Very similar arrangement to the original but a semitone higher unless my ears are mistaken. Good proper ending. I am delighted to have become a regular customer of Bobbysbackingtracks, which almost weekly increases its catalog with new tracks, give precise information on directly to my email address.
A demand is placed on the soloist play to play as hard and intensely as the arrangement. I have especially enjoyed the Pat Metheny tunes and after his recent tour with the Orchestrion project, see the idea of backing tracks as artistically viable for performance anywhere. Again, the time saved over midi files is great practice time woodshedding for solo gigs. Good proper ending too. Paul Rumbol UK.
You are the master of backing tracks, mate!!! I never heard something so beautiful in this matter! I have to have them all! Well received by my audience! Great job Bob! Bill USA. Best of success to you — well deserved!! I will be jamming with it this weekend with the other songs you made. Customer Reviews In this new website everyone can give their comments about our site and backing tracks at the product pages when logged in.
Fantastic arrangements, playing and overall quality. Well done, and thank you. I am really going to enjoy performing these tracks.
Cheers Duane You have no idea what a treat it is for me to be challenged everyday by the virtual rainbow of sounds you send me. Frank Thanks Bobby. Thanks again! This filter gives the GR much of its character, and it sounds about as good as any analog filter I have ever heard. In addition to the dramatic sweep of a dB per octave filter, the GR is also capable of high levels of self-resonance. It is also very easy to expand on the range and power of the filter on the GR On the rear of the GR is a filter pedal input.
You can plug any volume pedal into this jack, and easily sweep the filter. Some pedals work better than others, depending on your musical requirements. The filter pedal input works by moderating a control voltage that is summed in the Voltage Controlled Filter circuit. The greater the resistance, the greater the range of the sweep of the filter. A typical volume pedal has a 10K potentiometer. A typical CV pedal uses a 50K potentiometer, and there are some pedals with K potentiometers.
As you can tell by listening to the samples below, the higher the value of the potentiometer in the pedal, the greater the filter effects. Also, the filter pedal input works in conjunction with the filter knob on the guitar.
The filter knob setting on the guitar sets a "base line" that the filter sweeps from. With the knob on the guitar set to "zero," the filter pedal will sweep from a very dark sound to a brighter tone. With the filter knob on the guitar set to "5," the filter pedal will start with an open sound, and then sweep to an even brighter sound than is possible with the guitar alone.
This is an important point: you can actually extend the range of the filter on the GR by adding a filter pedal. If you want really bright, screaming synth tones, or dangerously loud resonance levels, adding a filter pedal gives more range to the GR If you are using a volume pedal, you will plug a standard guitar cable from the GR filter pedal jack to the output of the volume pedal. The GR will then measure the amount of resistance from the wiper to the ground terminal. Again, the GR will then measure the amount of resistance from the wiper to the ground terminal.
I recorded these audio samples with a 10K, 50K and K potentiometer, and maximum resonance. Also, the sweeps were done with the initial guitar filter setting of 0 minimum filter. You can hear in all these examples how the external filter pedal expands the range of the filter. Notice how the 10K pedal does not move the filter frequency very much.
The K really opens the filter up, but it does so too quickly. There does not seem to be any effect once the filter is open, so about half of the travel of the pedal is useless. The 50K pedal seems to be the "just right" value. It does not get quite as bright as the K, but overall the range is useful and effective. My favorite pedal is the flexible, versatile Korg EXP With a Korg EXP-2, you do not have to re-wire the pedal, since it also doubles as a volume pedal.
Just plug a standard guitar cable from the GR filter pedal jack to the output of the EXP-2 volume pedal jack, and you will get a wide, musical range of filter sweeps. The Behringer FCV is a pedal that can function as a dual, stereo volume pedal, or as a control voltage pedal with a 50K pot. To make the FCV compatible with the GR, just reverse the tip and ring wires on one end of a tip-ring-sleeve cable. The other end should be left unchanged. This will reverse the operation of the pedal, resulting in pedal up dark, filter closed , pedal down bright, filter opened , as shown in the YouTube clip.
I have tested this with both a GR, and GR It works with the GR with either the filter or pitch input. It does not matter which end of the cable is plugged into the synth. By the third gig, the rubber pad came off the pedal. Joe patiently bought some epoxy and took care of that problem Not a big issue, but it meant constantly putting it back together every time he took it out for use.
Finally, Joe reported that the pedal went "soft" meaning that it would tilt down when he took his foot off it.
It does not stay in position like a quality pedal does. Here is a simple explanation of the genius behind the GR Application drawing of a G without a Mode Switch. Each element in the Roland guitar synth pickup is actually a tiny humbucking pickup. As you can see, the patent illustration on the left depicts a classic humbucking pickup, with dual coils wrapped around opposite magnetic poles. This configuration cancels out noise while amplifying the essential guitar signal. By using tiny humbuckers, Roland was able to apply the incredible amounts of gain needed to take the tiny microvolt output from the pickups to a 25 volt, peak-to-peak signal used to directly drive the Voltage-Controlled Oscillators in the GR Interestingly enough, the earlier GS used what appears to be a collection of six tape machine pickup heads to make the divided pickup.
Before the GR can create a synthesizer waveform, the guitar input signal must be filtered to eliminate any overtones and to emphasize the fundamental tone, or root pitch of the note. After passing through a simple low-pass filter and compression circuit, the guitar input arrives at a two-stage band-pass filter.
This adaptive filter changes its frequency response curve depending on what note is played. When notes are played from the open string to around the sixth fret, the filter takes the shape of "F1", corresponding to the fundamental of the open string. This filter attenuates 1st overtones or harmonics by 24 dB. As higher notes are played on the guitar, the filter response curve shifts to shape "F2a" and "F2b.
Other guitar synthesizers used different methods to try to detect the peaks of a waveform. The idea is that the time between waveform peaks will determine the pitch of the note played on the guitar. Roland took a different approach, and is probably the only company that tried zero crossing techniques to detect the pitch of a guitar signal. While it is possible to have several zero crossings in the guitar cycle resulting in octave jumping , the adaptive filter is so efficient that this rarely happens.
Here is an explanation of the diagram on the left:. Square wave created by processing the input waveform through filtering and zero crossing circuit. The raw guitar waveform is filtered and processed through a zero crossing detector to produce a square wave.
The edges of the square wave are then used to create 1 microsecond pulses. As a pulse is received by the waveform generating circuit, a steadily rising voltage is generated by a capacitor.
When the next pulse is received, the waveform resets to a value of zero, and the cycle starts all over again. Roland calls this a time-to-voltage circuit. Oscillators are tuned by varying the current to the capacitor, which controls the rate the waveform rises.
This design leaves one problem: the lower the pitch of the note, the louder the note is. Notice in the example above the widest oscillator pulse or lowest in pitch is also the tallest or loudest.
To keep all the GR notes at the same volume, the circuit uses a "chopper-gate" to basically chop off the tops of the sawtooth waveform. The result is the very distinctive GR waveform, unique among analog synthesizers. Red Sky Stranger In Town. Quartet Introduction When We Were Free Montevideo Take Me There Seven Days Oceania Dismantling Utopia Double Blind Second Thought Mojave Badland Glacier Language of Time Sometimes I See As I Am.
Imaginary Day Follow Me Into the Dream A Story Within the Story The Heat of the Day Across the Sky The Roots of Coincidence Too Soon Tomorrow The Awakening. Speaking Of Now As It Is Proof Another Life The Gathering Sky You On Her Way A Place In The World Afternoon Wherever You Go.
The Way Up Opening Part One Part Two Part Three. Sign Of The Season We Go On Pat Metheny Trio. Lonely Woman Tears Inside Humpty Dumpty Blues for Pat Rejoicing Story from a Stranger The Calling Waiting for an Answer. Solar Question and Answer Never Too Far Away Law Years Change of Heart All the Things You Are Old Folks Three Flights Up. Go Get It Giant Steps Just Like The Day Soul Cowboy The Sun In Montreal Capricorn We Had A Sister What Do You Want?
Lone Jack Question And Answer Into The Dream All The Things You Are. Night Turns Into Day Faith Healer Counting Texas. Son Of Thirteen At Last You're Here Let's Move Snova Calvin's Keys Is This America?
Katrina Dreaming Trees The Red One Day Trip. Tromso Traveling Fast Inori The Night Becomes You. Works Everyday I Thank You Works II Story From a Stranger Rarum IX: Selected Recordings Lonely Woman. Flower Hour CD 1. Shadow Dance Indingo Dreamscapes Silver Hollow.
The Good Life Blue Eye Of The Hurricane Cantaloupe Island. This World Above The Tree Tops How Insensitive See The World Truth Will Always Be. A Sassy Samba Instrumental Arthurdoc Tritonis Heartland Sirabhorn The Windup The Epic Down Here on the Ground There's one that will be out this summer, I'm real proud of. It's different than the group thing, it's not a group record. It's me and Charlie Haden and Billy Higgins. The first side is all other people's music, three Ornette Coleman tunes, a tune by Horace Silver and a tune that Charlie wrote.
And the second side is a couple of my tunes, one of which is really set up for a lot of improvising. And it's nice, I really like it. The album is called "Rejoicing". And after that, in September, there's a group record that we just did a couple weeks ago. I mean, it's one of those things were we went into a studio for four days and everything worked. I mean, it's the best tunes that we've come up with, it's the new group, we've got a fantastic new drummer named Paul Wertico, and a great new utility musician, he plays guitar, he sings and he plays bass, he plays percussion, he's incredible, he's from Argentina, his name is Pedro Aznar.
The album features both those guys quite heavily, and of course, Lyle and Steve Rodby, too. So, if the best record I've made up to this point scored a 30, then this record scored I still can't believe that we got it in the can. It's not titled yet. PM: No, this one I produced. But also on this record, it's probably going to be the first one that really features the Roland guitar with the Synclavier.
There are three tunes where it's very prominent. PM: Yeah, I think soon, sometime within the next year, I'm going to have to do a solo record just with the digital guitar and in fact, I won't have to go into the studio to do it. I can do it right here, on the floppy disc. PM: Just about. In fact that's not far away at all. They've already talking about hooking up modems between the factory and some of the users in order to transfer discs, and if you can do that, it's literally phoning in your part.
Roland Centerstage - Roland Makes! I tracked down a mint PG Owner's Manual, newly posted. Includes the very, very rare GR case, never seen before! In this way many tracks of guitar synthesizer can be recorded and layered to create a final composition. Forget the Hex Pickup! GR Tech Tips from Roland!
GR Performance Tips! Interior photos of the Roland GR-D! Roland G A Fresh Look! Trevor Harley sent me these photos of his Roland G The guitar was refinished with a flame maple top and back by the Canadian Luthier George Furlanetto. Note that the touch pads have been relocated below the bridge pickup. Steinberger Time! The solar system on the fret board and more! Hamer Phantom A7 Nothing says vintage 80s guitar styles link a solid pin finish! New photos from Skylark of his pristine G Fretless bass.
Clone Pin Cable At long last there is a quality clone of the impossible to find Roland pin cable. This is a quality, made in the U. Check out the description and video on the cables page. Complete on YouTube no talking! The inventive and adventurous Andy Summers was busy rewriting what a rock guitar player could be. Volume 2, number 2, of the Roland Users Group magazine featured a great interview with Andy, reproduced for the first time on the web!
This combo said goodbye to Roland guitars and dedicated guitar synthesizers like the GR and G in favor of a system that could be mounted on any guitar, and used to control any MIDI synthesizer. Roland GR Mods and Tips! Electronic Musician magazine started life as Polyphony magazine, edited by young writer named Craig Anderton.
Seemingly produced by on a single typewriter in the early eighties, this Polyphony article features insights and modifications for the Roland GR! Detailed photos and videos! Roland G Major Update! Great GR showcase! Thank you Chuck Nin! Thank you Eric Rusack! G White Ever wonder what a G would look like redone in a brilliant white finish? With Steinberger folding leg rest! Arranged using only the ARP Odyssey for all sounds, synths, drums, efx, etc. Rare 'Endorsee' finish with Silver hardware.
Arp Avatar Review by Paddy Kingsland. You can download the newly posted ' I used the company Big Blue Saw to make my to plates from aluminum.
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