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Sounds

Disregarding all the electronic gubbins for a moment, we have to say that the Dark Fire is a pleasing enough guitar to play.

Not everyone will take to the matt finish on the back of the neck, and some of the fret ends were a little sharp out of the box, but playability is fine and the combination of the P-90 and Burstbucker is an inspired choice that offers plenty even before getting into the realms of coil-splitting and active EQ.

The default setting of the guitar is a Chameleon tone setting known as 'Classic Gibson', which does what it says on the tin, but the MCK can call up the other seven presets, which use different coil combinations and EQ variations.

Each preset effectively re-voices the guitar somewhat like the various models on a modelling guitar, but it does it with conventional electronics so whatever 'voice' you choose can still be altered by pickup selection and the tone and volume controls.

This is probably the widest range of sounds available in a single electric guitar – without the use of modelling – and pretty versatile too, from the 'Twang' preset that evokes Fender-like tones to the 'L5' sound that paves the way for some really cool jazz.

The piezo pickup (built into the bridge and essentially there as a sensor for the tuning technology) is utilised as a faux acoustic sound, but even with the onboard EQ engaged it is not particularly convincing in that role.

However, it can add an extra element of attack when blended in with the magnetic pickups so overall can make a positive contribution to the range of sounds on offer. Hopefully more EQ options will be available in an update to make the 'acoustic' sound a little more authentic.

The tuning function works flawlessly on the Dark Fire and it's undoubtedly a great asset – not only for keeping in tune during practice, recording and gigs but also because instant switching to altered tunings may encourage musical exploration. And if you regularly use altered tunings onstage, it's a lifesaver. Most tunings need a couple of strums, particularly with the more extreme dropped tunings, but it's still all done in seconds.

So what of our criticisms? Well, pulling out the MCK sends a bang through the amp and the tuning isn't silent (although Gibson is looking at solutions and there will be ongoing firmware upgrades to improve functionality).

Our main gripe, though, is that the MCK is not user-friendly and often downright confusing – it controls too many functions for a single knob and its readout is hard to see properly from a playing position.

According to Gibson, the single knob idea was utilised so the Dark Fire looks just like a conventional Les Paul with no extra holes or switches, but shoehorning all that modern technology into a design that is essentially over half a century old has inevitably resulted in compromised ergonomics.

From a player's point of view, a small digital readout on the topside of the guitar would be preferable to the coloured graphics on the MCK and one, or more, extra rotary knobs would make life a lot easier.

Full marks to Gibson for trying to take the electric guitar a few steps up the evolutionary ladder. Without detracting too much from its use as a conventional guitar, the Dark Fire has incorporated three hugely important elements in terms of tuning, tone and computer compatibility.

Some may sniff about the instant tuning but, while it's true that beginners do need to learn to tune by ear, for experienced guitarists it's a great labour-saving device – anything that takes away the drudgery and just lets you get on with playing has to be a good thing.

Likewise, providing more tonal options, even if you don't use them all, is desirable. And if the RIP string separation works via FireWire, the Dark Fire is going to be in demand for creating new sounds in computer-based recording.

Gibson has given us the Dark Fire to look at before it is truly ready and are working hard to get all the elements in place for the full package. We have here an instrument of massive potential, but it's not quite there yet.