ETUDE
December 1938
volume LVI
number 12
page 836

Electrical Instruments

By George C. Krick

DURING THE PAST MONTHS quite a number of letters have been received by this department from readers requesting information regarding the new electrical instruments, and in this article we shall endeavor to give a fairly accurate picture of the development of electrical amplification as applied to the fretted instruments.

The first instrument of that type to make its appearance several years ago was the electrical Hawaiian guitar. The latest model offered in the catalog of a leading company is a triumph of instrument making and engineering skill. The complete unit consists of a small sized guitar made of curly maple, mahogany neck and rosewood finger board with twenty-nine frets, giving a range of almost four and a half octaves. Tone and volume control are both placed on one side for fast, easy action; with a sensitive pick up unit, containing the finest steel magnets, placed inside under the strings to avoid interference with fast playing. A cord connects the guitar with the Amplifier which will accommodate two instruments, a microphone and an extra speaker. Seven tubes with tremendous reserve power, and with four stage amplification, guarantee maximum volume and reproduce the tone without any distortion. The control panel shows: 1. On-off switch; 2. replaceable fuse; 3. extra speaker socket; 4. control dial for microphone; 5. Ruby light on-off indicator; 6. control dial for instruments; 7. sockets for microphone; 8. sockets for two instruments; 9. Bass or normal tone control.

Another device just recently developed is the “foot volume control.” It is made of aluminum with a rubber pad to keep it steady on the floor; it is connected with the amplifier, and its purpose is similar to that of the pedal on the piano. Being worked with the foot it can readily be seen that the playing positions of the right and left hand are not disturbed. This device has opened to the player many possibilities for new and beautiful effects, at a moment’s notice the tone can be changed from the softest pianissimo to a powerful crescendo and fortissimo, at the same time sustaining the tone to sound almost like an organ In addition to changing and controlling the tone volume, it is also possible to effect a change in the quality or character of tone from a deep sonority to a high pitched soprano voicing.

Easily Adapted

THE AVERAGE PLAYER should have very little trouble changing from a standard instrument to one of those just described, but some additional study will be required to enable one to use readily the different resources of this new electric guitar. Many orchestra leaders, ever on the alert for something new and different, have given this instrument a permanent place in their organizations and this in turn is responsible for the creation of several new varieties of the instrument. Gene Mack with Lee Shelley’s Orchestra uses a guitar with a double neck, one having seven strings, the other eight – two instruments combined in one. The different tunings make possible a wider range of harmony and simplify the forming of any chord combination. A somewhat similar instrument is used by Alvino Rey, member of the Horace Heidt Orchestra.

The orchestra guitar (often called “Spanish”) also the mandolin were next in order to receive the attention of the sound engineers. Both guitars and mandolins used are regular concert size instruments; they are held and played just as any ordinary guitar or mandolin and in appearance they differ very little. With the exception of the coil and volume control the entire pick up unit is built inside the body of the instrument; and the tone may be amplified to any volume desired. In using the tone control the tonal color may be changed from a rich sonorous bass to a brilliant treble. A decided advantage is the low and easy string action requiring very little force from either hand, which helps considerably to facilitate left and right hand technic, at the same time reproducing with remarkable fidelity the characteristic tone of these instruments. Several manufacturers have put out some amplifying units, that may be attached to any instrument and while they are quite satisfactory, it is the opinion of the writer that the units built right into instruments constructed for that purpose, give the best results.

The latest electrical instrument perfected is the banjo. To the best of our knowledge Ken Harvey, one of our outstanding banjoists, is the first one to use an electric banjo in his concerts, and with it he created quite a sensation on his concert tour through England during the past season. Since the writer has had no opportunity to hear this artist, the information given here comes from one of the English critics and from the company which constructed the instrument especially for Mr. Harvey.

The instrument is a plectrum banjo with an eleven inch rim and a standard finger board with five additional frets. The main visible difference between it and a standard banjo is that no vellum is used, but a maple top containing the pick up unit placed under the strings in front of the bridge. The pick up transfers the string vibrations into electrical impulses, which in turn are carried to the amplifier.

Unlimited Tonal Possibilities

AS WITH THE OTHER instruments described the tone of this banjo, while it retains its characteristic banjo quality, is greatly enhanced through amplification and the “volume and tone control” gives the player unlimited opportunities to vary his performance.

Ken Harvey includes such numbers as Rachmaninoff’s Prelude in C-sharp Minor, Gershwin’s Rhapsody in Blue and others of similar type in his program; and in his rendition of classic music this new banjo with its improved tone and volume control has proved a revelation.

It seems an undisputable fact that electrical amplification has opened up new fields for the player of fretted instruments; no more is he hampered and handicapped through lack of tone volume, but he is able to appear in large size theatres and concert auditoriums. Many of the leading companies are putting on the market these beautiful instruments and it is up to the players to perfect their technic to cope with this new development. One correspondent recently wrote: “Sales of electrical instruments have more than exceeded our fondest expectations and they are constantly growing from day to day.”

Who knows what will prove the most popular musical instrument of the future.