Introducing: Earthquaker Devices Data Corrupter

The EarthQuaker Devices Data Corrupter Modulated Monophonic PLL Harmonizer launches today. This mouthful of a pedal is a monophonic analog PLL harmonizer with modulation. It takes your input signal and amplifies it into a square wave fuzz tone that is then multiplied, divided and modulated to create a wild, yet repeatable, three-voice guitar synthesizer.

The Master Oscillator is the central nervous system at the heart of the Data Corrupter’s cyberpunk hive mind. It feeds your input to the Data Corrupter’s signal harvester in its original octave (Unison), one octave down (-1) or two octaves down (-2) for maximum compatibility with your preferred instrument and frequency register. Once you’ve chosen your input octave, then the Data Corrupter will perform its calculations and spit out an analog synthesized frequency, which can be pitch-bent for portamento or vibrato sounds by the Frequency Modulator. From there, you can blend in one of eight Subharmonic intervals up to three octaves below the input and mix in a square wave fuzz tone for maximum data corruption. Full review to come soon.

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Spotlight: Raphael Vanoli

In my recent conversation with Ralph Gibson  I posited that many modern guitarists who traffic in large part in noise are nevertheless highly schooled on the instrument, whether in classical, jazz, rock, or all of the above. Raphael Vanoli is one such guitarist. But more important, in his solo work Vanoli has developed the technique of blowing across the strings to a high art, turning the guitar into a kind of wind instrument. Add to that his unique dub/electronica duo Knalpot with Gerri Jäger on drums, percussion, electronics, synth, and Casio, and you have one of the more exciting modern guitarists working today.

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Spotlight: Ralph Gibson

As a budding photographer, I was thrilled when guitarist Brandon Ross introduced me to Ralph Gibson through Facebook. It turned out that Ralph is not just a world renowned photographer, with work on display at the Museum of Modern Art, Metropolitan Museum of Art, and Whitney Museum of American Art in New York; the National Gallery of Art in Washington, D.C., and the J. P. Getty Museum in Los Angeles, CA, but also an avid guitarist, as interested in the future of the instrument as we are. He has published two books featuring the guitar, Light Strings and State of the Axe (with Andy Summers http://www.guitarmoderne.com/pioneer/the-andy-summers-interview). The latter could serve as an analog version of Guitar Moderne, with its photographs of and interviews with many of the same guitarists that appear here. The pictures in Gibson’s first book of photography, The Somnabulist, are like a dream, not necessarily linear, but very illuminating. Our conversation proved to be similar, wandering off on tangents, moving at oblique angles, but centered by a shared vision.

Music for Lens & Guitar from ralph gibson on Vimeo.

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Review: Meris Ottobit Jr.

Once upon a time, a couple of former Strymon and Line 6 folks got together and started making 500 Series rack modules under the name Meris. Eventually they started producing pedal versions of two of the modules. I saw one of those pedals, the Ottobit Jr., GM_Awarddemonstrated back in January by Nick Reinhart and Juan Alderete on the great YouTube channel Pedals And Effects. It immediately struck me as potentially a perfect multi-effects pedal for Guitar Moderne readers. As luck would have it, in February, Nick introduced me by email to the Meris people who were kind enough to send one when the review models became available. I dove in and here are the results.

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Spotlight: Reid Karris

The journey Reid Karris took to become a player of prepared guitar echoes others who attack the instrument with implements from the kitchen and hardware store. Attempts at “normal” playing left him unsatisfied, until he found his true musical self in a combination of tabletop and worn guitars. His lengthy description of his process and his music was worth presenting in full, as it offers valuable insights to anyone considering abandoning genre guitar for the wilds of experimentation.

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