Gibson's new Firebird X Computer Guitar
It’s not a mystery that the line between analog and digital has been getting smaller and smaller over the years. I think Line 6 was the first company to truly innovate and show us what was possible. With modeling now taking such a prevalent position in the music product industry, it was only a matter of time before a guitar company came along and shoved a whole mess of computer equipment into it. Line 6 had the Variax, and Brian Moore added USB to their iGuitar series.
Tomorrow, Gibson will officially release the Firebird X for sale. Having “enhanced an already outstanding instrument to unbelievable performance and creative heights” Gibson aims to set the bar higher than any guitar manufacturer before by including a wide range of new features from electronic tuners to 3rd party apps.
As intriguing as this all may seem, I can’t help but wonder if we, as consumers and musicians, have finally gone so far over the edge, so far down the path of having everything in one small package with ten million options immediately available to you, that we’ve actually killed the guitar.
Is the Gibson Firebird X signaling the death of the guitar?
I won’t go into all of the specific details about the Firebird X. I think Gibson has done enough work to warrant you taking a look at their website if you want every piece of information available. But I have to say I’m really on the fence. As some of you know I’m not really a huge effects guy. I’ve always been a “plug it in and play it” kind of guitarist. Effects are cool, but kind of like baseball it’s only cool in small doses. Where I can see some advantage to the automated tuners for live musicians, at this time I just can’t see why you need a guitar that has 3rd party applications you can install into the actual guitar!
I get that it’s still an analog guitar and only the audio signal is being modified, so in essence it’s not a midi guitar or modeler where your actual performance may have to change due to technological limitations, but to me in many ways the guitar is supposed to be pure.
Pilfered from Gibson's website
On the other hand, I also get that most people don’t have the money to buy all kinds of different amps and pedals and other gadgets, so having a guitar that can do all of those things is a plus.
Yes, I get it. But I don’t necessarily agree with it.
I’ve been thinking about all of my favorite guitar players; all of the guys that have really kicked my ass through the years. And you know what? Most of them don’t usually use a ton of effects. Players like Wayne Krantz are using them more now than in the past, but I still love their “pure” stuff better. Guitarists like Oz Noy, who use tons of effects, I just don’t get into that much.
Anyway, I’m reserving final judgment until I can get my hands on one of these monstrosities and can check it out first-hand, but I wanted to get your opinions; are we going too far in the other direction where we risk losing our musical creativity to circuits and signal chains, or are we opening the doors for new innovations that will inspire and truly bring the best music out of us?
Chime in and let me know what you think?
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Simply put, I find all the digital modelling has really reduced the quality of tone in most situations. And there’s something to all of the fret noise, bends and pick noises that simply doesn’t translate digitally the same way it does through a straight analogue system.
There’s something to be said for tone woods, aging, pickups, and setup all contributing to the minute details that make a guitar sound the way it does. I’ll stick to the real thing thanks – though I suppose digital guitars might be OK for toying around, I wouldn’t want to try and use anywhere outside a practice session.
Hmmm. if musicians do not want the electronics included in the FBX, there are at least 1,000 other models they can buy. Do not think one model will kill the species. The first version of the robot guitars sold out, and Fender is still in business, last time I checked.
I seriously want to get my hands on one of these to try, and see if it does what I want. I like the autotune feature, changing key on the fly is a cool option to manually re-tuning the guitar. The software part, I may agree with you on. I don’t know how much I would use the signal modeling – time will tell.
It’s all about the sound. The art lies in the sound, in getting the sound you want and sharing it with the world. The instrument is a tool to get that sound. If you use a guitar or a computer, a string and a pickup or a gourd, it doesn’t really matter … as long as it gets you closer to the sound you hear in your head, the sound you want to share with the rest of us.
I am definitely more of a purist myself, when it comes to guitars. There is a romance there, I believe. I have a few acoustics and one electric. When I play guitar, I play one of my acoustics. When I play with other sounds, I pull out the electric.
I agree it’s about the sound, Mark. I’m just wondering if “the sound” might go so far as to not really make it a guitar anymore.
This is not the death of the guitar, and I happen to think modeling is a big part of the future. What this guitar says to me is that Gibson may not be a credible part of that future. They’ll continue to make their trusty legacy models until nobody buys them, but their recent attempts at the future have been a disaster. This guitar looks like something from the Montgomery-Wards Christmas catalog of my childhood. Tacky & cheap.
Line 6 is the company that has it’s finger on the pulse of the future. At least sound-wise. Their modeling technology is eminently usable and authentic, but they possess an almost Gibson-like way of dropping the ball near the goal line. The guitars they put those lovely electronics into are a homely and don’t play well. I’d like to see them partner with Schecter, ESP or Jackson/Charvel. Some company that does seems to understand attractive present/future designs and consistent quality construction.
Until you’ve used one, you can’t imagine the usefulness of a modeling guitar. Especially live. I’ve got an ESP Eclipse II with a Variax transplant, and the ability to switch between not only guitars, but also amplifiers, speaker cabinets, microphones and effects (with my POD HD500) with one tap of a footswitch is an absolute revelation. This would be my desert island rig without any reservations.
Modeling has reached the point of being eminently useable. Unfortunately the guitars chosen to showcase this fact have so far been aesthetically challenged.
It’s everything about the sound. The art lies in the sound, when you get the sound you would like and sharing it with all the world. The instrument is really a tool to have that sound. If you utilize an acoustic guitar or a computer, a string along with a pickup or a gourd, it doesn’t really matter … provided that it gets you better the sound you hear in your head, the sound you would like to give ordinary people.
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The instrument is a tool to get that sound. If you use a guitar or a computer, a string and a pickup or a gourd, it doesn’t really matter … as long as it gets you closer to the sound you hear in your head, the sound you want to share with the rest of us.
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At a level unlike anything else I can think of presently, it’s not only the sound of a particular guitar, it’s the way it feels. It’s amazing how much different two guitars with similar specs can play and feel. That’s why I transplanted my Variax electronics into an ESP Eclipse. The Eclipse was a natural for this task since it possesses wonderful playability and quality, but was lacking in the sound versatility department. Given it’s new ability to play banjo, sitar, acoustic 6 string, 12 string acoustic and electric, Les Paul, Tele, Strat, Gretsch, Keith Richard tunings (including virtual capo!) etc., etc., versatility is no longer an issue! It’s an extremely inspiring thing.
Very cool, Todd. I still think my Brian Moore’s are the best feeling guitars I own, though I still hate the output jack location. I got it relocated on one and now it’s a wonderful thing to play. I think you are right, it’s all about the way it feels.
I understand what you mean, Pam. Still not sure how I feel about the X, though.
Thanks Josh. I guess the primary point I was trying to make was that you can modify the way a guitar sounds (extremely, in the case of piezo pickups/modeling circuitry such as Variax) with minimal effort, but the way it feels is much difficult to change. I’m going to have to check out Brian Moore guitars, per your recommendation. Regarding the Firebird X, here are my problems with it and I doubt that my sentiments are very unique,
1. It’s FUGLY.
2. It’s wildly overpriced. My Variax transplanted ESP, including a POD HD500 processor was about half the price of the Firebird X. And it’s beautiful to look at!
3. Legend has it that it’s of Chinese manufacture. Beyond corporate decimation of our economy by offshoring production, extensive experience tells me this also calls it’s quality into question.
I’m with you, Todd. And it is one hideously fugly guitar for sure!
So many ways to make guitaristic music, or make music with a guitar. Be happy doing it your own way. Probably time to play the thing.
Looks like manufacturer has resorted to hiring computer literate Cavemen as designers…might have been better looking if they arch topped a nighthawk and stuffed the computer crap in it.
At least it would have some aestetic appeal and be practical-
I first saw one at the store and thought someone had hacked up a real firebird and they had it on display.NS!
I have never witnessed such negativity about a product. Before everyone bashes the product, understand how to use it If you haven’t played it, go and do it. You might change your mind. I bought one yesterday and it actually plays and sounds very good It took me an hour with the manual and I was able to use 90% of the guitars potential. The one issue I’m very disappointed with is the finish. For example, the fretboard finish is uneven a rough looking. It can’t come close to my PRS 513.
Perhaps the fretboard finish would not have been so rough if they’d have used unfinished ebony, like what should be used on a $5000 instrument.