Instrument Review - Realistic Concertmate Rhythm Box

There is something about vintage rhythm machines that make them attractive to some musicians.  To me there is a pleasing aesthetic value from that faux wood grain, various buttons or switches, blinking lights, and of course, that sound that doesn't really sound like the instrument it imitates yet gets the point across so well.  Some vintage rhythm machines do a great job.  The kick has enough bass while the noise and decay of the snare, cymbals, and hi-hats are different enough to make three different instruments that do not seem to run together in a white noise mess.  

The Realistic Rhythm Box, also known as the Concertmate Electronic Accompanist, was custom manufactured for Radio Shack back in the early eighties and is definitely a nice addition to anyone interested in these vintage sounds.

Build

The device is rather large for a rhythm box of that era, but much of its space seems to be occupied by the large speaker grill.  Unlike earlier organ accompanist devices, this one is made of a nice black hard plastic.  The buttons are highly responsive and are easy to determine if they are depressed or not due to a locking spring mechanism.  The sliders are also very responsive, although one potential problem could arise from their use.  Each slider is beside a scale that shows the volume level or tempo.  While some instruments would have the slider square in the middle, on the Rhythm Box they are off to the side with the button cap extending over the scale.  I imagine if enough torque is applied it could snap but considering the age and condition of mine I highly doubt this would happen unless someone was being real rough. 

Cosmetics

There is really not much to say.  This thing looks more like an answering machine than a rhythm machine.  Everything is clearly labeled.  The buttons have a nice round appearance (except for the rhythm selection that have rectangular buttons) with each having a nice concave top to firmly place your finger tip.  Even the speaker grill isn't that obnoxious - it is simply eleven holes that cut straight across the left side of the unit.  The top and bottom plastic have a glossy texture while the sides are smooth, which may show more scuffs over time.

Sound

The internal speaker on this thing is amazing.  If playing along with a keyboard or organ, this thing can definitely hold its own and when at top volume it doesn't not show it is at its upper limit with any rattling of the case or distorted sounds.  As for the quality of the rhythms and sound, while the rhythms do not appear to be all that creative, they can be combined to create marginally more complex rhythms and the sound definitely sounds full.  The resonance on the tom may be a little too much in my opinion, but just a smidgen.  What really takes away from the quality of the sound is the lack of variation in the rhythms or absence of any "fill" option.  

Features 

This thing is pretty bare bones.  5 rhythms, volume, and tempo.  You can hook it up to a foot switch using what looks like a 3/32" jack that may or may not use a proprietary plug, an 1/8" external speaker jack, and a mono RCA audio out plug.  

Because this device is analog, and the casing is large and spacious, this device may be desirable for the circuit-bending crowd, with enough space on the back for creating separate audio outs for each instrument or space on the top for various pots or CV/gates.   

Overall

Overall, I like this unit because of its simplicity.  While I would love a greater variation in rhythm, with modern editing software you can quickly make up for any deficit this unit has.  The fact that this has a numbered scale for tempo definitely gives this thing a couple points.  While not a huge deal, it beats the guesswork of the plain dials on older rhythm machines.  That, plus the quality of the audio output makes this thing perfect for live performances or analog recording.

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Instrument Review - Kawasaki Electronic Digital Guitar by Remco

I came across this instrument in a thrift store and it was too inexpensive to pass up.  Not only was it an electronic instrument (complete in box), despite the marketing clearly labeling this instrument a toy, this actually had a surprising number of features that make it ideal for a musician keen on using non-traditional instruments.  Dating back to 1989, this instrument is a descendant of many of the newer Kawasaki electronic guitars around today, with the newer generations being more like poorly cloned copies with minimal features and similar cheap and flashy appearances.  Kind of makes sense, being that the toy was a licensing deal Kawasaki made with Remco in an attempt to bring their name into the consciousness of little children so that as they grew up they would be aware of the Kawasaki brand - a motor company known for zippy motorcycles.  While the original had some neat features that make it functional or desirable, these newer ones are just a mashup of strings, buttons, and gimmicky sounds.

Just take a look:

Anyway, here is the review, graded on Build, Cosmetics, Sound, and Features.

Build

Picking this up you can definitely feel that it is a toy.  Without any batteries in the unit it feels extremely light.  As for the quality of build, I would definitely rank this thing as middle-of-the-road.  I am certain the plastic will chip or crack if tossed around, but if handeled with care it probably has the same durability as a cheap keyboard.

The strings seem relatively durable, attached by spring and sitting on foam under the plastic bridge and connected to four wires under the plastic covering by the neck.  I am uncertain as to how it registers contact or if these parts may be compatible with its reject cousins mentioned above (which would be nice for restoration purposes).

The buttons seem responsive as well and the volume/power potentiometer does get scratchy and requires some twisting to make a sound.  This would definitely be an easy fix and considering its status as a toy instrument, having a couple faulty mechanical parts can be expected.  Considering out of all the buttons on this thing this is the only issue, I would label this electronics of this device a success.

Cosmetics

This thing definitely looks like a product of its age.  An almost neon green neck with blue Stratocaster-like body with angular head (with varying letter sizes) and angular keys scream nineteen-eighties.  The matching blue and green strap is a nice touch and provides enough give for even the biggest kid (or smallest adult) enough slack to play comfortably.

Sound

What's to say?

This thing sounds cheap, but in a good way.  I am a fan of early home keyboards and the sounds they generated.  Even early PCM instruments have a unique sound.  This instrument is now different.  The rhythms are fun and feature typical eighties-sounding toms (think knock-off Simmons) and the main sound, or "lead" sounds sound just as cheap, but refreshing when considering the countless Casio and Yamaha clones that were in existence that pretty much contained the same several sounds.

Features

This is where this toy becomes an instrument - the string and button set-up.  Sure it has a plethora of built-in rhythms (20 to be exact) and bass so that a child can instantly rock out, but the chord function is where this thing can get interesting.  The buttons that are on the neck correspond to various key signatures (E, A, D, G, C, F, Bb, Eb, Ab, Db, F#, and B).  The four strings correspond to major, minor, seventh, and diminished, making this instrument more like a Suzuki Unisynth than any of the crap toys that Kawaski branded in the nineties through the aughts.  If you get bored with the chord function, you also have 3 lead sounds and a button that acts as a whammy bar, labeled in the instruction manual as "wawa."

These features can provide for some interesting sounds, especially if processed, and because of the simplicity of this instrument and excess space on the body, it has become desired among the circuit bending crowds.

Sadly this instrument only has a 1/8" audio out but can be easily modified to allow for 1/4" or RCA outputs for easier sound output and recording.

Overall

The build and appearance are both okay but what makes this thing amazing is the chord function.  This is like a poor man's Unisynth.  What is funny is that I had purchased mine complete in box with manual for $14.99 at a thrift store.  It had an original price sticker of $59.99 from some store called YDC.  Unisynths can be bought on eBay anywhere from $50 to $100 (I bought a bundle of 2 Unisynths for $45) so they can be acquired relatively inexpensively.  Currently a broken Remco Kawasaki is on eBay for $59.99!

Is it worth that much?

I would probably say this thing is worth $30-50 dollars in good condition.  While the button set up is cool and the layout on the neck is familiar and easy to learn, the sounds are nothing special unless you like recording with strange instruments.  I personally like this unit because the sounds make for some interesting accents and variation when mixed with other synthesizers or guitars.  Most circuit bending sounds choppy and scratchy so if you are capable of adding some nice filters and effects, than I would say this toy should definitely be valued more.

Either way this is a great little instrument and I wish more children's toys were built like this.  It is interesting when you consider that when adjusted for inflation (assuming that the price sticker was the original retail cost), this toy would be worth $117.78 in 2016 dollars.  The new generation of Kawasaki toys are all $20-$60 dollars and have less features so if you can pick this one up in that range I would label it a bargain.    

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Manual

Album Release - Just by Kevin Kelley

The first official release by solo artist Kevin Kelley.

1. No Shine

2. Shine On                                               
3. Amy                                                    
4. Adam                                                   
5. Life Is Everything                                  
6. Big Old House                                      
7. Another Midnight Day                            
8. Lara                                                     
9. Lana                                                    
10. Commercial                                        
11. Lily of the Valley                                 
12. Sweet Delectation                                 
13. The Climber                                        
14. Tuesday                                              
15. Retroactive
16. Benefits
17. Sly Fox
18. Sarah 
19. Burial Anxiety
20. Wondering (Where It Comes From)
21. Olongapo
22. Her Smile Stirs Excitement
23. Die Today
24. Waltz of the Concubine
25. 29 Seconds (Bonus)
26. Feast of the Solstice (Bonus)
27. Night Walker (Bonus)   

Instrument Review - Suzuki Keyman PK-37

What happens when you are a fledgling Italian synthesizer and keyboard manufacturer?  Whore out your manufacturing and capabilities for other companies, and in this instant Siel built a keyboard for Japanese company Suzuki Corporation, not to be confused with Suzuki Motor Corporation.  While not rare, these keyboards can be somewhat uncommon with the PK-37 being on the lower end and this particular instrument has some interesting aspects but nothing too impressive.

Build

This keyboard probably has the quality expectations of a lower end keyboard but does contain some interesting aspects.  While this instrument can probably be considered a toy or introductory learning device, as evidenced by the presence of a "Demo Song" button, it does feature full-sized keys that, much like the other Italian synthesizers I have come across, have spring mechanisms for the keys which provide for a better feel.  The buttons can seem finicky.  Their odd shape and construction can sometimes cause the functions to not fully engage or cause a stutter when depressing.  The 4 volume and tempo potentiometers can also be a bit scratchy.

Cosmetics

Slanted buttons and knobs, color coordinated from light orange to red (and blue), minimally spaced with a place to hold sheet music.  This keyboard looks exactly like what someone would think a entry level home keyboard from the eighties would look like.  The button layout is interesting and somewhat appealing but can be distracting since the accompanying text is also at an angle so it takes a little bit to get used to reading with your head turned sideways, but this isn't as terrible as it may sound.

Sound

What is there to say?

The sound is basic.  The instruments have that early in-name-only nomenclature because they barely sound like Pianos or Clarinets, but they do have somewhat nice sounds, slightly different from a Casio or Yamaha.  While definitely dated they are simple and clearly understandable.  The real shining aspect of this keyboard are the analog rhythms.  The accompaniment is pleasant and not overproduced and the arpeggio is simple but depending on how many keys are depressed can sometimes sound too busy at faster tempos.  There does appear to be an occasional hum and minor noise that emanates from time to time but when plugged in directly using the 1/8" audio jack some well-rounded sounds that are not extremely tinny can be produced.  

There are plenty of single-key chord options depending on which keys are depressed and the synchronization button can provide a little bit of expression by giving you some percussive control, like playing a hit or breaking up the rhythm.  The accompaniment and arpeggio also change as soon as a different note is played and not at the end of the measure.  With practice this can provide for some pleasant variations.

Features

What features?

This keyboard has basic volume control for the various parts (rhythm, accompaniment, and main voice), tempo control,  Arpeggio, an bass and chord variation, a counter melody, and sustain (excluded on the "celeste" voice because, per the manual, it has "automatical" sustain).

The two interesting features on this keyboard are located on the back.  There is an 1/8" jack on the back marked "SERIAL IN-OUT" that allows for hookup to a compatible keyboard or computer (Commodore 64 or SX-64).  This pretty much acts as a MIDI port and transmits at the astonishingly fast signal of 2400 baud.  There is a "TR-RC" switch, which identifies whether the keyboard will receive or send signals, like a MIDI IN/OUT port.

The second amazing feature is the demo song, which is stored in the keyboard and can be recalled at anytime (unless connected to a computer).  You can even add accompaniment or change the instrument in which it plays.

Overall

The keyword for the Keyman is "simple."  This is a no frills beginner keyboard with nice analog rhythms and early home keyboard sounds than this is your instrument.  They can be found relatively cheap online (between $0.01 and $100) and if so desired can be used as a controller for music software on 30-year-old computers or for circuit bending (the casing has ample room for modifications, both inside and out.

Instrument Review - Bontempi AZ-9000

The Bontempi AZ-9000 is an electronic keyboard dating back to the mid-eighties from Italian organ manufacturer Bontempi.  I could find little information regarding this instrument except a couple circuit bending videos and images of other models in the AZ series, which much like the X series featured similar looking keyboards but with diminishing features the lower the number of the keyboard.  Much like the X-451, I couldn't find much about this keyboard but was drawn to it because it seemed to be the top-of-the-line of that particular series and because of a few intriguing features that I had not really seen or that appeared to be uncommon in a synthesizer from that era.

Because I am not a trained pianist, have limited technical skill regarding the electronics, and am not the greatest reviewer in the world, I will attempt to offer a simple review of this synthesizer and hope that it helps build a better resource for these musical gems from the early days of home keyboarding.

Build

The build of this synthesizer seems to be quiet good.  Considering Bontempis are known for their cheap sounds similar to that of a Casio, I was assuming the worst when I got this thing.  When I received the package I was surprised by the weight of the keyboard and would probably place it upwards of ten to fifteen pounds.  Even the key construction surprised me - it had spring mechanisms much like the fellow Italian synth maker Siel.

The speakers were of good quality and there was foam surrounding the speakers inside which was nice because the keyboard could achieve rather loud sounds clearly and without causing any unnecessary sounds, such as rattling from the plastic like that experienced with the Seiko DS-202.  Even the buttons and sliders seem pretty sturdy.  The various buttons don't wiggle or move except in the direction they were intended to go, which is down.

There were some issues but I would attribute them mostly due to age.  For instance, a couple of the housings for the screws would break off at the base when attempting to unscrew and open the keyboard.  This is an easy enough fix and would probably require a bit of caution proceeding in the future.

Also, not quite sure if this is the norm of synthesizer and home keyboard construction of the early and mid eighties (all keyboards I have taken apart point to "no"), but I had noticed that the various boards run underneath the keyboard so to see the fully requires removal of the keyboard.  All other keyboards I have seen typically had any circuitry above the keyboard.

Cosmetic

The appearance of this keyboard is nothing special.  The casing is a kind of dark gray color.  The color-coded buttons are nicely arranged and easy to identify purpose and use and provide a kind of uniformity but they are not that stylistic, like say a futuristic and sleek Bontempi Prof organ.  

I have also noticed that other versions of this keyboard feature a different font.  While this one has strange (and kind of cheap-looking) block lettering that was undoubtedly chosen to push the digital nature of this keyboard, other versions had equally cheap-looking italics.

Sound

What can I say about the sound?

This is a keyboard from the eighties that promotes its use of PCM sounds.  While this presented the user with more "realistic" sounds and was a departure from analog, to someone who is using the keyboard after thirty years the sounds appear to be dated and when compared with PCM Casios or Yamahas, they kind of still sound more like their analog counterparts, and it might actually still be analog sounds since the only location that identifies as PCM is the rhythm section.  If you are a fan of that kind of sound, then you may not be totally displeased with this synthesizer.  In addition to to the "digital sampled" section that provides various instruments, the keyboard also offers a "digital synth" section that allows some parameters to be altered.

The keyboard also offers a nice assortment of chorus effects, such as "orchestra," "accomp," and "fast," as well as vibrato and sustain giving the limited number of voices some variance.

Along with the main sound there are also "accompaniment" and "bass" sounds that play with the rhythm and when compared to older (presumably) synths like the X-451 they were kind of underwhelming.

As for rhythm, it is your typical PCM fare.  The rhythms are punchy and not too overproduced like many Casio rhythms and I think play nicely with the various tones.  

Features

This is where the keyboard might be worth buying - the oddball features that Bontempi added.

For one, while this allows for a DC 12V input using a generic power supply, this keyboard also uses the same proprietary power supply found on other Bontempis, like the X-451.  There are either direct plug-in versions of this power supply or ones that are battery compartments.  Either way it is an interesting feature, but also somewhat redundant.

This keyboard is also MIDI compatible, with several buttons appearing to have multiple functions, although I am uncertain as to how the MIDI capabilities are activated or operated.  The words "MIDI mode" appear beneath a selector button but it is unclear just how this relates to the MIDI controls other than sharing the same color lettering.

In addition to the things like audio outputs and the ability to plug in foot pedals, the most interesting feature on this keyboard is the "digital synth" capabilities.  While these features are by no means a complex synthesis engine, they offer some versatility to an otherwise generic mid-eighties PCM keyboard.

The "digital synth" options allow for a user to select one of four envelopes, up to two of four different waves (2 square, 1 triangle, 1 sine), 4 different mixes of the waves (20/80, 40/60, 60/40, and 80/20), and the ability to select 2 different sounds to make a "custom program," which can also include the 16 different "digital sampled" orchestra sounds.  This may also provide for some prime circuit-bending opportunities being that these are functions that already exist that alter the sound (along with the various chorus effects).  While you may not get some fat bass sounds or sweeping pads from this basic synthesizer you might be able to get some nice accompaniment sounds or when processed some interesting leads.  I personally like this sound more-so than early Yamaha home keyboards, more particularly synths like the PSS-570, which offered a good amount of variation.  I find these Bontempi tones to be of a more personal nature.

Overall

Overall this is a nice basic keyboard with generic PCM rhythms.  It offers some interesting features that place it slightly above some of its competitors from the same time.  The most surprising aspect of this keyboard is the quality of the construction.  Considering the type of instrument and the reputation of the company as being cheap, I expected lightweight plastic, simple circuit boards, and poor key mechanisms, like the solid bendable plastic of some inexpensive Casio models.  

Instrument Review - Stylophone 350s

The Stylophone is a peculiar instrument.  A buzzy lo-fi gimmicky toy that is operated by a stylus.  Many famous musicians have used it and it has had a kind of resurgence of late with the reissue of the original plus a new beat box version as well as a high-tech modern version.

But what about the forgotten big brother of the Stylophone - the Stylophone 350s?

It is as if someone decided to get serious about the original and turn it into a big boy instrument.  In addition to added voices (using foot length like a home organ), it also featured simple decay, vibrato and reiteration (controlled by a second stylus!) as well as perhaps its most interesting feature - the photo control.  That clear plastic bit above the volume knob allows a player to use the photovoltaic cell to adjust volume or vibrato giving the instrument some versatility.

The 350s also has a tuning dial and has 3 1/4" jacks for the input of external sound, a pedal, or for output to connect directly to recording gear.

The sound can get scratchy and punctuated with the stylus and its simplicity may not be enough for some but it does have a surprisingly warm tone when compared to other simple instruments like an cheap Casio keyboard from the 80s.  I credit its warmth to the fact that it is an analog instrument and is definitely worth having if you are looking for a unique and vintage sound.

Instrument Review - Bontempi X-451

This review is on the classic Bontempi X-451!

Is this keyboard a classic?

Possibly not.  Little information is out there about this keyboard.  Actually, the only mention regarding this keyboard I can find is really other people looking for information regarding this keyboard.  The closest thing I got to finding out about this piece is from the Table Hooters website discussing the Bontempi Minstrel Beta.

The Minstrel Beta had many of the design features of the X-451 - pull-out handle, keyboard cover, detachable battery compartment*, and basically overall design.  I am not sure if this is normal but where the detachable compartment is on the Minstrel Beta, the X-451 has a strange detachable proprietary power supply that has a brown un-polarized two pronged plug coming out of the gray box.  I thought this was strange because the keyboard features a DC 12v input on the side that accepts a standard jack and no place for batteries anywhere, which leads me to believe the back power supply was an upgrade option at the time this thing was on the shelves.  Since this thing has a couple more voices and features, as well as a couple more octaves, it leads me to believe this was a kind of Minstrel Deluxe.

So, with that being said, let me get on with the description of the features, starting from right to left so that I may finish with perhaps my favorite feature of this keyboard.

So this keyboard has 10 voices: organ, brass, oboe, violin, piano, harpsichord, guitar, banjo, space, and vibes.

According to Table Hooters, the Minstrel Beta featured some complex analog multi-chip electronics and so when comparing this keyboard to other inexpensive brands at the time, like Casio, it comes to a surprise that Bontempi (which is kind of like the Italian equivalent of cheap Casio keyboards) has a somewhat warmer sound than what you might expect.  Piano through vibes are kind of standard fare and offer some nice sounds but I find the organ, brass, oboe, and violin to shine - especially in the lower registers where you can get some nice bass square waves.  The brass has that "brill" sound upon playing a note that quickly subsides that does not appear again until you lift up on all the keys and play again.  The Bontempi's brass has a tone slightly reminiscent of my Siel Orchestra - another Italian gem from the same era.

Each tone also has two parameters that can alter the sound - vibrato off and sustain.  Personally I find the envelope on the sustain to be quite long and can sometimes cause the sounds to become overwhelming but you can switch this function on and off while playing so that it is possible to get some nice effects from it.  The vibrato is pretty subtle and adds some nice variation to some of the voices.

Basically, while the sounds may seem dated, they have a nuance to them that differentiates them from a Casio or Yamaha of the time.  I find them to be more dimensional than an early Casio.

The rhythm section features 8 rhythms - waltz, tango, march, swing, slow rock, disco rock, bossanova, and samba.

The rhythms have that nice analog sound and are slightly different than the early arranger keyboards and rhythm machines of the era.  There is an "intro fill in" that offers an unimpressive fill, in my opinion, but can be used in the right circumstances.

There is also a "rhythm start" button and a "rhythm synchro."  having a rhythm button depressed the start would immediately play where as the synchro button activates the rhythm as you play a note on any of the keys below the split.  Hold down a key and the rhythm continues but if you strike a key quickly you can get a pretty nice drum hit with the note played allowing for some interesting arrangements.

The following section is where I believe this keyboard shines - the easy play buttons.

   

The first three buttons are "full keyboard," "free bass & chord," and "single finger chord."

"Full keyboard" allows for the playing of the voice on every key of the keyboard.

"Free bass & chord" seems to split the keyboard but it does not seem as though the notes played are bass notes but offer a different voice for accompaniment similar to that of the organ sound.

"Single finger chord" allows for the keys below the split to play chords much like the old chord organs Bontempi was known for and many of the early electronic pianos and organs used to help familiarize themselves with home audiences.

The next section features "arpeggio," "walking bass," "memory," and "single finger orchestra."

The "arpeggio" offers pleasant accompaniment.  The mix can be altered by both an "arpeggio volume" slider and a "balance" slider, with the latter making giving either the arpeggio or rhythm greater prevalence.  When the volume is lowered it still leaves the rhythm note playing.

"Memory" allows for you to press a key and keep the note playing until you press another note.

"Single finger orchestra" pretty much extends the "single finger chord" feature to the entire keyboard, seemingly playing the notes depressed on the left with each key on the right but allowing you to only play one key at a time.

I was not certain what the "walking bass" function did since the keyboard seemed to respond the same whether it was on or off.  It is possible that it provides a subtle difference in how the rhythm is played or sounded but my ears could not tell the difference.

The "easy play" features provide for great versatility and ease of use.  For instance, while the rhythm may be limited, one could use the synchro feature and depress or lift up on the keys at varying intervals to create a unique rhythm or sound, or switch from the various easy play modes to give variation to the notes played.  Also, if you become familiar with the rhythms, you can let go of the keys and switch notes starting the sequence of notes all over again.  This "feature" is kind of mentioned in the Minstrel Beta review and I suppose someone patient enough to deal with a limited arranger from the early 80s can take this keyboard the distance.

This keyboard features 1/4" aux out, expression pedal, and earphone outs on the right so it is possible to hook this up to external recording devices or amplifiers with ease.  I had found that the speaker on this keyboard was sufficient and achieved a good volume when pushed to the max.  No rattling or distortion like with the Seiko DS-202.  

The build on this keyboard appears to be pretty sturdy.  It definitely has a good weight and appears as though it can take a beating.  While my keyboard lacks the keyboard cover, I suppose having that shield in place can prolong the life of the keys.  The feel of the keys also is not that bad.  I have found that some of the keyboards with longer keys have a different feel depending on how far out the plastic comes from underneath.  For instance, in many Casio keyboards with full-sized keys, while the surface of the keys are full length, sometimes the keys hang out almost 1.5" from where they  meet the keyboard shell giving it a less natural feel.  Another nice feature is that the keyboard features note names on a sticker stretching the length of the instrument. 

Overall, I would think that if one was searching a Bontempi keyboard this one would be the way to go.  While they were known for cheap sounds, as keyboards moved away from analog and more towards PCM or sampled sounds, the unique sounds of the early synthesizers was lost and instruments started sounding exactly alike.  Just think of the countless small Casio keyboards from the 80s and 90s - you only need to find a select few to give you a full assortment of sounds from those manufacturers.  Bontempi was no different.  Their later keyboards seem standardized but the early ones had character, with the X-451 possessing all the positive qualities of the various Minstrel, MB, HB, and X models.  

I suppose this would be an interesting keyboard to circuit bend as well, seeing as though there are plenty of analog components and plenty of room for some well-placed modifications.  

Here is a preview of the sounds of the X-451 in a song I was working on: