A SELF-TUNING GUITAR WITHOUT MOTORS, SPRINGS, OR moving parts? That might seem impossible, but if you’re familiar with Antares’ Auto-Tune processing, you’ll immediately understand the Peavey AT-200: This guitar contains six onboard instances of Auto-Tune, each connected to an individual piezo-equipped string saddle. Auto-Tune monitors and corrects pitch in real time on each string, delivering not just automatic tuning, but virtually perfect equal-tempered intonation for single notes and chords, all over the neck. The AT-200 earned an Editors’ Pick Award when first reviewed last winter, and since then, Antares has added significant upgrades and expansions, warranting another look at this rapidly developing technology.
The AT-200 features a solid basswood body, maple neck, and rosewood fingerboard, and the workmanship and playability make it a strong competitor in the under $500 price range, even without considering the Antares features. Excellent setup and fretwork, along with a rather flat 15.75" radius fretboard, inspire fast riffing and allow buzz-free bending up and down the neck. Played acoustically, the guitar is lively, bright, and snappy, with impressive sustain and a slightly honky upper midrange emphasis.
The AT-200 can be expanded with software Feature Packs to add guitar/pickup models, alternate tunings, a virtual capo, and doubling effects like an octaver and simulated 12-string. It’s beyond cool being able to switch instantly from standard tuning to open E or DADGAD, without any change in feel or fear of breaking strings (remember all the pitch transposition and tuning is done via software—string tension never changes). Similarly, a virtual capo shifts the range of the guitar up or down as much as an octave, always in perfect tune. Feature Packs are rounded out with guitar and pickup models, which cover a wide range of classic single-coil and humbucker tones, all of them imminently musical and useable. I particularly enjoyed the snarling “Junior P-90,” velvety “Vintage Humbucker,” and glassy “Vintage Lipstick-tube,” and the “Acoustic” model sounds impressively like a flat-top with an undersaddle pickup.
The expanded sounds in the Feature Packs can be selected, combined, and stored as MIDI-accessible presets. With any standard MIDI controller connected to the AT-200’s MIDI input, you can perform physically impossible feats like sliding a virtual capo while playing, or switching to a Les Paul Junior model in an open tuning for a slide solo, then immediately changing back to a Strat in standard tuning for rhythm. Additional features are available via MIDI continuous control, and I found some superb whammy pedal effects in the AT-200 using a Rocktron All Access and an Ernie Ball volume pedal.
iPad control is available via the MIDI Designer Pro app ($25), which simplifies selection of guitar models and tunings, and yields access to more advanced settings such as reference pitch and global transpose. Currently, though, communication is only one-way from an iPad to the guitar, which sometimes results in confusing conflicts between the app’s display and the actual sound coming out of the guitar. (There is also a free version of MIDI Designer Pro—MIDI Designer Lite—that is fully functional except for an ad bar. It allows people to try out the controller, or use it permanently if they don’t mind the ad bar, for free.)
Finally, when you need to travel light, there’s Antares’ innovative Fret Control, which involves maneuvers like fretting F on the 6th string while pressing the Volume knob to shift the guitar into dropped-D tuning. Fret Control works surprisingly well, seldom misfires, and allows convenient self-contained access to most of the Feature Pack options.
Antares has done a remarkable job creating a transparent and glitch-free system, but playing through Auto-Tune doesn’t always feel exactly like playing a standard guitar. I occasionally noticed a subtle stepping effect, most pronounced on slow, wide string bends. And while the software allows vibrato, it diminishes the depth of any intentional string wiggling, varying with speed—faster vibrato comes through most naturally, while very slow or light vibrato can be lost entirely. There are currently no parameters to control these artifacts, but interestingly it is possible via MIDI to disable live intonation correction (“Solid-Tune”), leaving all modeling and automatic open string tuning (“String Tune”) still active. For swampy funk and microtonal blues licks, I preferred this response (sometimes it sounds better not to be 100 percent in tune!), and I’d encourage Antares to make this mode more easily accessible.
I measured roughly 4ms of pick-attack latency, with the lowest notes lagging a bit behind that due to the way Auto-Tune detects pitch. This is slightly more latency than experienced with the average digital effects processor, but I found it easy to ignore after a few minutes of playing (4ms is the delay equivalent of standing a few steps farther from your amp). Slightly more serious is the way the out-of-tune acoustic sound of the guitar can phase and warble against the tuned amplified sound at low volumes. This is not an issue at gig volumes or when recording through headphones, but for quiet playing around the house, you may prefer to tune the open strings with a conventional tuner.
Antares is clearly committed to the future of Auto-Tune for Guitar. Older AT- 200s can be upgraded to current specs with a free software download, and a luthier kit has been announced for installing the complete system in virtually any guitar, along with a floor pedal allowing installation with no permanent instrument modification. I’d add custom tunings to the future wish list: it’s possible to “trick” the AT-200 into some unusual tunings by fretting during String Tune, but custom tunings cannot currently be saved or programmed. And it would be nice if the virtual capo and single-coil models were standard features (the $199 “Pro Pack” is required for capo settings above the 2nd fret), but given the tremendous power the AT-200 delivers at a bargain price, it’s hardly fair to complain about any of these shortcomings. Is Auto-Tune cheating? Well, the AT-200 can certainly make a novice string bender sound more like a pro. But I’ll leave that debate to others as I think it largely misses the point: Auto-Tune is here, works extremely well, and has enormous creative potential. If you find it frustrating getting and keeping your guitar in tune, need a wide range of modeled tones in one instrument, or are just interested in exploring alternate tunings, I highly recommend you try out the Peavey AT-200.
PRICE $499 street
NUT WIDTH 1.69"
SCALE LENGTH 25.5"
NECK Bolt on maple, shallow oval shape, 5-bolt joint
FRETBOARD Rosewood, 15.75" radius
FRETS 24 medium
TUNERS Sealed die-cast, 15:1 ratio
BODY Solid basswood, black or Candy Apple red
BRIDGE Die-cast hardtail, adjustable piezo-equipped saddles
PICKUPS Two Peavey ceramic-magnet dual coil
EXTRAS Onboard Antares Auto-Tune for Guitar technology, 8-pin DIN connector
POWER Four AA batteries, or phantom from AT-200B breakout box ($59 street)
CONTROLS Volume (push to tune) and Tone (pull bypass), 3-way pickup selector
OPTIONS Software Packs: Essential, Pro, Complete ($99/$199/$299 street); iPad control app ($25)
FACTORY STRINGS .009-.042
WEIGHT 7.5 lbs
KUDOS Self-tuning and intonating. Stunning range of add-on tones and tunings. Affordable.
CONCERNS Ringing strings distracting at low volume.
Miles Mosley Announces International Tour Celebrating Critically Acclaimed Debut Album, Uprising
Seminal ’60s Garage Rock Icons The Sonics Return With New Band Lineup And March Live Dates
Watch Video Demos of All The New Gear From Bass Player Live! 2016 (VIDEO)
This Week in Free Stuff: Vocal, Neurostep and SFX Samples
New UVI UVS-3200 Captures the Semi-Modular Sounds of the Vintage Korg PS-3200
Pyramind Launches a Global Music Mentorship Network
EMIKO - The Musical Traveler on Her New Release “Simple Love”
UVI UVS-3200 Captures the Analog Sound of the Vintage Semi-Modular Korg PS-3200
Les Paul or Lucille? Check Out This Solidbody vs. Semihollow Guitar Comparison
James Hetfield Tells Why He’s Against Fixing the Bass on ‘…And Justice for All’
Kurt Cobain’s Vintage Late-Fifties Hagstrom Deluxe Is on eBay
Seether Premiere New Song and Music Video, "Let You Down," Reveal New Album Details
While She Sleeps Premiere New Music Video, "Silence Speaks," Featuring Bring Me The Horizon's Oli Sykes
Sinner Sinners Premiere New Song Featuring Eagles of Death Metal's Jesse Hughes, "Celexa Blues"
Michael Schenker Talks Nostalgic New Live Album, ‘Michael Schenker Fest Tokyo’
Good Little Thing: Joshua Jacobson Talks Bonding—and Recording—with Dickey Betts
Real Amp vs. Fake Amp: Can You Tell the Difference?
Copyright ©2017 by NewBay Media, LLC. All Rights Reserved. 28 East 28th Street, 12th floor, New York, NY 10016 T (212) 378-0400 F (212) 378-0470