Z-tar

The Ztar is a MIDI controller for guitarists. From a distance it looks like a guitar, but up cloase you see that I does not have strings. Instead, it has a rectangular array of push-button bars, any of which can trigger a MIDI note or even a chord. The buttons are arranged into rows and columns that correspond to strings and frets, respectively. So if you already know guitar, you already know where to find the notes. You also get software-selectable alternate tunings, and you can program your own tunings.

You can have up to 16 “regions.” A region is a rectangular subset of the entire matrix. Each region can have its own MIDI channel and transposition. A region can be as small as a single button or as large as the entire neck. Regions can overlap, in which case playing a single button may send out more than one MIDI note.

You can tap the bars on the neck for one-hand playing or two-hand independant playing. Also, there are 6 rows of buttons for the right hand which you can use as triggers for the six “strings.” You can strum or tap these triggers. Also there are additional triggers that resemble pads in electronic drum controllers. These can be used to trigger additional notes such as drums, or they can be assigned to “continuous” controllers, such as pitch bend up or down.

The basic idea of the Ztar is identical to an idea I had back in 1974.
Here’s the story behind that...

In 1974, I was reading a book by David Baker which listed some jazz piano voicings, and I realized that I could play all those voicings on the guitar if I were not limited to one note per string. I thought of this idea of a guitar with a matrix of push-buttons that would be physically layed out like a guitar, but in fact would be an electronic keyboard instrument. I was already into electronics, so I realized that it could be done fairly simply, but I didn’t have the knowledge and skills in construction - woodworking, etc. So I set out on a long-term project to build this keyboard guitar. That’s where I got the idea of tapping with two hands. In the meantime, I was curious to see how closely I could approximate this idea on a real guitar, and that’s how the whole touch technique on guitar came about. It was actually stepping stone along the way to creating this electronic keyboard guitar. Of course, I came to realize that the two-hand technique on guitar was a whole groove unto itself and could be a serious technique. After building a few mock-ups, I let the keyboard guitar project go for a while so i could develop the two-hand technique on guitar.

Then I saw an ad for the Ztar and realized that It was exectly the same idea I had had earlier. This made my life easier. I didn’t have to build my electronic keyboard guitar anymore--someone else already had! And by then, MIDI nad been invented, so this instrument could control all kinds of tone modules.

My original idea had some variations that were different from the Ztar, so I think someday I still might make my own version of the idea, but for now the Ztar works just fine.

The contacts or SPST switches, which are almost impossible to de-bounce. Therefore, the instrument will give you some glitches and “ghost notes.” I have found this problem with practically every alternate controller on the market. (In standard keyboard controllers the keys are big enough to implement SPDT switching, which, when connected to digital latch circuitry, can be deployed bounce-free.) The glitches with the Ztar generally are not objectionable in live performance. But with MIDi sequencing, you may need to do some cleanup on your files. Still, I don’t find it a serious issue. This is defintely one of the coolest instruments I’ve ever played.

And because it’s done with switches rather pitch to voltage, there is NO TRACKING DELAY! Wonderful...