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