Guitarists are a special breed, and many of them have a close connection with the instruments they play. It might be a specific brand of guitar, or a certain setup required to achieve the sound they’re looking for. No one has a closer bond with an instrument than Brian May to his Red Special. The guitar he toured with and played through his career with Queen and beyond had very humble beginnings. It was built from scratch by Brian and his father Harold May.
It was the early 1960’s and a young teenaged Brian May wanted an electric guitar. The problem was that the relatively new instruments were still quite expensive — into the hundreds of dollars. Well beyond the means of the modest family’s budget. All was not lost though. Brian’s father Harold was an electrical engineer and a hacker of sorts. He built the family’s radio, TV, and even furniture around the house. Harold proposed the two build a new electric guitar from scratch as a father-son project. This was the beginning of a two-year odyssey that resulted in the creation of one of the world’s most famous musical instruments.
Brian was already an accomplished guitarist, learning first on his dad’s George Formby Banjo-ukulele, and graduating to an Egmond acoustic guitar. Brian’s first forays into electric guitars came from experimenting with that Egmond. If you look close, you can even see the influence it had on the final design of the Red Special.
It sounds like a scene from a movie. A dark night in London, 1972. A young man walks alone, heading home after a long night of practicing with his band. His heavy Fender bass slung over his back, he’s weary but excited about the future. As he passes a skip (dumpster for the Americans out there), a splash of color catches his attention. Wires – not building power wires, but thinner gauge electronics connection wire. A tinkerer studying for his Electrical Engineering degree, the man had to investigate. What he found would become rock and roll history, and the seed of mystery stretching over 40 years.
The man was John Deacon, and he had recently signed on as bassist for a band named Queen. Reaching into the skip, he found the wires attached to a circuit board. The circuit looked to be an amplifier. Probably from a transistor radio or a tape player. Queen hadn’t made it big yet, so all the members were struggling to get by in London.
Deacon took the board back home and examined it closer. It looked like it would make a good practice amplifier for his guitar. He fit the amp inside an old bookshelf speaker, added a ¼ “ jack for input, and closed up the case. A volume control potentiometer dangled out the back of the case. Power came from a 9-volt battery outside the amp case. No, not a tiny transistor battery; this was a rather beefy PP-9 pack, commonly used in radios back then. The amp sounded best cranked all the way up, so eventually, even the volume control was removed. John liked the knobless simplicity – just plug in the guitar and play. No controls to fiddle with.
The [Maker Society] started by doing some internet research and reverse engineering a first generation Furby. The Furby itself is a marvel of cost reduction. All the doll’s functions run from a single motor and a cam system. A limit switch tells the on-board microcontroller when the cam is at the zero position. An optical encoder keeps track of the cam as it moves. The [Society] replaced Furby’s internal microcontroller with an Atmel ATMega328. This allowed them to use the Arduino programming environment.
Many classic Animatronic systems use an audio recording for motion. Typically a stereo recorder would perform double duty. The first track would contain the audio for the animation. A second track would contain audio tones corresponding to movement of each of the degrees of freedom of the doll being animated. Because the two tracks were on the same strip of magnetic tape, the audio and movement would always be in sync. Multitrack tape record and playback systems added even more flexibility to this type of system.
Here’s another junk music performance to add to the list. [bd594] put together this rendition of Queen’s Bohemian Rhapsody on assorted computing equipment. The lead piano sound is from an Atari 800XL. Lead guitar is a Texas Instruments TI-99/4a. An 8inch floppy plays bass while a HP ScanJet 3C covers the vocals. He had to dub the scanner four times to get all of the vocal parts. He wanted to use four independent scanners but the prices on eBay were forbidding. The use of oscilloscopes to show the wave forms in the video is a nice touch. Check out our post about Radiohead’s Nude for more examples of this.