The original Lol Creme and Kevin Godley Gizmotron must have attracted more attention than any other new musical instrument or device since the Moog synthesiser, with the possible exception of several subsequent synth developments. Considering that up until now Lol has possessed the only prototypes in existence, exceptional interest is indicated. It was announced and shown to the American music industry in January, and Lol and Kevin proudly returned to England in February with the first production model. Before getting involved in the details of playing the Gizmotron it might be a good idea to look at what it basically is and the history behind it.

The device is purely mechanical and designed to fit on to the bridge of any electric guitar. It incorporates a small motor which rotates six small wheels. Each wheel has moulded teeth or cogs which, when rotating, activate a vibration in the guitar string. The effect achieved is similar to bowing a violin, cello or any other bowed string instrument. To play one or any combination of strings the guitarist simply presses down the individual string's key. The possible combinations of notes and musical effects are endless. For example, by pressing four keys with the right hand and playing the simplest chords with the left hand, you have a reasonable simulation of a string quartet. The guitar can be played in the normal way while the Gizmotron is in place. In fact, Lol has mastered a simple technique whereby he can answer normal riffs with Gizmotron effects.

Nine times out of ten necessity is the mother of invention. In 1972, when Lol and Kev were still having to keep an eye on their 10cc recording budgets, they thought up the Gizmo (which is still what they personally call it) as an inexpensive way of simulating string section sounds. For the following two years they built their own prototypes. The first time the public at large heard the device in action was on the 10cc album Sheet Music, on the song Old Wild Men. However, the device was extremely temperamental and continually presented problems which they couldn't solve. They took the Gizmo and its problems to the University of Manchester Institute of Science and Technology (UMIST) to seek technical help and began to work with Dr Martin Jones and John McConnell. The Gizmo was improved sufficiently for Lol and Kev to be able to coax more consistently sustained string sounds in the recording studio and, surprise surprise, they found the device to be capable of producing a variety of effects, including many new sounds when played in conjunction with electronic gadgetry.

They started to record a single to demonstrate the Gizmo but the project grew and effectively split 10cc in half during '76. Godley and Creme were engrossed in recording their demonstration record which had grown into the triple-album set Consequences. Eric Stewart and Graham Gouldman were forced to record the next 10cc album as a duo early in 1977. In September of the same year Consequences was released and at a press conference early in October Kevin and Lol bravely announced to the world's press and media that the Gizmo would be available through friendly neighbourhood music stores early in 1978. They took the Gizmo to America, to Musitronics electronics wizard Aaron Newman. He began to tell to Kevin and Lol that though they had a great idea they were a long way from a well designed, reliable product. This January, after months of research and development and after spending 250 000 dollars, Aaron presented the duo with the first production model Gizmotron (as it is now officially known). A few days later they gave me a demonstration at Lol's Surrey home.

As Lol played the Gizmo (which was fitted to a Kramer guitar) he explained, 'Every time you touch a button, the string below that button is bowed. The wheels are a nylon compound and the main shaft is made of a material that doesn't need lubrication. It's good for rhythmic things, and fast runs are really easy because as long as you hold down the key the note just keeps on sounding and you don't have to pull notes with the left hand (ligado or "hammer and snaps").'

Kevin continued, 'All it is, is something you play the guitar with, as opposed to something you play the guitar through. It's an alternative to the plectrum or to finger-picking.'

I asked Lol about the funky clavinet sound he'd told me he could get. 'You can get that but in a string sense,' he said. 'When you bow the string it tends to give off all these other types of sounds. That's what we're saying, you can get all kinds of sounds by playing a guitar with a plectrum and the nature of the sound changes. But when you bow the string the sound changes again.'

Some examples of the variety of sounds possible can perhaps be best heard on Consequences. (Just released is a single album of some of the music featured on the original triple-album set.) The Lost Weekend track featuring Sarah Vaughan is entirely orchestrated with Gizmo, as is Sleeping Earth and the whole of first side. Lol listed some of the places it appeared on their last album L: 'The straight cellos on Art School Canteen. There are various colours on This Sporting Life. It's on Punchbag. All the chords behind Hit Factory, the backing is entirely Gizmo. The best reference is Consequences because the concerto on side six is all Gizmo. On Honolulu Lulu all the stringy sounds, and all the bass things on The Flood, the cello-type riffs, are Gizmo. With 10cc Old Wild Men was the first time we used it and then it was all over the place, I suppose; Brand New Day and all kinds of tracks.'

What did Lol find particularly interesting in addition to the basic string sound, using pedals and effects? 'Any device whatsoever enhances it, especially the Chorus Echo. We've just been messing around with a Harmonizer in the studio which is a mind blower. Anything really, especially echo. With various types of echo and reverb you can get all kinds of 'heavenly' sounds. In the instructions we've suggested that people should use reverb on the amp. That is because the electric guitar played through an amp doesn't induce it's own natural reverb like a cello or any of the other orchestral string instruments. So it always sounds better with a bit of reverberation.'

They feel that the most important technique to be mastered if a guitarist does not already use it is the standard classical vibrato. That, as any player of acoustic nylon strung guitar will tell you, is moving the left hand fingers very slightly along the length of the string. This technique is not always employed by rock players though it is relatively simple to master. Rock players generally tend to use bending of the string vertically from side to side. You cannot get the same control as can be achieved with classical vibrato.

Lol went on to explain, 'If you just drag a bow against a violin string it sounds awful, it'll send the cat out. It's the way that you vib the string that makes all the difference. So we've tried to suggest that a classical style of vib sounds better. That in combination with not pressing too heavily on the keys all the time. As you press harder you get greater dynamics, but you must combine that with lightness of touch in a musical passage. When you get used to pressing the buttons lightly it comes in very handy for playing very fast short note things because the keys are very responsive. You only need to use one finger (right hand) in fact, you don't have to do it like typing. As far as the right hand is concerned when playing chords we've suggested that people spread their fingers out or use the heel of the palm of the hand.'

Most of the guitarists who have had a chance to play the Gizmotron have managed to get quite reasonable sounds out of it within about twenty minutes. However I put it to Lol that there is going to be a whole new world of sounds available to the guitarist who is willing to sit down and develop, and indeed invent, new playing techniques. 'If they really sit down and work on it, as they would to learn a piece of plectrum or fingerstyle, yes. Hopefully people will do the same thing with this because it is very valuable, worth learning because it gives a guitarist a lot more musical scope. I find it gives me hours of endless pleasure. It probably gets on Kevin's nerves but I can sit here endlessly playing — I have done in fact for the past three days.

'Even when a guitar player can't get to actually try it out, when they see me play it they can instinctively see the possibilities. The reaction we had from a lot of the best players in America is that they just can't wait to get their hands on one. The list of major bands that have them on order in America is astounding.'

I told Lol that as far as I was concerned the Gizmo was the best thing to happen for guitarists for quite a few years and that it was not just another pretty effect that everyone would be sick of after three months. 'Usually people won't even know when one is being used on recordings because for the most part it's just a string sound or an odd sound that people hear but can't put their finger on what it actually is. It is very rarely that people will be able to say: That is a Gizmo! It doesn't sound like a gadget, it just bows the strings. It is a sound that the guitarist couldn't master before. He had to leave it to the synth and keyboard players.'

The Gizmotron is fitted to the guitar by means of a replacement bridge-cum-mounting-plate which is left on the guitar semi-permanently. The actual device is fitted or removed by turning the large knob on the front of the Gizmo. It is about as quick as releasing a car safety belt. The first batch to arrive in Britain will be supplied with the universal mounting plate which can be fitted to the guitar by means of a removable adhesive or by wood screws. Obviously there will be a reluctance on the part of guitarists to start making extra screw holes in their £2 000 vintage Les Paul. This will be overcome once production and distribution is in full swing.

Kevin: 'They are apparently making about a dozen replacement bridges with base plates for about a dozen of the most popular models of electric guitar; I don't know the details yet but presumably Fender, Gibson etc. So you'll eventually be able to get the two types, one with the universal mounting plate and the other with the replacement bridge with screw holes that match the original fixings of your guitar.'

The individual model bridge/mounting plates should be available in an extra kit form hopefully not too long after the first gross of actual Gizmotrons (which will have the universal fixing plates included) arrive in Britain. And the 64 000 dollar question? Well, in this world of conflicting interests it is difficult to say, though once they're in full swing the plan is to manufacture 2 000 a month. The word is that with a little luck the British distributors, Strings & Things, should have the first batch in April. But all enquiries should be made at local music stores who will know when the Gizmotrons arrive from Musitronics (or Gizmo Inc as it's now known) in the States.

The actual power supply that reaches the Gizmotron is 9 volts for the motor. The American model Lol showed me operated on 110 volts, stepping it down to 9 volts by means of a transformer built into the plug that goes into the wall socket. The exact details of the transformer to be supplied in Britain were not settled at the time of writing but will be included in the retail price, now expected to be around £160. A bass model will be available later on in the year.

Lol and Kevin mentioned a few of the people who turned up for the New York Gizmotron launch. Lol: 'Some of Earth Wind and Fire came along.' Kev: 'Yeah, Earth was there... he passed Wind on the way.'

rrp: £142.18/$250.