Roland jazz chorus 77 speakers lyrics
The artist invites the listener to step into her otherworldly dreamscape and in turn go down a sonic rabbit hole into her garden of forking paths. Resisting attempts to interpret her work, Marina Herlop prefers to create open worlds which nourish and stimulate the imagination. It functions not only as a soundtrack to perform to, but rather that music itself, and the act of performing music, becomes a work of visual merit by its very nature. Harpsichord and oboe are combined with distorted electric guitar, or exuberant string ensembles with heavy industrial drums.
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Roland e 80 Service Notes
And yes This month, we'll see how Roland survived some tricky times at the start of the s, and how founder Ikutaro Kakehashi ensured that they were well placed to take advantage of technological developments over the following few years. In the first part of this history, I described the history of Roland from their inception in through to , a year in which everything was looking rosy for Ikutaro Kakehashi and his team. Sales were growing, and, with a string of world 'firsts' under its belt, the company had gained respect throughout the music industry.
By the end of , no fewer than products graced the company's portfolio, and although some of these did not appear in the UK until the next year, this was a remarkable achievement for a business formed with no premises and limited capital. And for over a year after that, the impressive achievements kept on coming, before the company hit a rocky patch.
It's a reflection of Roland's remarkable progress in the seven years following their foundation that there's insufficient room here to discuss some of the important products that the company launched in Sure, there was a turkey, too But such failures were rare, and there were three products in that we simply can't overlook. Not to be confused with the earlier System , the System M was a superb modular synth, far neater than the American monstrosities that hung over from the late s and early s, and it garnered passionate devotees who would attempt to cover entire walls with its small but powerful modules.
These modules could be housed in two sizes of frame — the '' three-module rack, and the 'J' five-module rack — which also provided power to the '', '' and later the '' keyboards, as well as to internal keyboard CV, gate and trigger lines, which considerably simplified patching.
In fact, you could even create a basic four-voice polyphonic synth with just a J rack, four s, a '' output mixer, and the four-voice '' keyboard. Add a second rack stuffed with '' LFOs and dual envelope generators, and you had an instrument much like the larger, heavier, more expensive, but far less stable Oberheim Four Voice.
There were originally just six modules in the series, with a further four released over the next five years. Despite plans for a further nine modules, Roland shelved plans for five of these, and a final four — the , , and — appeared just before the company deleted the range five years later. A complete System M setup shown above , as seen in a contemporary brochure, with the controller keyboard at the heart of the system.
Less impressive at first sight, the VP Vocoder Plus made a far greater impression on popular music. There were two revisions; the first with large, friendly rocker switches to activate the voices, the second with LED 'momentary' switches, although both sported the same four-octave keyboard, and offered the same selection of sliders and knobs to control the instrument's three sections.
Three sections? Firstly, there was a 'strings' section. Whether it was purely a marketing ploy 'if we include Strings, maybe we'll sell more Vocoders! Second came the Human Voice the Chariots Of Fire sound with the basic waveform heavily filtered to generate a somewhat nasal sound. On its own, this didn't sound like people singing, but with the Ensemble engaged, the result was extremely useable and, for the first time, choral voices were heard emanating from a keyboard that didn't weigh a hundredweight and need to be handled like a Ming vase.
The VP was hailed as the replacement for the Mellotron, and used as such. The Vocoder section offered 10 frequency bands plus a blue-noise sibilant generator, and maintained enough clarity for lyrics to be understood following treatment. Even greater flexibility was provided by the External Synth input, which allowed you to 'vocode' any sound source. Widely adopted on its release, the VP has never fallen out of favour and — a quarter of a century later — it remains a highly sought-after cult instrument.
The VP Vocoder Plus. If anything is to blame for 'talking synth'-style robot voices, it is this product. In contrast to the flexible VP, the 2U rackmount Dimension D offered no controls other than selectors for its four preset chorus effects, some of which were so subtle that a few people claimed that they couldn't hear whether it was operating or not.
But used correctly which always meant in stereo this was a hugely desirable unit, providing width and animation without imposing a new character upon the sounds it treated. Consequently, the 'D' became part of the standard equipment in top-quality recording studios and, today, the second-hand prices they command reflect the reverence in which they are still held. Despite the relative paucity of modules that exist for the System M, it has become one of the enduring modular synthesizers, and many are still used by aficionados worldwide.
By the end of the s, Roland were firmly established as major manufacturers. They had never cracked the top end of the synth market, but their Space Echoes, Boss effects, guitar synths, Jazz Chorus amplifiers, and 'CR' rhythm boxes were pre-eminent in their respective fields.
The following year continued in much the same vein, although there were, perhaps, only two major products launched, neither of which caused much of a stir on their release. Nonetheless, both would become classics. These days, it's a techno mainstay, but back in , the TR was just another Roland drum machine, and was expected to be used on everything from rock to, well, 'Planet Rock'.
Despite its current place in history, the TR did not even warrant a mention in Roland's 25th Anniversary commemorative catalogue, published in As we now know, it was eventually to spawn a whole industry of clones and sample libraries, but its heyday began years after its short production run had ceased, at which point producers in the emerging house and techno genres discovered its unrealistic but compelling kick, snare and hi-hat sounds.
The company later cashed in with digital recreations of the sound — the 'Grooveboxes' — but the TR itself was never the commercial success that its current popularity suggests. In , it was merely Roland's latest drum machine, with 32 programmable patterns, a maximum of measures, and 16 sounds that sounded nothing like the 'real thing'.
Sure, it offered 12 independent outputs offering independent levels and tuning where appropriate, and was the first rhythm machine with non-volatile user-programmable pattern memories, but this wasn't enough to ensure its success against the existing Linn LM1 and the LinnDrum that emerged shortly thereafter. In contrast, Roland launched the GR with the strap-line, 'Roland invented the first true guitar synthesizer. Now, we've made it obsolete'. This wasn't strictly true While the GS's tracking had been at best 'iffy', the dedicated G bolted-on neck and G through neck controllers were far better, and they still offer perhaps the best tracking of all dedicated guitar synthesizers.
The same accolade is also true of the bass guitar version, the GR33B, which had a slightly different voice structure and a choice of two controllers, the G33 and G The GR allowed you to decide which strings fed signals to the synth.
Kakehashi viewed this as a natural stage in the evolution of the guitar, from its acoustic beginnings, through the rapid development of the electric guitar in the s, '40s, '50s and '60s, to the next level, wherein each string can be treated as a separate instrument. Indeed, the GR featured a unique hexaphonic distortion that treated each string independently, which is very different from distorting the combined sound produced by all the strings.
Sure, there was only a single filter in the GR, and virtually no enveloping of the sounds, but the synth had an instantly recognisable character that elevated it to the status of an instrument in its own right. The following year, Roland released two Fender-style controllers for the GR, the G with dual humbuckers and the G the most common GR controller, with three single-coil pickups and a tremolo arm. This was a good move because, like the GR, the GR could only be controlled by Roland guitars with their dedicated multicore cables.
However, unlike the GR, you could also plug a quarter-inch jack into any of the '' series guitars and basses, and play it as a conventional instrument. Surprisingly, Roland's reputation and enviable success did not guarantee financial stability. Although it recovered briefly in , it was soon to rise in value again.
Unfortunately, the strength of the Yen had a near-catastrophic effect on Roland, because their European distributor, Brodr Jorgensen, had been unable to cope with the increased cost of importing Japanese goods and, in , they unexpectedly declared themselves bankrupt. This meant that Roland — who had themselves only just become cash-positive — suddenly found themselves without a European distributor, with one third of their worldwide business evaporating, and their European stock — millions of pounds of product — in the hands of Brodr Jorgensen's liquidators.
For the first time since establishing the company, he faced a crisis. And it was a huge one. Kakehashi immediately shut down all production of Roland products, and blocked delivery of the goods in transit.
This didn't improve matters, but it stopped the situation from getting any worse. He then approached three banks for the credit necessary to continue trading, only one of which was prepared to help.
Nevertheless, with a two-million dollar credit line from Daiwa Bank, the company was able to continue. In many ways, this couldn't have happened at a worse time, because during the course of , Roland had been completing their gradual migration from Osaka to Hamamatsu, coping with all the problems and disruption that this must have entailed.
Kakehashi himself spent the autumn and winter of criss-crossing Europe in an attempt to save his distribution network. By the time the new year arrived, Roland were at a crossroads. Their main product lines were small effects units and computer monitors manufactured for Roland but not by Roland in Taiwan. For a couple of years, the company proved to be surprisingly successful but, as competition mounted, Kakehashi decided not to compete with the large computer companies entering the market, and in he ceased supplying monitors, simultaneously discontinuing the effects units.
But this was not the end for the company. Kakehashi renamed it the 'Roland DG Corporation', and then used it as a vehicle to release a range of the company's own computer and music peripherals. In early , Kakehashi was invited to rescue Brodr Jorgensen, but the scale of its debts to other manufacturers made this impossible.
However, he managed to repossess the huge inventory of Roland products held by Brodr Jorgensen's liquidators, thereby stopping the world market from being flooded by cheap equipment that would have undercut Roland's own sales.
Simultaneously, he was filling the hole left by his distributor's demise. Building upon the joint-venture model he had already established elsewhere, he opened four new companies in the space of just three months.
Remarkably, Kakehashi also found the time to establish a new Japanese division, which he opened in May The TB and TR were clearly designed to be used together, as can be seen from their physical resemblence.
But one went on to defy all expectations and become the sonic heart of thousands of dance classics, years after the deletion of the product, while the other is a now largely forgotten drum machine. So, having averted disaster, the company was able to face the future with something approaching confidence. Nonetheless, there must have been some point in when Kakehashi wondered if he had lost the magic touch. Roland and Boss launched more than 30 significant products during the course of the year yet, despite critical success, few seemed to catch the public's eye.
Take, for example, the company's first big, polyphonic synthesizer and its toy bass machine. The former made little impact, while the other was soon to end up in the bargain bins, sold off cheaply for whatever dealers could get for it. But hindsight is a wonderful thing, as was Kakehashi's belief in his company and its designs. The polysynth was the Jupiter 8 see the box on the next page. Before , Roland's incursions into the field of polyphonic synthesis could at best be described as 'tentative'.
The Prophet 5 and Oberheim OB-series dominated, so perhaps it's not surprising that the original JP8 made little impact when it was launched. Today, of course, it's one of the most revered of all synthesizers, the icon against which all Roland's subsequent polysynths have been measured and, for many aficionados, found wanting At the far opposite end of the scale, the TB seemed to have few redeeming features.
Initially marketed as a 'computerised bass machine', it and its stable-mate, the TR 'Drumatix', were intended for use as replacements for a bass guitarist and drummer, tasks at which they were singularly unsuccessful. It had a single, unremarkable oscillator, a primitive envelope, and few facilities other than a built-in sequencer.
Had it not been adopted for the first acid house tracks later in the '80s, it's possible that the TB would have been no more than a footnote in Roland's product history. And why was it used? Largely because it was cheap and easy to understand. Nowadays, of course, the TB is a staple of all types of dance music, able to chain user-programmed patterns into longer tracks, enlivened by Accent and Slide, and by the inevitable tweaks on its unusual resonant filter.
Connected to a TR or TR, or even the CR and CR CompuRhythm machines launched the same year, the TB produces an instantly recognisable sound that was eventually copied with greater or lesser success by almost every other synth manufacturer.
The sincerest form of flattery indeed! The production run of the TB lasted less than two years, but it's rumoured that in this time Roland churned out nearly 20, of them, so it's likely that they'll be with us for some time to come.
The History Of Roland: Part 2
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The guitarguitar Interview: Billy Duffy of The Cult
Why, you thinking of letting your inner Andy Summers run free? Those things have the most hideous sounding distortion I've ever heard. But, they do have great clean sounds. I just spent the past 15 minutes playing my DA5. What a cool little amp!! I tell you, the Ric sounded like total death through it, with the tone control below 5 I don't like mega treble, bright sounding guitar. A lot of players don't realize that the Hi-Gain pickups in Rics have as much output as a Gibson humbucker.
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Pete Townshend
Later that year he recorded a demo at Utopia Studios in London - just his vocals accompanied by a Hammond organ.. Stewart Copeland 's drums were placed in the dining area of AIR Studios , while Andy Summers played his guitar in the main studio recording room and Sting 's bass was plugged into the recording console in the control room. Recording Every Breath You Take took about a week because of the simplicity of the song. On Montserrat it was agreed that the demo version's Hammond organ would go; they tried the song as a reggae, as a more "rock" track and whatnot, before Andy Summers came up with THAT guitar part. Hugh Padgham used a SM57 for the snare, Sennheiser s for the toms, Coles ribbon mics for the overheads and Neumann 87s as room mics placed about feet away. Originally the band intended to record the backing track the normal way with a band performance first - and Stewart's drums in one take.
Roland e 80 Service Notes
And yes This month, we'll see how Roland survived some tricky times at the start of the s, and how founder Ikutaro Kakehashi ensured that they were well placed to take advantage of technological developments over the following few years. In the first part of this history, I described the history of Roland from their inception in through to , a year in which everything was looking rosy for Ikutaro Kakehashi and his team. Sales were growing, and, with a string of world 'firsts' under its belt, the company had gained respect throughout the music industry. By the end of , no fewer than products graced the company's portfolio, and although some of these did not appear in the UK until the next year, this was a remarkable achievement for a business formed with no premises and limited capital.
A brief Hammond history
That was two years ago, and back then I had no idea what guitar synths were or what they were capable of doing. I surmised and later confirmed that her dad dabbled as a hobbyist in sound composition sometime in the '90s as I pieced together a long-forgotten collection of several other mid '90s consumer grade Roland products stored away in the attic, unused for over a decade, and shrouded in a fine layer of dust. Some sort of mixer to tie things together. I could only imagine the scores of suburban soundtracks that had once flowed through these units like lifeblood coalescing into a common identity.
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He is co-founder, leader, guitarist, secondary lead vocalist and principal songwriter of the Who , one of the most influential rock bands of the s and s. Townshend has written more than songs for 12 of the Who's studio albums. He has also written more than songs that have appeared on his solo albums, as well as radio jingles and television theme songs. As an instrumentalist, although known primarily as a guitarist, Townshend also plays keyboards, banjo , accordion , harmonica , ukulele , mandolin , violin , synthesiser , bass guitar, and drums. He is self-taught on all of these instruments. He plays on his own solo albums, several Who albums, and as a guest contributor to an array of other artists' recordings.
English version - Roland Keyboard Club
English version - Roland Keyboard Club. These limits are designed to provide reasonable protection against harmful interference in a residentialinstallation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used inaccordance with the instructions, may cause harmful interference to radio communications. However, there is no guaranteethat interference will not occur in a particular installation. If this equipment does cause harmful interference to radio ortelevision reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct theinterference by one or more of the following measures:— Reorient or relocate the receiving antenna. Operation is subject to the following two conditions: 1 This device may not cause harmful interference, and 2 This device must accept any interference received, including interference that may cause undesired operation.
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Stevie used various amplifiers throughout his career, mainly Fender and Marshall. Most guitarists with multi-amp rigs will use Fender amps for clean tones and Marshalls for distortion and overdrive, but Vaughan did the opposite. He said of his choice: "I use the Fenders for distortion and the Marshall for clarity.
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