There’s no pitch wheel (we’ll explore why), parameter knobs or any other extraneous digital controls: only a USB-C port (always good to see) for charging and data, a TRS MIDI socket, a power button and a Bluetooth sync button. The MIDI side of things has no noticeable presence on the front of the guitar, save for the slim per-string pickup arrangement by the bridge. The electronics are similarly no-nonsense: you can select between the two humbuckers with a three-way blade switch, and split them with a push-pull volume knob. If you’ve ever sat at a desk with a full-sized electric, you’ll know that there’s a real risk of dropping a guitar pick, leaning down to pick it up, and driving your headstock through your computer monitor. Sit at a desk with the Studio MIDI and you’ll notice that you can move around without fear of knocking over the coffee mugs and/or beer bottles that happen to be driving you through your current writing session. In part, it’s a nice nod to Jamstik’s first products: small, headless, MIDI-enabled ‘faux guitars’, designed to be a portable way to practise chord shapes.īut the headless design, with the string length extending almost all the way to the back of the body, also has a marked benefit for an instrument aimed at the bedroom producer. The whole guitar features a minimalist approach, with the most dramatic omission being that of a headstock. As a MIDI device, it’s easy to use, and has some of the best tracking for a device like this we’ve ever seen. But it’s important to note that the Jamstik Studio MIDI is a brilliant piece of kit: as a standard guitar, it sounds, feels and plays great. This isn’t a review, but…Ĭomparing the Studio MIDI to the guitars that normally find themselves on our review bench doesn’t really make sense. But without an aftermarket pickup to get separate audio data for each string, a guitar’s full polyphonic signal will always be difficult to deal with for software and dedicated hardware alike.Įnter, then, the Jamstik Studio MIDI – for us, the most convincing integration of MIDI’s boundless control possibilities and a true, no-sacrifices-made electric guitar. There are also several software solutions that can, in real time, extract MIDI data from analogue audio. In recent years, processing power has improved to the point at which decent enough tracking can be added into dedicated synth pedals.
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