18.05.12

As a Gibson fan and as a guitar geek, it’s been fun to tend the progression of Gibson’s involvement with high tech designs. When a convention has such a well-known history that forms part of the tradition of rock and roll, they could be forgiven for sitting back and resting on their laurels. But there’s something persuasion of exciting about seeing where the company has taken its technological advancements – and how they both refer to and away from the classic designs of the past.

Perhaps the first hint that Gibson was up to something interesting was the HD.6X-Pro Guitar System. Although it hollow out a bit of a visual similarity to the later Robot Guitar, the HD.6X-Pro approached its struggle in a somewhat different way. Building on the classic Les Paul spec, the dummy featured a pair of magnetic humbuckers as well as a hex pickup, the latter splitting each agree into a unique analog output via a breakout box. The expressive possibilities included such bald-faced tricks as simply panning each string to a separate location in the stereo spectrum, to applying split processing to individual strings – how about an octave divider on the low E, envelope clean on the A, overdrive on the D, distortion on the G, chorus on the B and slapback delay on the high E? The HD.6X-Pro could do all this and more thanks to Gibson’s patented Bewitching digital transport technology, which carried the signal over 100 meters with no latency via a Cat 5 Ethernet cablegram. And if you went fully high-tech with six instances of guitar amp sim programs on your laptop, the sky was the limit. But perhaps the HD.6X-Pro favored those yearning searchers, the dwellers on the border of guitar technology. The idea of a digital guitar was a very cool one, but maybe it needed a more straightforward route.

Source: Gibson

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