Recording - November 2009 - 52

BY GREG HURLEY I n a marketplace filled with seemingly endless choices of guitar effects and plugins (both hardware and software), German company Vibesware has met the challenge of creating a truly unique device. The GR-1 Guitar Resonator gives the player a way to get many of the feedback effects that can be coaxed from a cranked-up guitar amp, but does so in a way that’s quiet, controllable, expressive and fun. When initially testing the GR-1 I was able to easily get some great swelling and sustained feedback within a few seconds of practice. Feedback continues while bending strings, and notes can be held while swinging Vibesware GR-1 Guitar Resonator What does it do? The GR-1 uses an electromagnetic field to make guitar strings vibrate, but it has advantages over the existing products that give this effect, the Heet EBow and the Sustainiac. The EBow is an electromagnet which is held in the picking hand; it effects primarily one string at a time in a continuously sustained bowing fashion, but it can be somewhat tricky to draw out harmonics. The Sustainiac is a special resonator that takes the place of a guitar’s neck pickup; it can sustain all strings at once, but again harmonics can be hard to get, and many players don’t want to alter their guitars. The GR-1, in contrast, is an electromagnet mounted on a mic stand (its own, or sharing with a vocal mic) facing the guitarist, who simply moves close to it when he wants to use it. This allows for single or multiple string sustain while also enabling the player to draw out various harmonics across the length of the string. The unit does not require the player to hold it in his or her hand in place of a pick, nor does it require a retrofit of the guitar’s hardware. Also, being powered from AC rather than a battery, it has a much stronger magnetic field and can be set to produce its effect more easily. The GR-1 draws out the sustained harmonics of the guitar just like high-volume amplifier feedback, but the effect is entirely controllable by the player. The result is most akin to the loud stage volume feedback effect made popular by Jimi Hendrix, while playing in the privacy of the studio or with headphones. There is no need to position one’s amp in a specific place, and the player has full control over the subtleties of harmonic feedback.RECORDING NOVEMBER 2009 A uniquely expressive way to play guitar In use Upon opening the box, my immediate impression was that a miniature alien had taken a nap in the box! What I was seeing was the amazingly compact resonator head connected to a gooseneck stand. The head has blue and red LEDs built in so you can see where you’re aiming on a dark stage, and tell at a glance whether you’re in harmonic mode. The package also includes the Resonator Box (a floor pedal that allows harmonic control and sensitivity adjustment), power supply, and a 1/4" TRS cable for connecting the gooseneck to the resonator box. The overall construction is comprised of robust top-notch hardware, and setup is easy. Vibesware did a good job of designing the device to be both stage- and studio-ready and unobtrusive. the guitar back and forth horizontally in front of the GR-1 resonator head to create the effect of changing the dominant frequency (pitch) of the harmonic along the neck. This technique alone makes the playing experience unique since it is very difficult to change the harmonic of a normal high-volume amplifier feedback, because by the time the note is sustained into feedback, the note may already be fading, forcing the player to start all over again. Placing other effects such as flangers or delays in series after the Resonator Box adds even more unique qualities, since the player is essentially driving a harmonically rich signal through the effect processors rather than just the regular guitar tone. In one test session I was able to quickly switch

Recording - November 2009

Table of Contents for the Digital Edition of Recording - November 2009

Recording - November 2009
Fade In
Contents
Talkback
Fast Forward
Les Paul Speaks
Cakewalk SONAR V-Studio 700
The Hybrid Guitar Recording Method—A Modern Way of Tracking Serious Tones, Part 1
Radial JDX and Phazer
Shure SM27 and SM137 Microphones
Eventide PitchFactor
Recording’s Guitar Column
Lexicon I•ONIX U42S RecordingInterface
Recording’s Showcase of Sounds
Readers’ Tapes
Vibesware GR-1 Guitar Resonator
BOSS ME-70 Guitar Multiple Effects
Line 6 BackTrack and BackTrack + Mic
Advertiser Index
Fade Out
Recording - November 2009 - Recording - November 2009
Recording - November 2009 - Cover2
Recording - November 2009 - 1
Recording - November 2009 - Fade In
Recording - November 2009 - 3
Recording - November 2009 - Contents
Recording - November 2009 - 5
Recording - November 2009 - Talkback
Recording - November 2009 - 7
Recording - November 2009 - Fast Forward
Recording - November 2009 - 9
Recording - November 2009 - 10
Recording - November 2009 - 11
Recording - November 2009 - Les Paul Speaks
Recording - November 2009 - 13
Recording - November 2009 - 14
Recording - November 2009 - 15
Recording - November 2009 - Cakewalk SONAR V-Studio 700
Recording - November 2009 - 17
Recording - November 2009 - 18
Recording - November 2009 - 19
Recording - November 2009 - 20
Recording - November 2009 - 21
Recording - November 2009 - 22
Recording - November 2009 - 23
Recording - November 2009 - The Hybrid Guitar Recording Method—A Modern Way of Tracking Serious Tones, Part 1
Recording - November 2009 - 25
Recording - November 2009 - 26
Recording - November 2009 - 27
Recording - November 2009 - 28
Recording - November 2009 - 29
Recording - November 2009 - 30
Recording - November 2009 - 31
Recording - November 2009 - Radial JDX and Phazer
Recording - November 2009 - 33
Recording - November 2009 - Shure SM27 and SM137 Microphones
Recording - November 2009 - 35
Recording - November 2009 - Eventide PitchFactor
Recording - November 2009 - 37
Recording - November 2009 - Recording’s Guitar Column
Recording - November 2009 - 39
Recording - November 2009 - Lexicon I•ONIX U42S RecordingInterface
Recording - November 2009 - 41
Recording - November 2009 - Recording’s Showcase of Sounds
Recording - November 2009 - 43
Recording - November 2009 - 44
Recording - November 2009 - 45
Recording - November 2009 - 46
Recording - November 2009 - 47
Recording - November 2009 - 48
Recording - November 2009 - 49
Recording - November 2009 - Readers’ Tapes
Recording - November 2009 - 51
Recording - November 2009 - Vibesware GR-1 Guitar Resonator
Recording - November 2009 - 53
Recording - November 2009 - BOSS ME-70 Guitar Multiple Effects
Recording - November 2009 - 55
Recording - November 2009 - Line 6 BackTrack and BackTrack + Mic
Recording - November 2009 - Advertiser Index
Recording - November 2009 - 58
Recording - November 2009 - 59
Recording - November 2009 - 60
Recording - November 2009 - 61
Recording - November 2009 - 62
Recording - November 2009 - 63
Recording - November 2009 - Fade Out
Recording - November 2009 - Cover3
Recording - November 2009 - Cover4
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