Instrument Review - The Key by Lonestar Technologies, Inc.

What if I described an instrument that looked like a guitar, had buttons on the neck, played by strumming a switch-like mechanism on the body, and synched up to your television to allow you to play along with some of your favorite music, like Nirvana, Eric Clapton, Green Day, or The Beatles?
Are you imagining this:

If this is what you imagined then you would be wrong.

While Guitar Hero came out in 2005, what I was describing is nearly 15 years older and potentialy much cooler.  I am talking about the Lonestar Technologies' The Key "interactive musical instrument."

Not much information exists explaining these musical oddities.  Lonestar Technologies Inc. originated as a karaoke machine manufacturer around 1989 with their Super K karaoke cassette deck that interfaced with home televisions to display lyrics and by 1992 became a leader in the karaoke audiocassette hardware market.  Around 1993 stories started to be written about their newest contribution to the music scene - The Key.

As written on August 9th for Bloomberg:

The Hicksville (N.Y.) company has developed an instrument called The Key. It looks like an electric guitar, but instead of strings, it has six plastic "fins" and white, piano-like keys on the neck. The Key accepts cartridges that contain song tracks stored in read-only memory. Plug in a card, strum the fins, and the device creates the chords for the song you've selected. Lonestar President Lawrence Richenstein says the programming used in The Key cartridges can be encoded onto musical laser disks and rock videos for use in karaoke setups, which would allow lounge-singer wannabes to play along while they croon. 

BusinessWeek called it a "karaoke guitar" and the advertised price was $400 but it didn't really seem to get any traction.

Randy Jackson, of Zebra fame, was involved in the development of the instrument.  When interviewed by RCF, Jackson had this to say about The Key:

 “What an amazing project. It was a big change for me, going from being a full time musician to doing development for such an innovative company. “The Key" had a very futuristic design and by itself is a guitar-like synthesizer, where the "frets" are like keys on a keyboard and the "strings" are made up of synthetic "veins" attached to the body. “The Key” could be used as a stand-alone MIDI controller and had it's own internal sound engine.  Chords are formed by pressing different combinations of keys while strumming the "veins". "The Key" could also be used as a video "reader" that would allow the user to play along with music videos on encoded video tapes. We also developed cartridges called "Song Pacs" that could be plugged into a slot in the instrument and used to accompany the player. The "Song Pac" cartridges included midi versions of licensed songs and allowed the user to play an album’s worth of songs on each cartridge. I liked to describe "The Key" as an electronic Autoharp. We got Jon Anderson from Yes to try out the instrument and he ended up writing a bunch of songs using "The Key". "The Key" was pretty expensive when it was released and only a few could afford it. "The Key" was a very ambitious project and may have been a little ahead of its time”.

While he seemed involved with the product, appearing at a charity karaoke-type event in 1995, and with magazines like Popular mechanics buzzing about the new (now 2-year-old instrument), the instrument yet to hit retail shelves and seemed to only be available through mail order.

An article for the Chicago Tribune cited the price of the guitar at a higher $599 (nearly $200 more than originally advertised) and while expected to hit retail shelves by September, 1995, orders were being taken over phone by calling 1-800-4-THE-KEY, with additional products to be offered depending on success.

That success never came.

The only other notable musician who was known to have played The Key was Jon Anderson of Yes.

Despite failing to make it big in the marketplace, The Key was quite innovative for its time and as mentioned before was an early attempt at what the Guitar Hero and Rock Band video games were able to achieve nearly a decade later - create a karaoke instrument.  What exactly made this thing special?

The Key was a single oscillator digital synthesizer with 6-note polyphony.  The Key has dozens of preset sounds - mostly guitar or stringed instrument sounds - as well as a canned rhythm, pitch bend, and perhaps its defining feature - the cartridge slot to accept SONGPACS, which allow you to play along with certain songs.  The Key also had technology that allowed you to play along with VHS, Laserdisc, or CDs, and with a 4P4C modular connector the ability to play in conjunction with another Key, but without a manual it is unknown just how this worked.

The way I see it, The Key is to a regular guitar as the Omnichord is to a chorded zither.  The latest iteration of the Omnichord, the Q-Chord, may have even been inspired by the karaoke nature of The Key with their own song cartridges for playing along with some standards and hits.

So with all that being said, what is my opinion of The Key?

Build

The entire body of this synthesizer is made with a hard plastic and feels pretty strong and on par with other keyboard synthesizers.  While it seems sturdy, all the weight is placed in the body and made even heavier if using 6 "D" cell batteries to power the thing, although you could also use rechargeable Eneloop batteries in an adapter and save a few ounces.  I imagine most of the weight seems to come from the speaker, which despite some of the few comments online I found to be quiet sufficient for playing around with outside.  With that being said, it does make me nervous holding it from the neck - especially since all the buttons are on the neck.

For the neck, the buttons all feel wiggly and some don't seem to respond when depressed while other times there seems to be a minute delay if you release your finger too late while strumming causing a completely different chord to be played.  It also seems that some of the buttons are either sensitive or don't work.  This may be an age issue but considering this device looks brand new and in the box, complete with the little plastic cover that was placed over the veins, I will probably lean in the direction of this being a quality issue.

The buttons on the body are pretty responsive but the two side buttons do kind of feel a bit flimsy.  As for the main feature - the "veins" - For the most part they seem responsive although it seemed that some seemed to work better when strumming in one direction versus the other.

Cosmetics

This is probably the best part of the instrument.  Unlike my other digital guitars like the Casio DG-20 or the Suzuki Unisynth, which utilize strings, this thing looks odd... but sleek.  I personally think the speaker placement is perfect and the symmetric appearance is refreshing from the angular bodies of the other guitars mentioned.  It is also nice to see this thing has actual rubber buttons (except for the expression and change buttons) and that, also unlike the Casio and Suzuki, the neck is not rubber.

Perhaps my only complaint would be that on the neck the keys correspond to various notes.  Depressing any combination of keys helps form different chords.  All the keys are white except for a few with little black lines that appear to indicate where the black keys would lay on a traditional piano keyboard... but there are no black keys!  None of the keys are marked so the only way to tell which key is what is through trial and error and memorization.  Also, because of where the black markings are on the keys, when holding this while standing, it makes it a bit difficult to see, but that isn't too big of a deal since I prefer to play with it sitting down since the area right above the speaker seems perfect for resting on your thigh so you can play this thing like a lap guitar.

Sound

I probably equate the sounds of this instrument to be like that of a home keyboard of that era.  Since the sounds are a bit more expressive and some unique, I would probably place this a bit on the higher end.  Granted the sounds are digitally synthesized (although some sound like samples) so don't expect a realistic sounding guitar, they have a nice timbre, with the exception of a few that have that cheesy MIDI overdrive sound, but again, considering the era this thing came from the sounds it produces are quite impressive.  Once strumming is mastered this thing can provide some wonderful atmosphere.  Don't go looking for a groove machine in this device.  The rhythms are rather generic and without an intro or fill, repetitive.

Features

While scrolling through the voices it goes up to the 120s, this thing skips around and only has 55 voices.  Many sound the same with only some minute differences and some sounds seems to only work with some of the keys.  As for rhythms, there are 26 rhythms and zero fills.  You can control the tempo but that requires a press of a button to access that feature.

On the body of the instrument are a couple of other buttons.  "STRUMMER" selects the voice while "SONG" picks the rhythm.  The rhythm can be started and paused but not stopped unless you switch to a different "song" and then switch back.  Otherwise and picks right back up from where it was stopped.  There are also "KEYBOARD," "EXIT," "ENTER," and "MODE" buttons but so far I can't quite figure out what they do.  When changing the mode the screen changes and to 2 different messages but I'm not sure what they mean.

A couple of the other features may be lost to time.  The SONGPAC cartridges (which I do not have) allow to play along with a favorite song and I am unsure just how this thing syncs up with a VHS, laserdisc, or CD to allow you to play along.  I am also unsure how the networking capabilities with another Key works.  I suppose that also presents another issue - finding someone who also has this thing.

While one of the saving graces for this instrument is the presence of a MIDI port, it also has a low and high sound output but each uses a 1/8" jack.  This was probably because the target audience was the home consumer and not the professional musician.  By 1993 most home electronics switched from 1/4" to 1/8" inputs.  When recording there was virtually no floor noise so I would say the output was pretty good.

And for all you lefties out there, this thing appears to have an additional strap lock so you could play with your left hand (although I do not know if you can alter the order in which the veins play the notes).

Overall

This thing is truly something.  This thing looks like what the future looked like to someone from the 70s.  I could imagine this thing as a prop in a movie like Logan's Run.  It is kind of nice that this thing doesn't look as dated as the DG-20 or Unisynth.  The sounds are also unique enough that they can blend with a variety of different instruments.  I was playing around with this thing with a variety of different rhythm and drum machines from the 70s, 80s, and 90s and this thing blended quite nicely.  I would probably put this in the same category of instrument as the former mentioned digital guitars or the Suzuki Omnichord.  It is not quite suited for lead but makes a great rhythm or accent piece, and since it is easay to just turn on and jump right in, it could be perfect for testing out some chords for a song - especially if you are not the best guitarist but love that strummed sound.

Sample

All voices and rhythms:
Strumming:

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Instrument Review - Sony DRP-1

I was scrolling through eBay one day when I came across this "rare" gem - a Sony drum machine!

The auction was only going for a couple dollars and it made me wonder just what a Sony drum machine would sound like so I bid and lo and behold, I won.  This thing is definitely an audio oddity, which would make it perfect for my music.

Build

What is there to say?  This thing looks and feels cheap.  The buttons are rubber and responsive, so I guess there is that.  The power switch works.  The battery compartment opens with out a problem (although the molds that hold the 2 AA batteries are kind of strange at first but they get the job done).  I would probably rate the build on this well since there is really not that much you can screw up on.

Cosmetics

This thing resembles a computer mouse with added buttons.  I suppose the design is made to fit in your hand and be played with your fingers like a mini drum kit.

Sound 

The sounds are lo-fi samples.  They aren't terrible but they are not dynamic.  This would definitely be fun to play around with for one-off songs or in conjunction with an effects processor.

Features

One 1/8" audio jack.  Seven sounds. Eight rhythms - one of which is just a repetitive cow bell and another punctuated by some really gritty sample of some sped up person yelling "Sony!"  This is reminiscent of the early samples you would hear in Nintendo or Genesis games (or dare I say Colecovision's Squish'em Sam).  Out of the eight rhythms, I would say two are decent.  The others could be fun.  I suppose another feature of this thing could be that it has four little plastic feat on the bottom that serve no purpose.  The legs should have been made of rubber so this thing doesn't slide around.  I also find the plug placement strange.  I would expect it at the top but it is on the bottom below the wrist.  Coupled with the resemblance of a computer mouse, the absence of an internal speaker, the low audio output, and a simple 1/8" jack, I am lead to believe that this device was targeted for desktop users.

Overall

Overall I wouldn't pay more than five bucks for this thing.  I personally love recording with weird instruments so I have something to write in my liner notes.  It also provides me with some subtle variation since I am too cheap to buy a new or professional model but this thing is a toy.  I really find it odd because this is a low-end "drum pad" from Sony Corporation.  Considering their reputation with audio equipment, one would expect a higher quality device.  While the DRP-1 is the entry level of the DRP series, the other two aren't any better.  They feature a couple more sounds and rhythms, as well as a rudimentary programming feature.

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Sorry.  Not much to photograph!

Instrument Review - Yamaha EMR-1

I couldn't resist picking up this little device when I saw it for less than ten dollars on eBay so I bid on it and won.  When it arrived in the mail a pristine little black box greeted me.  This "digital drummer" came with very low expectations but I didn't care.  The dimensions seemed to match my Yamaha FB-01 and the sounds quirky enough for me to find useful.  So, without further ado, here is my simple review.

Build

This thing is pretty sound.  All but four buttons are a soft rubber and they are all it pretty good shape (apart from the "shuffle" button that appeared to be the previous owner's favorite).  Despite its age the device looks brand new and I would rate this thing pretty highly.

Cosmetics

The device is simple.  Several buttons, a small LED screen, a light showing what beat it is that is slightly reminiscent of KITT's scanner bar from Knight Rider.  This thing is so neutral that it can pretty much be integrated into any audio setup without appearing out of place.

Sound 

This is where many would grade this thing poorly.  The device is just a box full of PCM drum loops.  This is basically a home keyboard rhythm machine with additional rhythms.  It has the same intro or fill-in features a home keyboard of that era featured so it makes you wonder who this device was actually being marketed for.  My personal opinion is that the sounds are dated and some rhythms clunky but they are also fun, and the main reason why I picked this up was because it was different than anything out there.  Modern drum and rhythm machines kind of sound real.  Early machines were extremely synthetic.  Drum machines from the eighties had so much variation.  This one definitely does not sound real, although it does have some wonderful hi-hats and cymbals.

Features

This thing is bare bones and I imagine it was marketed for the home amateur market.  You may want this device if you are playing in a church band and needed a drummer.  The features on this are kind of minimal.  It was designed to daisy chain to other instruments in the Yamaha EM series, like the EMT-1.  That is neat, I suppose.  This thing also has MIDI, line inputs and outs (using RCA jacks), and power through if using in conjunction of other Yamaha devices.

While the rhythm features are pretty standard, the only thing that I find on this that make this slightly better than the rhythm section on a home keyboard is the "large" and "small" buttons that seemingly mute or add certain instruments to the selected rhythm, which seems to help facilitate songwriting and differentiating different parts of the song.  I personally like this ease of use so that I may record starting with the intro button, transition to the main rhythm, use a few fills, and then utilize these two buttons for either a chorus or bridge.  This is similar to older rhythm machines that have potentiometers to alter the sound of a single instrument, just with less precision.

Overall

Over all, this thing is an oddity.  It plays PCM rhythms, none to spectacular, has minimal features, and seems to be designed to be used in conjunction with other dated Yamaha products.  Keeping that in minde, if you like to record using strange one-offs, musical oddities, or antiquated synthesizers, this is a great addition to any studio - especially when considering its size.

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Instrument Review - Siel MDP-40 a.k.a. Suzuki RPM-40 a.k.a. Keytek MDP-40

Late last year I reviewed the Suzuki Keyman PK-37 - an instance when a Japanese company outsourced manufacturing of their product to an Italian synthesizer manufacturer, of all companies.  While the PK-37 was a line unique to Suzuki, with odd designs and features (with the PK-37 not resembling any of its brothers or sisters), there were other instruments that were just re-branded.  While this is not all that unusual, the Siel/Suzuki partnership was kind of weird and the instrument we will look at today is the Siel MDP-40, also known as the Suzuki RPM-40, which was a simple drum machine.

What I find strange about this unit, which I will discuss in a little more detail below, is that this unit does not appear to be a costly machine and while it does offer some features useful for professional musicians, the quality (in both build and sound) is something lacking, which brings to question just who this machine was designed for in the first place.

Build

My first impression when holding this thing was that it was incredibly light.  The plastic looks of medium quality and appears to be the same type found in their synth lines of the time.  The buttons are sufficiently sized for a normal human finger to press but pressing some of them down they were either too responsive resulting in some double taps or not responsive enough causing the beat to be a bit off.  This may be chalked up to age but I will assume not.  The one dial on this thing - a volume potentiometer - is very firm and hard to turn but may be the sturdiest part of this synth.  There were no crackles when adjusted.

Cosmetics

The cosmetics of this machine aren't terrible.  The Siel and Suzuki differ slightly, with the Siel closely resembling the scheme of their other synths of the time, like the DK-70, with colored bars on the buttons.  What I found particularly odd is that while many companies that make different types of units (drum machine/synth/sequencer/etc.) try to keep things uniform, like the mid-eighties Korg DDD-1, DDD-5, or Super Section, this one has some similarities.  While Siel used the color bars on the buttons, the buttons are larger plastic square buttons with rounded edges while their synths used smaller rectangular rubber buttons.  This may seem minor but for some aesthetics are everything.  This was my main complaint regarding the aesthetics of the Seiko DS-250, where that keyboard had a completely different design from the earlier models or the add-ons.

I do like the graphics on the buttons.  The Siel features large pictograms so that a user can quickly identify the sound while the Suzuki has it split with the name.  Again, this is minor being that the instrument is small and will be close to the user to begin with.  The features are also clearly labeled.

And for some reason on the far left is printed "A.C. DESIGN."


Sound

This is where I scratch my head.  When a company releases a standalone drum machine you kind of expect to have slightly enhanced quality but this sounds like they ported some low-bit samples from a home keyboard line.  The sounds aren't terrible and can be quite useful and fun.  Their dated sounds can make great accents with a nice punchy attitude.  The kick, snare, rimshot, and cowbell are good, the hi-hats, cymbals, and shaker decent, the tom is alright, and the hand claps being borderline dreadful.

I will also say that the preset rhythms are kind of mediocre.  While they are not overdone like plenty of Casio rhythms, they don't really feel all too inspiring.  While that is a lot to ask from a cheap eighties digital synth, considering this was an independent drum machine I would have expected something a little more.

Features

This thing is pretty spartan when it comes to features.  It has 40 different preset rhythms (20 presets with 2 versions), hence the 40 in its moniker, tempo control, basic MIDI function, and manual drum play.  The couple things I like about this are that it offers a "swing" option and hand clap variations to the presets and that it provides 2 different breaks that allows for a break to be played and then transition to the second preset of the chosen option. It also appears two more sounds are only accessible through MIDI (a low kick and low hi-hat).

Overall

Overall, I would only recommend this if you like cheap early eighties digital sounds.  This unit is small and strange but because of its uncommon availability the price can be a little ridiculous.  It would be like paying a premium just to get some Casio preset rhythms.  Most of the rhythms are throwaways and some of the sounds can only be accessed through the basic-at-best MIDI function.  The clunky plastic buttons are reasonably placed and sized but just don't feel like a natural fit for a drum machine.

While I tend to dislike circuit-bending (because most people poorly execute it), this would be a great unit to mess around with.  The guts are pretty spacious and the entire left side is ideal for dials or switches.  Slap on some wood sides and some additional effects and this thing could be a gritty beast.  Without any modification this drum machine is just a lo-fi simpleton, or as another review called it, a "monster of mediocrity."

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Instrument Review - Fisher SC-310 (with SCK-30) a.k.a. Sanyo KBX-7

As a child who grew up in the eighties there were two main electronics that I had in my bedroom - a keyboard and a stereo cassette deck a.k.a. a "boom box."  The keyboard I had in question was a Casio PT-87.  As for the boom box, I couldn't tell you what I had.  It most likely was a hand me down from my brothers as they upgraded their equipment but there is one thing I can tell you - I used those two things almost daily, sometimes in conjunction so it is only logical for electronics companies of that era to combine the two and make the ultimate device in home recording and playing - a stereo deck with a built in musical keyboard.

I have found three different examples online of this amazing yet forgotten piece of synthesizer (and stereo) history - the Casio KX-101, Casio CK-200 & CK-500, Sharp MR-990, and the Fisher SC-310 (with SCK-30 stereo music composer).

Casio KX-101

Casio CK-200

Casio CK-500

Sharp MR-990

Fisher SC-310

All of these keyboards each have some distinctions in sound (although not much being that they are early-to-mid eighties square wave synths) and they have some varying features, although very little information can be found about these suckers.  The Casio KX-101 comes with a keyboard attached to the bottom and provides for 4-note polyphony, some rhythms, arpeggios, and chords.  From my understanding, the Casio keyboards also allow for the playing to be recorded onto the internal cassette deck (although I have read on some websites that this is not true).  I am uncertain about the Sharp mode but will be reviewing the Fisher SCK-30 because that is the only keyboard currently in my possession, however I will not be able to review the cassette deck features because I have only acquired the keyboard.  

Build

Unlike the Casios, the Fisher keyboard is detachable, which is nice.  For a small generic keyboard it feels relatively solid and possesses a decent weight (especially with the 5 AA batteries added).  The mini-keys sit close but feel responsive to the touch, the sliders feel firm, and the buttons on par with any other kind of toy keyboard of that time.

Cosmetics

This thing definitely has the aesthetics from a nineteen eighties stereo company.  The glossy black plastic that covers the top is definitely a change from the drab gray boxes Casio was dropping on the market (whatever happened to those cream-colored or wood-grain Casiotones?)  The features are clearly labeled and the LCD display is nice enough to even display a staff so that you know what note you are playing and where it is located.  My only complaint is that on the far left of the keyboard are nine bullet points describing the features of the keyboard.  I could understand if Fisher decided to eternally emblazon onto the face of their keyboard directions, being that they were not known for making keyboards and the memory play features of these early keyboards can be somewhat confusing, being that they require a sequence of buttons pressed, but bullet points that could be best left for the back of a box or a magazine advertisement?

Sound 

The sounds of the voices are that of an inexpensive analog toy keyboard but are slightly different than some of the other keyboards like this out there and considering some of the features, these sounds can be welcomed into one's synthesizer orchestra.  I wouldn't be surprised if under the hood this thing had some early Casio or Yamaha circuitry.  While they may not be the first chair, they definitely can provide some dynamics or accents to a song.  The rhythms are especially nice - particularly the several rhythms with added arpeggios.  As a fan of vintage rhythm machines, I find these numerous rhythms to be fun and enjoyable and after several minutes of playing around with the features I came up with several ideas for some songs (I had to stop myself being that I have countless unfinished projects already).

Features

This is where this keyboard shines.  While this instrument is monophonic with sounds that sometimes make a Casio VL-1 sound warm, it comes with 8 preset voices, 18 different rhythms, chord function (in a typical organ set up and not integrated into the keyboard like later home keyboards), and when the chord buttons are played along with a rhythm you get kind of a walking bass.  Personally I like the chord section resembling that of an organ versus occupying an octave on the lower end of the keyboard.  For an individual like myself who is not a trained pianist, having these non-conventional setups helps facilitate the creation of music in an easy and recognizable way.  While there is no fill option for the rhythms, it is easy to change rhythms mid-song to provide for some variation.  I also thought it interesting that one of the rhythm options is "enka," which presumably references the Japanese musical style, although I am not sure.  I was just surprised to see this option as I have never seen it appear on any other keyboard in my possession.

There are sliders for master volume, rhythm, and chord, transpose and tempo buttons, and perhaps the most interesting aspect of this keyboard - memory recording which allows for the playing of up to 508 notes into 8 different sections that can be stored on a cassette loaded into the accompanying stereo.  It is also believed that you can record your playing directly onto the cassette.

While not a part of the stereo, the keyboard only has a left and right RCA jack and no plug for external power.  While there is a battery compartment for 5 AA batteries, it appears this is because the keyboard is intended to be used in conjunction with the stereo.  From researching, it appears that when docked into the stereo the keyboard consumes less of the batteries and has a longer life but it I am uncertain if the batteries are required while docked.  While this is unfortunate, having the keyboard detachable is a positive, being that should the stereo component die you do not also lose an instrument and modifying the keyboard for external power or expanded audio out features would not be terribly difficult to perform and would be possible by a novice technician.

Overall

Overall I think this keyboard is a must have for any collector.  Personally I would choose this one over the Casios (although the KX-101 would make an excellent shelf piece since the keyboard is forward facing).  The sounds may not make this as desirable to some but the features packed into this small keyboard are a plus.  It may not be a centerpiece of a band but it can definitely provide for some interesting music or some level of variation should one choose to utilize the rhythms and while the audio output options are limited, having RCA outs does provide for a nice clean sound.  The portability is a positive for this keyboard.  While the battery life could pose a nuisance, as mentioned above it could be easy to modify, and even not, I do not see this keyboard being used to draft a symphonic masterpiece.  Intermittent use may prove the battery issue a non-issue.

Looking at just the SCK-30, I would recommend if you can find this at a low price (somewhere under the $30 range), or with the SC-310, possibly somewhere under $100.  Since this is not a Casio, you may be able to find this relatively cheap (I got my keyboard $20).  Personally, I love the forward facing KX-101 with all of its buttons, dials, and sliders.  A close second in aesthetics would be the Sharp with the retractable keyboard (those buttons and sliders again do it for me).  The problem is that those keyboards, while similar, tend to go for much more.  The Fisher can get you into the ballpark for a fraction of the price.

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Instrument Review - Lowrey Micro Genie V-120 a.k.a. JVC KB-700

I came across this gem when I was searching old Casio keyboards and it appears to be an attempt from one of the many organ companies to break into the home keyboard market, much like the Kimball Voyager and Challenger keyboards, the Baldwin Explorer and Discover keyboards, and the Wurlitzer P100.  Lowrey had decided to rebrand mid- to high-range keyboards manufactured by the Victor Company of Japan, Ltd., commonly known by its 3-letter logo - JVC.  The V-120 is the highest analog keyboard c. 1984 of the series before they started utilizing digital sounds, as well as some other interesting features that I will mention briefly in this review.  The only apparent difference between the V-120 and the KB-700 is the lack of Stereo Pan potentiometers located above the stereo mixer for all the features, but this absence is a minor issue.  It seems apparent that this keyboard was designed for multiple markets because of the presence of a voltage selector on the back that allows for change depending on what region you are in.

Build

This keyboard definitely feels more solid than a cheap Casio.  The buttons are unique in appearance but definitely feel as if they can withstand the test of time.  The sliders also feel good making smooth transitions in volume and tempo easy to perform.  The speakers do not rattle the case at the highest volume (although I do believe quality is lost when pushed to the max).  The foot pedal does feel a bit on the cheap side and looks more like it belongs to a sewing machine.

Cosmetics

This keyboard is simple but attractive, with each grouping of buttons and sliders matching in color and with the features easy to read.  An added bonus to the cosmetics are the plastic covering for the buttons that serves a dual purpose - it acts as a dust cover, which can be very helpful in maintaining the buttons and sliders, and it also can be utilized as a sheet music holder.

Sound

The sound is 100% analog and definitely has a nice warmth to it, more so than other home analog home keyboards from that era, like the Bontempi X-451, which has a nice analog sound but definitely not as rounded.  The rhythms are pure synthetic bliss and offer a nice change from the various other brands out there, and like the presets, the rhythms also present a warmer sound.

While the rhythms are nice, from the few recordings I have heard of the JVC KB-700, it sounds as if they differ slightly.  I am not sure if that is the case.  The same goes for the auto accompaniment.  From what I had read, Lowrey had kind of revolutionized automatic accompaniment and that by the time this keyboard features like this became common place on home keyboards.  It is possible that Lowrey had decided to use their own tried-and-true rhythms as opposed to ones developed by JVC.

Features

While still a preset home keyboard from the early Eighties, this levels of variation this keyboard provides is worth it if you can find this keyboard relatively inexpensive (which can sometimes be a problem being that it is not as well known or mass produced as the various Casios out there).  In addition to the standard tones, rhythms, and accompaniments this keyboard offers, the mixers provide for greater control on overall sound.  There are also some effects that can be used to give the 12 voices some extra sound, such as foot switch effects (sustain, glide, & break), chorus, tremolo, and Lowrey's proprietary AOC, or Automatic Orchestra Control (or Automatic Organ Computer), which takes the chord played, inverts the notes, and then adds them to the melody note being played on the upper part of the keyboard.  These features all have sliders to change degree of effect.

The same goes for the auto-accompaniment, with sliders offering degrees of variation for features like the bass or arpeggiator.  For example, changing the settings for bass variation would play 3 bars of one pattern and than one bar of another.

Another interesting feature is using the mic in to use the keyboards effects and apply them to your own vocals, guitar, or even another keyboard or synthesizer.

While not part of the keyboard, the hard case is nice.  It is awkward to open, being that you must stand the case upright and push the buttons outward.  The case then opens with the keyboard standing on its back.  The keyboard doesn't come flopping out though - it is held in by three elastic straps with buttons.  My only complaints about these straps is that two of them extend over keys and keep them depressed while in storage.  I feel that this may cause unnecessary wear on only a couple of keys.

Overall

As mentioned above, while this keyboard was top of the Lowrey Micro Genie analog line, future versions moved in a more digital direction and featured an interesting feature - a KE-10 digital composer cartridge, which basically acts like the composer computers found on the early keyboards, but can be removed and swapped with other composer cartridges.  It is safe to say that the keyboards were designed this way because JVC intended on created somewhat modular sequencing or synthesis capabilities in future models.  They also had add-ons like a strum board that would allow the keyboard to be played like a guitar.  While those features are interesting, the later models, like the KB-800 or KB-808 lack the warmth of the V-120's analog tones and rhythms.  Had those features been available in conjunction with this keyboard, the V-120 would be a must-have in any musician's collection.

Minus the features of later versions, this keyboard still offers some great warm presets from a bygone era.  These keyboards are oddities - they feature elements popularized by organ companies (like automatic chords and accompaniments) and presented them  in a different format for home use.  This keyboard may be more so an oddity since it is just a rebranded JVC but the features are nonetheless enjoyable and provide enough flexibility.  I wouldn't consider this to be a flagship synthesizer but these older instruments are great for accents and rhythms.  While there are many virtual instruments, plug-ins, or sound modules out there that can provide similar sounds while occupying far less space, there is something about these old keyboards that provide for a more intimate playing experience.


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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