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>>I still have one, and as far as I know they don't use strain gauges,
its simple a traditionnal pitch detection for correcting the pitch. As
the range is defined already by the played fret, it can do that much
faster and accurate. Unfortunately the pitch resolution for the bending
in some of the playing modes is pretty limited, due to limitations of
Midi, they have to play a note, and then pitch bend it...<<
stefan- have another look from underneath the bridge. you'll see two
sets of wires for each string- one is from the little single-coil pickup
that sits just in front of the bridge assembly, while the other seems to
come from the base of each individual piece of the bridge; this looks as
though it's coming from a little piezo pickup but it's not, it's a
strain gauge.
another clue is the way the bridge is split (this also guarantees
electrical separation between the strings, of course) & mounted so that
the part where the string is anchored is actually floating slightly.
there is a calibration procedure for the pitch-bend, & the midi data it
generates can be scaled by the instrument so that it matches whatever is
set in the sound module you are playing. I can't lay my hands on the
manual right now- it may be with one of my basses, in which case it's at
our rehearsal space some 200 miles from here. but I may have it as a
file at home if you need it.
there's a mode (possibly only on the cyberbass s/w version, which is
fitted to one of my midibases) that uses /midi pitchbend data/
exclusively; the notes are detected the same way, but a legato effect is
achieved by using midi pitchbend to change the pitch, rather than send a
new note-on. this is their so-called "fretless" mode; I didn't get too
far with it, but it did work if the pitchbend value was set correctly in
the sound module.
it made for an interesting effect if you played a slide up a few
semitones (pitchbending the original note) & then retriggered the new
note by playing it again; at very least you'd get a timbral jump, but
often (with samplers) you'd actually be playing a new sample, perhaps
even a completely different sound if your slide went over a key-range
boundary. fun fun fun. :-)
there was also a "tap" mode that allowed correct tracking of hammer-ons
& pull-offs ("pulls-off"?), dispensing altogether with the right-hand
data. they were nothing if not ambitious when this bass was in it's
heyday. someone should get onto peavey &/or steve chick & have another
go at this.
d.
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