Since its inception in the early 1980s MIDI has cemented its presence as
the standard communication method between electronic instruments. It is
well known for its studio applications, particularly in electronic
music, but what has MIDI ever done for guitar players? Can something as
established and natural as a guitar ever work in harmony with the
robotic data transmissions of a 30 year old data protocol?
Keyboards
have always been the flagship MIDI control method, becoming an
essential part of studios the world over, but what about the guitar? In
1983 one of the first available fretted MIDI guitars was released: the
Yamaha DG-10. Imagine propelling laser-guided strings sections from the
pluck of a string, or firing chunky FM bass tones through the swing of a
translucent plectrum. This was now possible with a guitar. And, what
soon followed was an infinitely more powerful, versatile and
(inevitably) expensive MIDI guitar...the SynthAxe. It offered a
mind-boggling array of play modes using a combination of plucked
strings, built-in keys and foot pedals that made the DG-10 look like a
child’s toy. These devices opened up a new world to musicians using the
conventional form of guitars to play notes, chords and riffs on a
synthesizer without touching a keyboard or computer.
While the
above mentioned machines brought the guitar interface to MIDI, it was
devices that did the reverse which made the experience truly authentic.
MIDI pickups began to bridge the gap between guitars and technology,
allowing any fitted guitar to transmit the sounds being played and
convert them into MIDI notes. Many such devices are available; the Snous
G2M is a monophonic device which transmits one note at a time (suitable
for solos and simple bass parts), while devices such as the Roland GK-3
pickup and the super-low latency Fishman Tripleplay wireless transmit
polyphonic chords across six strings as seamlessly as they can be heard
on the guitar.
A British company by the name of Mansun has
produced another example of the technological evolution of guitars, while
keeping to the traditional design with the MB-1. Famously used by Matt
Bellamy of Muse, it is a conventional electric guitar fitted with a
touch pad which sends MIDI information to an effects unit, while a built
in sustainer allows the guitar to ring out during performances. This
allows for multiple dynamic manipulations and modulations, not possible with a
pedal board alone – giving the player the ability to instantly change
from soundscape to distorted lead riffs in milliseconds.
Recent
developments in technology have allowed for guitars with more
experimental,innovative and futuristic designs, while still keeping to
the basic form. The Starrlabs Ztar MIDI Controllers are a range of
ice-cool instruments which feature buttons laid out like those
on a fret board, which can be played in a conventional manner or by pressing
the desired keys. Used prolifically by Pendulum on tracks such as
`Granite` and `Propane Nightmares`, they have also been used by more
established artists like Lou Reed. Taking the idea to a new space-age
level is the Misa Kitara, which uses a touch screen instead of strings,
throwing in a host of configuration and performance possibilities that makes it essentially a new instrument in its own right.
For the
traditionalists, the guitar need not change. But for many, in
combination with MIDI musicians now have an added dimension for the
guitar, and perhaps inspiration for the instruments of the future.
Misa Kitara
http://misa-digital.myshopify.com/
Manson
MB-1www.mansons.co.uk
Fishman Tripleplay
http://www.fishman.com/tripleplay
Starrlabs Zitar
http://www.starrlabs.com/
