Maestro Sound System for Woodwinds

[tommy.genes]

Anybody know anything about this or one of the similar units from the same period (Conn, Selmer, Hammond, Vox)? They seem to combine octave dividers, fuzzes and organ-like filters. MusicParts.com has the full service manual for $25, which I may buy if I get further into this, but I was just looking for general info right now. I was reminded of this thing recently when Eddie Harris came up on the iPod shuffle. Chris Wood of Traffic also used one on the solo of "Low Spark..." for example. I might (someday, eventually) like to build something similar for a sax-playing friend, but some of the sub-circuits might be transferable to guitar stompboxes as well.

Thanks,
-- T. G. --

[theehman]

Why spend $25?  I don't have it listed at RonSound yet but I can supply the service manual for $15.

[theehman]

Also, the preamp is designed for a microphone input and would need to be modified for guitar use.  I've gotten output from one by driving the input with an overdrive pedal on max volume and min drive.

[Mark Hammer]

During the late 1960s, the Conn Multi-vider was frequently used by members of the reeds section in the Mothers of Invention.  It was also prominently advertised in Downbeat and Jazz and Pop magazines (along with those "really cool" solid-state Baldwin amps.  Yeah, baby!!)

[tommy.genes]

I need a panel from a 50s-era comic book with Jimmy Olsen saying "Thanks Super EH Man!" If I do decide to buy the service manual, I will contact you first.

With the Maestro, Selmer Varitone, King Vox Octavoice, Conn Multi-Vider, Hammond Innovex Condor and maybe others, there seemed to be a real interest in this idea at the time. From recordings I've heard they actually sound pretty good, unlike the EWI (Electronic Wind Instrument, pronounced "Eee-Wee") that become popular later and that allowed legions of smooth-jazz saxophonists to sound just like factory Yamaha DX-7 patches.

-- T. G. --

[Mark Hammer]

One of the advantages all these devices had was that the signal source was intrinsically monophonic, so the predictability of the signal was high.

One wonders what sort of influence, if any, players like the late Rahsaan Roland Kirk had on the emergence of things that let you sound like you were playing 2 reed instruments at once.
http://www.youtube.com/watch?v=_CFfpFDKBO8
http://www.youtube.com/watch?v=S0JJmwq7KXQ

[Shepherd]

During the late 1960s, the Conn Multi-vider was frequently used by members of the reeds section in the Mothers of Invention.  It was also prominently advertised in Downbeat and Jazz and Pop magazines (along with those "really cool" solid-state Baldwin amps.  Yeah, baby!!)

Zappa cites use of the device made by Maestro in the liner notes to Uncle Meat (1969).

FWIW Zappa was known to endorse products he didn't actually use.

[Mark Hammer]

Maybe so, but the weekend that my dad wouldn't let me hitchhike to Woodstock, I went to see the Mothers play 5 times, and at least one of the horn players had a Multi-vider or a Maestro unit strapped to their belt.  Or maybe it was a Selmer Varitone http://www.vintagehofner.co.uk/gallery/gallery3/gallery6/gallery7/saxa.jpeg  All I remember was that it seemed to have around 4 paddle switches and a couple of knobs, and strapped onto the belt.

[mdh]

With the Maestro, Selmer Varitone, King Vox Octavoice, Conn Multi-Vider, Hammond Innovex Condor and maybe others, there seemed to be a real interest in this idea at the time. From recordings I've heard they actually sound pretty good, unlike the EWI (Electronic Wind Instrument, pronounced "Eee-Wee") that become popular later and that allowed legions of smooth-jazz saxophonists to sound just like factory Yamaha DX-7 patches.

Interesting that you should say that.  Sax is my primary instrument, and I'm actually seriously thinking about picking up an EWI as my next major musical purchase.  I am a little concerned about the quality of patches, but at the same time, I feel like it would be nice to be able to control a synth with an interface that's a bit more familiar to me than a keyboard.  And if you're a horn player in a band, the most likely reason that you want an octave divider or harmonizer or something like that is so that you can sort of pull off full horn sections all by your lonesome, while all of the guitar players taunt you for constantly having to transpose to funny keys.  Plus, I watched some video demos of the latest EWI model, and it seemed like it had lots of scope for non-"smooth-jazz" contexts (the Bob Mintzer video notwithstanding).

I have played around a little with guitar effects on saxophone, particularly the pitch-shifting feature of my RP-80, but what I'd really like to pick up is a harmonizer.  I've seen Joshua Redman use one to great effect in live performance, and the sax player for Average White Band apparently uses one to fill out the horn parts.

[tommy.genes]

Interesting that you should say that.  Sax is my primary instrument, and I'm actually seriously thinking about picking up an EWI as my next major musical purchase.  I am a little concerned about the quality of patches, but at the same time, I feel like it would be nice to be able to control a synth with an interface that's a bit more familiar to me than a keyboard.

Actually, most or all EWIs are just MIDI controllers, they have no built-in sounds of their own. You can pair them up with whatever synths or samplers you want, as realistic or as crazy as you want. I just remember all the fusion guys seemed to run out to buy an EWI and a DX-7 (which all the fusion keyboard already had at the time) and played their Kenny G-esque licks through factory patches. Not that I'm being cynical or anything. As an example of the sound I associate with EWI, I'm thinking of Steps Ahead era Michael Brecker (RIP), whose playing on a real saxophone I otherwise loved.

BTW, bass has been my main/only instrument for many years, but I did start out on clarinet and saxophone.

-- T. G. --