All user reviews for the Vibesware Guitar Resonator

A little history: the ide of electronic bow is not magic rcente. For some, the express back to the 1960s. But in fact, has developed since PROCD dj long. Even before the dveloppement of electric amplification to beginners of the 20th century, a naval officer amricaine, George Breed, OPDs in 1890 a patent (n435, 679, September 2, dat) on a device to vibrate the strings (steel) for piano and guitars. A horseshoe magnet, surrounded by a copper coil is placed above the guitar strings, prs the bridge. When a variable current traverses the coil, the field magntique electro-magnet is disturbed and makes the strings vibrate. The IDE dpart silent to increase the volume of the instrument, to dveloppement rcurrent problem of electric amplification. This solution n'eu no success as required to completely review the practice of the instrument. It is amusing to note that the opposite principle was applied by George Beauchamp in 1931 for the design of the solid-body electric Premire: clbre the A-22 Electro / Rickenbacker, better known as the Frying Pan.

The Resonator Guitar is an electronic bow / sustainer / feedback gnrateur. Simply put, and for those who know it is a kind of Ebow but no hands!

Submitted it as a case that is intgre as a simple chain of effects pedals her. This box is then connected by a cable provided a flexible tube at which we find the head of the Resonator Guitar, which is the device that will set the vibration or the proper string (s) and gnrer feedback. The set screws on any microphone stand (supplied all fawn with the effect).

To play is simple, it triggers the effect to the foot via the control box and it "seeks" or the desired string (s) with the head. Led a blue or red (depending on the stage select, simply put one can select two types of effects quite similar in fact, as the Ebow) can "target" with precision. Then play with the effect (sustain / feedback) just to get close / s'carter and slide along the handle. The easiest way is to visit the site for a www.vibesware.com dmonstration more meaningful.

The device is robust: a case mtal, a flexible tube which should take the time and a good head being protected. The construction seems trssrieuse.

The effect of feedback / sustain / bow is simple to obtain and adjust. Your exact trs is effective. It quickly apprcie the possibility to play with endless sustain and feedback docile, not to mention the effect of the bow. That broadens the game Whereas
Compared its direct competitor, the Ebow, it is used just appear different because they "play" button and not proximity of the microphones. Similarly some effects are impossible Ebow game play with the Guitar Resonator and its use is somewhat less prcise, logic! It offers many new opportunities sr much as used by keeping both hands on his guitar. In short it does not replace the Ebow but comes plutt complter or provide an alternative.

Now tackle the financial apect: this day I do not know any retailer in France. Must therefore be ordered directly from the manufacturer in Germany via the website www.vibesware.com. The price? 339 euros + 10 euros postage. Payment be by PayPal. Shipping is fast and seriousness, by Coliposte International.
Of course 349 euros is not given at all! But the product is quite unique, with the Ebow (dj trs is expensive!) And especially of great quality and efficiency.

To conclude, this is an effect trs pro, well built, easy to use and efficient trs. Not just a gadget, but an "instrument" that will enrich your game
on the other hand, it is expensive and currently only available from the manufacturer.

This is actually a pretty cool device. I used to think that it was a rip off of the Ebow, but it is actually a far more complex piece of equipment. It produces varying levels of feedback by placing the resonator at different distances from the fretboard. Rather than the typical, Sonic Youth-esque distortion feedback, this produces rather pretty, gorgeous feedback that is quite clear and can be used to harmonically accompany even the most delicate and quiet compositions.
Using it at home is one thing, but I can imagine using it in a gig setting to be quite a bother, especially if you don't room on stage for it, or time to set it up. It requires that you run your guitar (and pedals if using them) through a box that comes with the resonator, and then run it to the resonator itself. You then must put the resonator on a stand at a level that it will be even with your fretboard. This is tricky at first but not bad once you get the hang of it. From there, simply move your guitar's neck closer and further from the neck as appropriate. Warning: Do not put the resonator over the pickups, there is potential to damage both the device and the pickup. This isn't hard to avoid, but you must know not to do it.
The sounds that come out of this thing are pretty cool, but to really get interesting, you still need a decent amount of effects. Therefore, for all that it's worth, you aren't getting a lot unless you know exactly what you're in for. If you love noise and effects, this might be worth checking out.