to say what formal really is? To me, formal training is when you learn the real world. Believe me, everything I did in the past was just preparing me for real training. Which was going out on the road and playing ridiculously hard music and having to play it perfectly accurate every night!

In other words, he has high standards?

Absolutely, the highest I’ve ever seen in the business. But it was fun—it was the best training I,ever got!

What was it like going from Zappa to Alcatrazz?

Changing wasn't that difficult, because it was what I wanted to do. I’m a rock guitar player at heart. I feel a little different than most rock guitar players in the fact that I have come from a band like Frank’s and Berklee. I’m not saying anything detrimental about those other guys at all. As I mentioned, seeing Warren De Martini and I just saw Yngwie Malmsteen’s tape from Japan which is ridiculous! Vivian Cambell (Dio)...all those guys are fantastic! How did you join Alcatrazz?

I had put together a band of my own, just to play some of the music that I had. I really wanted to play some more rock-oriented music. I heard that Alcatrazz was looking for a guitar player, so I called the keyboard player and we got together and talked. I got together and played with the group, and it seemed to go pretty well. I joined them on the last three dates of the Ted Nugent tour. Before the tour, it was mutual that Yngwie and the band wouldn’t continue together. The last few dates were a good opportunity to see how I’d do with the group.

How will the new record differ from the first LP?

It’s a completely different approach, in the respect that it’s not a solo guitar record. There’s more orchestration, and it’s more of a band. I happen to like the first Alcatrazz record, and anything I say about the new record is not to take away from the other one. It’s just more arrangement—it’s just very, very different.

Do you have a final comment about music?

When I was younger I had a strange dream. I was playing my instrument and it was me that way playing, but it was not any of my influences that were playing. I could hear what I was playing and I could feel it. It was all perfect! The rest of my life, in music will be dedicated to reaching that goal— and I probably won’t reach it.

THE CLASSIC 5-STRING BASS (Tobias Guitars)

One trend that seems to have found its way into the mind of manufacturers and musicians alike is the five-string bass. 1985 is the year of the five-string, with a number of companies introducing models into their lines. This is big news for the players, because by stretching the tonal range of the bass guitar, it allows access to notes in the lower register previously available only on keyboards, or through some form of outboard sound processing. Tobias Guitars’ entry into the sweepstakes is “The Classic.”

Luthier Michael Tobias has introduced a process to his guitar construction with the trademark name Multilam. The pieces of wood are selected for properties such as hardness, strength, stability and suppleness—as well as cosmetic value. The woods are then laminated so that the wrap inherent in each layer counteracts the wrap of the adjoining layers. Accordingly, this helps compensate for the extreme tension of the string on the neck. “The Classic” features a full twooctave range, with a 1 3/4" width at the nut and a 2 5/8" width at the 24th fret. The natural finish has a bookmatched exotic hardwood top and a figured maple neck with hardwood laminates.

The pickups are customdesigned to the company’s specifications by Bartolini and are available with optional active electronics. The basic 5-string price is $1,975 (with case). It is also available as a fretless with a phenotic fingerboard for an additional $80. Tobias Guitars, 1614 Cahuenga Blvd., Hollywood CA. 90028, (213) 465-2656.

THE GUILD/BRIAN MAY GUITAR

Guild recently unveiled its new Brian May model guitar, designed in consultation with its namesake. The unique stylings of Queen’s guitarist have long been in the forefront of rock...now his innovative custom-designed instruments have been produced to his specifications by the Guild Musical Instrument Company. The May model has a scale length of 21" and 24 frets. (The double-cutaway allows for full access to the long fretboard.) The neck width at the nut is 1 7/8", which is rather wide, but conducive to perfecting the vibrato and sustained notes that are somewhat synonymous with May’s style. The ebony fingerboard and mahogany neck are fixed to a solid mahogany body and—at present—the body is available in an amber cherry finish.

Electronically, the axe is outfitted with three custom-designed DiMarzio single-coil pickups, which can be used in any combination and adjusted by the six different phase switches. There is only one volume and tone control on the instrument, which makes the pickup configurations rather userfriendly and ideal for live use. The guitar comes equipped with a Kahler vibrato system that allows for maximum usage of the vibrato bar in conjunction with consistent tuning. The Guild/Brian May Guitar is a high quality instrument that merits serious investigation.

Guild, P.O. Box 203, Elizabeth, NJ 07207, (201) 351-3002.

SD57 DIGITAL/ANALOG DRUM KIT (Simmons)

The SDS7 is the successor to the Simmons SDS5 Electronic Drum Kit. The SDS7 has specially designed soft surface playing pads for snare, bass and tom toms for more responsive playing. Moreover, the voice module for the SDS7 incorporates both analog and digital sources which are independently adjustable for pitch, bend modulation, noise, decay, click and sensitivity functions. The drummer can construct a wide range of sounds that vary from the now-familiar Simmons sound to the sound of “real” drums and percussion. The modular rack comes with five voices (snare, bass, hi-mid-toms) but can be expanded to 12 voices, which include cymbals, handclap, and sound effeet voice cards. The addition of the SDS/EPB user-programmed chips can be loaded directly into the SDS7 voice module. This is the next wave in electronic percussion...the drummer will have countless new options creating his own effects and incorporating them into his drum pads.

The memory of the kit can store up to 100 different programs per channel, which means that it is possible to have up to 1,200 different sounds with one SDS7 kit. The kit includes a stick-activated selector pad, allowing the player to call up any of the 16 preprogrammed “kits” while playing. The SDS7 is designed to interface with the SDS6 Sequencer. Suggested retail complete, $4,365. Simmons Group Center, Inc,, 23917 Craftsman Road, Calabasas, CA 91302.