Roland GR 33 (Good Pic)

The Roland GR33 MIDI Guitar Synthesizer is a MIDI synthesizer made especially for guitarists. It uses it's own Roland MIDI guitar pickup that must be mounted on the guitar or you can purchase the Roland Ready Stratocaster which already has the pickup installed. The GR-33 also has it's own built-in digital effects unit so you can hear both the MIDI guitar synth and the analog (real) guitar mixed together.

In a nutshell the mounted MIDI pickup converts the frequency and volume of each plucked or strummed string (all 6 strings) and converts them into MIDI information. This information is then trasmitted to the GR-33 main synth where it is further processed and then triggers the GR-33's synth.

The GR-33's synth is very similar to the Roland JV-1080 synth sounds and provides over 350 intrument sounds including; analog synths, fat bass sounds, nylon string, organs, strings, ethnic instrument, choir, and it even has a jazz scat sound - COOL!

The unit uses an improved ultra-fast triggering system that tracks your guitar notes with a minimum of errors. As previously stated you can use it with any steel string guitar though I haven't tried it on an acoustic guitar ;^) You need to purchase the Pickup separately or you can get them both in the Roland GR-33 Synth / GK-2AH Pickup Package.

Roland has really improved it's GR technology that was started with the GR-30. The improvements have lead to a much better note tracking system that the GR-30 and it's predecessors didn't have. They also add the JV-Series synth module that really opens up new posibilities for electric/electronic guitars.

The GR-33's synth module has 48-voices so you can playback sounds while other sounds are still playing back. Or the 48-voices can be use to layer 4 sounds one on top of the other for some realistic sounding strings, synths, and even guitar sounds. It allows you to do what the egomaniac keyboard player do. You can also record your playing to MIDI and store them in a MIDI sequencer or your digital audio computer software such as Cubase SX, Emagic Logic, Digital Performer and many others. Another great feature of the GR-33 is it's intelligent harmony generator that Roland calls "Synth Harmonist". This allows you to select a key (Major, Minor, Augmented etc...) and then play harmonies to your single note melodies. It's just awesome really!

Did I mention the Roland GR-33 has built-in digital effects?

The unit comes with 40 multi-effects including; chorus, reverb, rotary, overdrive, compression and other. You can blend the two sounds; the synth module and the real analog processed guitar together and output them both to a stereo output or you can also route the Guitar and Guitar effects only (no synth sounds) to another output so you can play your guitar through your own amp while still being able to playback the MIDI Guitar Synth - WAAAYYY COOOOLLL :^)

The GR-33 comes with it's own pedalboard with assignable parameters so you can add real-time expressions to your playing. You can also store your own presets in anyone of the 128 presets or use the killer presets that roland has already given.

The unit also comes with a two-line LCD (Liquid Crystal Display) and has a rather intuitive layout for easy navigation. There are also dedicated functions assigned to buttons on the front panel which is a real plus. The main navigation method centers around the Value Dial. The GR-33 also sports a stereo return so you can route signals into the unit from external processors. There is of course a MINI IN/OUT port so you can communicate with other MIDI synths and your sequencer or computer based sequencer.



Features

Sound Module Features 350 sounds like the JV-Series synth module
48 voice polyphony
capable of playing 4 voices per note
2-line 16 character Liquid Crystal Display
7-segment LED level meter

25 Digital multi-effects
Analog Guitar Output for connecting your own amp
MIX output - both guitar and synth
Excellent note tracking
Arpeggiator
Synth harmonist
Assignable expression pedal
MIDI IN/OUT Port for recording your guitar playing
Options Divided pick up GK-2A
Accessories GK connecting cable
For one incredibly low price, you turn your guitar into a whole symphony of instruments. How can you resist?
While similar in some respects to its predecessor, the Roland GR-30, the new Roland GR-33 MIDI Guitar Synth makes a quantum leap forward in GR technology thanks to its advanced sound engine, based on Roland's legendary JV-Series synthesizer module.


Roland Guitarsynth Pickup Kit

Tap Plate for the New Godin Grand SA 7.99 on ebay

This is a tap plate (glope) spainish protection for the top of the guitar. It protects from the taping that is done in the Flamenco Style. On many steal string guitars they put a tear drop shap and call it a pick gard. This is a bit bigger and goes on the right and left side of the strings above the bridge. I purchased this on ebay for 7.99 The picture may seem like it is white but that is only the backing of the plastic. I will post when I aply it to the gutiar once I recive the tap plate.

New Godin Grand in Palm Studio (Love this Guitar)

some pics of the gutiar This guitar plays like a dream, its action is so good, I can finger tap, play classical, and flamenco with ease. This just a joy to play. I will run it thught the Line 6 Pod XT and man dose it sound good.

Set Up of Roland GR 33 for Use with Godin

Connecting the GR-33
Connect a patch cord from the Mix out on the back of the GR-33 into an amp (mono) or Mixer (stereo).

Insert the 13-pin cable from the guitar output into the 13-pin input marked “GK” on the GR-33.

Power up the GR-33, tune, and you’re ready to go! However here are a few tips to get the optimal performance from the Godin and GR-33.

Using the on-board guitar tuner
Hit the “Tune” button on the GR-33 and simply tune the guitar the same way you would when using a digital tuner.

Hit “Play” on the GR-33 when you want to return to the main screen/menu.

Pick-up sensitivity
If the guitar’s output is too hot for the GR-33 it can cause the GR-33 to double trigger random notes or octave jump. Properly setting the sensitivity will allow the sounds to track quicker, with better dynamics and greater ease in playing the synth sounds.

To adjust the pickup sensitivity simply:
Hit the “System” button on the GR-33. Using the Bank/Parameter arrows go to Pick-Up SENS (Sensitivity). Push the right arrow twice to get there.

You will see two numbers on the screen. For example 1-3.
The first number indicates the guitar string you are setting, the second number is the sensitivity output, which goes from 1-8. The goal is to the have each string’s output to be as even as possible.

Simply hit the string you are setting and using either the Patch/Value wheel on the GR-33 or the Up/Down buttons on the Godin guitar increase or decrease the sensitivity setting so that each string is even sounding and one string is not louder than another.

If you set the sensitivity too high the box on the right side of the screen will become white indicating that the output is too hot.

On Godin guitars the strings are resting right on the transducers therefore there is no need to set the sensitivity very high. The usual setting for each string is between 1 and 4.

To return to the main screen/menu hit “Play” on the GR-33

Adjusting the Play Feel on the GR-33
Another adjustment that can be made to optimize tracking and overall efficiency is the Play Feel setting. This setting takes into consideration the Feel or style of the player. You can choose from Normal, Finger-style, Hard, Soft, Tapping etc…in most cases the default “Normal” setting is perfect. However if you are a hard picker, select the “Hard” setting or “Finger-style” if you don’t use a pick.

Hit “Common” on the GR-33.

Using the Bank/Parameter arrows go to “Play Feel”. Push the right arrow twice to get there.

Using either the Patch/Value wheel on the GR-33 or the Up/Down buttons on the Godin guitar you can select different “Play Feels”. Once you have made your selection hit the “Play” button to return to the made screen/menu and start playing!
{.} Quick Start

David Mellor On Recording Tips and Studio

Dear Record-Producer.com Subscriber,

As you requested, here is your free electronic Record-Producer.com Producer-Pak. As part of your Producer-Pak, you are also entitled to the free Record-Producer.com Newsletter. It will be sent via e-mail weekly on Mondays.

Don't forget to stop by the Record-Producer.com website today. You'll find the information you need to take the next steps in your recording career. We'll help you all the way to recording professional.

In addition, visit our discussion forum where you can read posts from people all over the world. You can even ask a recording question, or post your favorite recording tip.

David Mellor
Publisher of Record-Producer.com
http://www.record-producer.com


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50 Great Record Producer tips...

(All of these tips are compatible with the educational standard of NVQ Level 1 for Sound Engineering and Music Technology. They are also appropriate background material for NVQ Level 2 and Level 3. )

1. Set your target.
No-one ever got to be big by thinking small. Decide now exactly when you intend to move out of your home studio into the professional world.

2. Finish building your studio.
So many people turn studio-building into the thing they spend most time on. You need to finish doing that and start recording.

So you'll need to...

3. Get yourself one great microphone.
You can buy a great microphone from around $100 and that's all the mics you need to succeed. There are good reasons for some people having more, but you need to know that they apply to you.

4. One computer for work/play/Internet, another for recording.
If you record using a computer, invest in an additional computer that you'll use for music alone. That way, you won't get viruses, worms, system crashes etc. You'll just make great music every day.

5. Don't upgrade your software after you have got it working.
Once everything is working, just leave things as they are. You'll learn the software you have and you will use it efficiently to make great music.

6. Don't buy new software.
See the point above. Once you have a good system set up, work on your music, not your software. Makes sense, doesn't it?

7. Copy the professionals.
There's a path to success already mapped out for you. If you use the same equipment as the pros (which is now affordable), then you're on the same playing field.

8. Don't copy the professionals.
See above...Ifyou want to take a chance that you could come up with an exciting new sound that no-one has ever heard before. But it's a higher-risk strategy.

9. Stop reading recording magazines.
Magazines have to put out a new issue every month, so they have to convince buyers that there really is something new around. Really, it's just the same old stuff recycled.

10. Invest in e-books from Record-Producer.com.
Well, we would say that. But we don't have a monthly schedule. We have worked on and polished our products to perfection. And when something really new does happen, we update right away, unlike printed books that are already out of date on the day they are published.

11. Decide whether a computer is right for you.
You don't have to use a computer to record. There are many standalone recording workstations that can give just as good results - and they are easier to use and don't catch viruses.

12. Buy only one keyboard.
If you write songs, listen to successful artists. The instrumentation is in the background. One good keyboard is all you need to give you a wide enough range of sounds.

13. Buy as many keyboards and modules as you can afford.
See above... If you want to compose music for film and TV, or if you are into dance music and don't use vocals all that much.

14. Strategize your career.
Your first choice might be to be a famous artist or producer. But if you don't make that, you could be a TV music composer - there's money and success in that too.

15. Ask yourself whether you are a musician or technology expert.
There are lots of sound-related careers outside of music - live sound, radio, television, film etc. You could be working the same equipment but you don't need any musical skills.

16. Get trained.
Most successful producers started out in a studio. They learned hands-on from the experts. This type of work isn't easy to get, and if you can't get it you need proper training to bring yourself up to the same level.

17. Don't get trained.
See above... If you learn the technique of 'benchmarking' and apply it effectively, you will be able to get sounds exactly like the pros get.

18. Set up a soundproofed studio.
If you can work in peace and quiet and not have to worry about annoying your neighbors, you will get much better work done.

19. Don't set up a soundproofed studio.
See above... If it isn't possible for you to set up a soundproofed studio, bear in mind that great songs have been written and recorded in studios that have no acoustic treatment at all. Don't let the lack of a soundproofed studio hold you back.

20. Tidy your cables.
Get your system set up. Get it working. Test it every way you can, then tie down the cables so you don't trip over them. You can waste a lot of time among cables.

21. Don't let the cat in your studio.
A tried and tested (the wrong way) Record-Producer.com tip! Those cables never did come clean again.

22. Beware of rodent damage.
Serious this time. Record-Producer.com has observed the damage squirrels (also known as tree-rats) are capable of. Extreme!

23. Point the microphone at the sound source.
There's so much myth and mystique about microphones. That's rule number one above.

24. Place the microphone closer than the natural listening distance.
Microphones can't 'focus' like the ear and brain can, so they have to be placed closer to get a clear sound.

25. Experiment with microphone positioning. There are no federal laws!
Textbooks tend to say there are standard microphone positions for different instruments. Don't be satisfied until you have tried them yourself, and also tried alternatives that may in fact be better.

26. Ignore the textbooks completely!
Well, that's what recording engineers often say. In fact, textbooks are usually reasonably accurate - they're just overburdened with detail and stuff you don't need to know.

27. Don't download plug-in effects.
Except from reputable sources. A rogue download could trash your computer and everything you are working on.

28. Don't go overboard on software.
There is a lot of cheap software around and some of it is good. But you really need to concentrate on your music, not the latest plug-in.

29. Don't expect anyone to want to listen.
The truth is that there is already enough music around. No-one really wants any more. Get this in your mind and then do battle! Now you know it's tough, you stand a better chance out there.

30. Get your music heard.
If you perform, then perform. Learn how to please a crowd. That will get you massively more attention than your recordings.

31. Get your music heard (part 2).
If you produce dance or hip hop music, get your recordings pressed onto vinyl and get DJs to play them. Learn how to excite the dance floor.

32. Learn how to please a crowd.
It's worth saying twice. You gotta get out there!

33. Be entertaining.
You can achieve success by giving people enjoyment.

34. Be arty.
You can achieve success by gaining 'artistic credibility', whether or not anyone actually really enjoys what you do.

35. Be cool.
You can achieve success by being cool regardless of the quality of your work. People will want to be near you and feel the chill.

36. Yes really!
Referring to the three points above.

37. Make a copy of your recordings.
This applies especially if you record on computer. You put so much effort into your recordings. One day your computer will crash. But that's OK, everything's copied. Isn't it?

38. Make great demo CDs.
As well as great music, learn how to make professional-looking CDs using nothing more than a home computer and printer. Amateurish-looking CDs don't get listened to - there are just too many around.

39. Don't make demo cassettes.
Cassettes are as dead as the dodo-bird.

40. Make people listen to your demo.
You don't mail it. You find out who the industry exec is you want to target, bump into him 'accidentally' in a bar and twist his arm until he listens on the CD Walkman you just happen to have with you. If he's a she, be more polite.

41. You need a really good pair of bad loudspeakers.
Duh?? Well, everyone listens on pretty bad speakers at home, so you need a pair in the studio. However, they have to be sort of 'averagely' bad so you can compensate and your recordings sound good anywhere.

42. Do not master your recordings!
Do not! Do not! Do not! Oh, go on then...

43. More on mastering...
Mastering comes after mixing. Get your mix right and hand over to a pro mastering engineer who will make it sound better. He can make a second-rate mix sound OK. You cannot; neither can I, and neither can anyone who isn't doing mastering every day of their lives. But then show me an engineer who hasn't at least tried.

44. Tune in to genre and style.
Don't waste your time making music that no-one will want to listen to, or hardly anyone. The industry wants music to supply current demands. Listen to recent successes and incorporate their sound into your style. Be original, but in a style that sells.

45. Don't rush.
Pro recording engineers work at a measured pace. They will try anything out. If it doesn't work, they'll trash it and try again. But each time is another step towards the finished master.

46. Work with a partner.
Few professional recordings are made alone. Two minds are better than one and it's great to exchange and develop ideas.

47. Never be satisfied.
Make the best recording you can and finish it. Don't just leave it unfinished because it's not turning out quite the way you wanted. When you have done all you can, assess it and work out what you can do better next time.

48. Prepare for success.
Allow time to imagine what it is going to be like when you are successful. But don't spend all your time dreaming - allow your ambitions to motivate you.

49. Learn everything you can about recording.
Stating the obvious perhaps, but knowledge is power.

Last tip coming... got to be a biggie!

50. Record, Record, Record!
Told to Record-Producer.com by an extremely successful producer. That was his number one tip - keep on recording, developing and getting better all the time.

So that's it - fifty great tips to get you started. You can find out much more back at Record-Producer.com

And don't forget to look out for your Record-Producer.com Newsletter!

David Mellor
Publisher, Record-Producer.com

Laughing Coyote

This is where we might be recording some of the songs for New Wine.

Godin Grand and Roland GR 33 on the way to PALM

Well I checked and both are in the mail. Looks like the Godin will get in on Friday and the GR 33 on Saturday. Hear is an early pick of what the gear will look like.

Godin Grand Classical and Roland GR 33 are on the way

Well I have purchased both the Godin Grand Concert Gutiar and the Roland GR 33 on ebay. I sold the Flamenco Negra with the thiner neck and should soon be able to have guitar synth access to my gear. and the Godin thught the Line 6 Pod XT Pro will produce awsome sounds. This is a wonderfull addition to what Palm Studios will be able to produce for comercials, and sound track schems. It will be a pretty cool rig. The only thing missing now is a quality mic pre amp. Any one want to give us one?? Ha Ha I know they cost a lot close to 1000.00 but that is what makes the little guys sound so diffrent from the big guys. Oh well we will wait and see what we will do hear at Palm Studios. The gear is growing and so will be the projects and what we can produce. Take care. Victor

Roland GR 33 Guitar Synthesizer

GR-33 Guitar Synthesizer
The GR-33 is the world's most powerful 48- voice guitar synth. At the heart of this GK-ready synth is a sound source equivalent to Roland's JV-Series synth module, capable of producing some of the richest, most interesting instrument sounds and incredibly lush effects available.


The GR-33's advanced sound engine gives guitarists virtually an unlimited palette of rich, distinctive sounds. Everything from natural-sounding strings, super phatt bass tones, vintage synths, and more can be layered with up to 2 tones each to create your own custom sound.

The secret of the GR-33's power goes beyond its impressive sound engine. Its enhanced tracking speed delivers lightning response and improved accuracy to capture every nuance of your performance - from subtle strumming to pounding rhythms and intense solos that explore the boundaries of chaos theory. The GR-33 is a doorway to a new sonic universe.

In addition to JV synth-quality reverb and chorus, the GR-33 offers an onboard multi-effects processor with 25 insert effects, including serious overdrive, distortion phaser, auto-wah, compressor, limiter, stereo-EQ, and a built-in expression pedal for realtime control. And you can tailor all of these effects and save your own sonic creations in 128 user patch locations.

The GR-33's intuitive panel layout makes navigation, operation, and editing a breeze. There's nothing spooky about the controls. A 2-line LCD display tells you what's up, dedicated function buttons make selection easy, and a value dial gives you immediate access to the most common parameters. There are also 4 on/off pedals and an assignable expression pedal for fast realtime patch selection and tweaking. A stereo return input makes it easy to route a guitar from an external effects processor to the GR-33, while an output select switch can connect to a guitar amp or power amp. MIDI I/O is also provided for using the GR-33 with sequencers or controlling MIDI gear.

VG-88 or GR-33?
If you need more than essential effects and garden-variety tone, either of these sonic powerhouses will exceed your expectations. Both plug directly into a Roland-Ready Fender guitar, a Brian Moore MIDI guitar with a 13-pin jack, or you can install a GK2A on your guitar. If you want 384 cool synth sounds in your guitar arsenal, the GR-33 will be a sweet fit. But if you want a galaxy of custom sounds and the classic modeled sounds of vintage heroes, the VG-88 is the one for you. Either of these Roland processors will take your music further.

Features & Specs
VG-88
GR-33
        •        COSM technology models vintage guitars, pickups, amps, mics, and cabs
        •        Contains hollow-body and acoustic guitar models.
        •        Natural tube amp and overdrive
        •        Harmonic Restructure Modeling creates new synth-type sounds
        •        Blends GK and normal pickup sounds
        •        Onboard effects

Roland GR 33 (Biding on Ebyay)

I hope to be wining one of these Roland Gr 33 in the next week or so. Had some pay check problmes so it may be a delayed purcase but I am hoping to take this into the studio next month when I record out in CA. This will be used with my Godin Grand SA guitar and my Fender Strat. To hear some of the sounds just click the link above. The Picture is of the unit that I am bidding on. Last year I had to sell two of my synths to deal with my former wife yech. But I am rebilding the PALM studio and gear. You also try cut and pasting this link for experencigng the sounds of this wonderful guitar synth: http://www.musiciansfriend.com/product/Guitar/Effects?sku=151382 and scroll down to sounds and demo.

Originally uploaded by stromo.

Originally uploaded by stromo.

Vazques Guitar ship

Originally uploaded by stromo.

Godin

Some pictures from the NAMM Show in 2006 Anahiam CA Godin Both. The Dude in the photo is Rober Godin, the man responcible for all these great guitars.

Godin Grand Classical with 2in Nut 650mm Scale

Well I did buy a Godin Multi Guitar from Guitar Center but I have decided to sell that one and go with the Godin Grand which is more traditional in size with classical guitar 2in nut, 650mm length. The body is a bit bigger as well. I am selling the other guitar on ebay feel free to check it out. The nut on the one I am selling is 1 7/8 instead of the 2in nut. It is synth access as well. The picture is the one of the guitar that I won on ebay. To check out Godin click the above link. Hope to get the guitar by next week. Thanks Kathy there is no way that I would have been able to do this with out your help. Thanks for helping me sell the Flamenco Negra, setting up the deal at Guitar Center. This is still one of ours. Again Thanks V
Multiac Grand Concert SA, Two Voice
The Multiac Grand Concert is the Multiac for those players looking for a more traditional classical guitar feel. This is achieved with a design that unites a larger body with a Solid Cedar top and a neck that joins the body at the twelfth fret. The 2" width at the nut is slightly larger than the standard Multiac and more typical of the classical tradition. The result is the ultimate guitar for classical players that require amplified sound.

Specs
Mahogany neck
Ebony Fingerboard
16" fingerboard radius
25.59" (650mm) Scale
2" nut width
Chambered Mahogany body
Solid Cedar Top
Custom RMC electronics with 13-pin connector for direct control of Roland GR Series and Axon AX100 guitar synths.
Natural Semi-Gloss or Natural High-Gloss finish

Victors New Godin Classical with Synth Pickups

Kathy my wonderful patinet and long suffering grilfrind put this deal together at Guitar Center in King Of Prussia and we picked up the Godin today. So hear are some pictures. This is my frist real time picking out a guitar with someone and it was a wonderfull experence to have this and to pick it up and share it. We even both put parts of the purcase on our cridit cards.

Roland GI 20

GI-20: GK-MIDI Interface
Features
If you’re looking to enter the world of synthesis, sample-triggering or MIDI sequencing using your guitar or bass, then this is your box. The GI-20 GK-MIDI Interface detects the signal from any electric guitar or bass equipped with a GK-2A or GK-2B pickup, respectively, and lets you trigger synthesizers and samplers, or even record your playing as MIDI data. And with its built-in USB MIDI port, the GI-20 is perfect for computer-based recording setups.


Powerful Guitar/Bass-MIDI interface ideal for turning your favorite synthesizer or MIDI module into a guitar synth
Built-in USB MIDI port for computer connection
Easy, knob-based controls and dedicated buttons for fast, intuitive operation
Patch Memory lets you store user settings including “Play Feel, “Transpose/Mute” settings for each string, and Bank Select/Program Change messages for live performance
Perfect size and configuration for use with Roland XV-2020 Synthesizer Module
Flexible Transpose functions + 2 / - 3 octave with optional footswitch control

Roland GR 1 Hoping to find on good on Ebay

New Godin Guitars comming soon. Put some $ down on it

The Multiac Grand Concert is the Multiac for those players looking for a more traditional classical guitar feel. This is achieved with a design that unites a larger body with a Solid Cedar top and a neck that joins the body at the twelfth fret. The 2" width at the nut is slightly larger than the standard Multiac and more typical of the classical tradition. The result is the ultimate guitar for classical players that require amplified sound.

Specs
Mahogany neck
Ebony Fingerboard
16" fingerboard radius
25.59" (650mm) Scale
2" nut width
Chambered Mahogany body
Solid Cedar Top
Custom RMC electronics with 13-pin connector for direct control of Roland GR Series and Axon AX100 guitar synths.
Natural Semi-Gloss or Natural High-Gloss finish

I saw this guitar two weeks ago at Guitar Center in King of Prussia I thought about it was trying to figure out how to do it. Well I decided to let go of one of the Flameco Negras the one with a smaller neck to off set this endevor. So my girlfrind Kathy took the guitar to guitar center today and started to weel and deal. It looks like on Sunday this week or Friday of next I will pick up the guitar. Very cool. It will allow me to acess syths and other sorts of midi stuff. Will be very cool for teaching as well. I can hook it up to my mac and print out the notes of what I am playing.

Add on info: The first Multiac Nylon prototypes were already nearing completion when we became intrigued by the possibilities presented by Roland's GR-1 guitar synth system. Guitars had already been triggering synths for many years but they were either very expensive and not really guitars but guitar-like triggering devices or they just didn't work very well. The GR-1 made the guitar/synth connection available to guitar players of all budgets and abilities. However, using the GR still involved attaching a significant amount of hardware to your existing guitar. So we began experimenting with the idea of a guitar built from the ground up with synth tracking in mind. Our old friend Richard McLish of the RMC pickup company already had developed a hexaphonic pickup and preamp system called the RMC Polydrive and we asked him to work on a version of his system customized for our new guitar, which we called the Multiac. Richard's system worked beautifully, however, we discovered that we could impact the tracking of the system with fundamental changes to the guitar itself. Bracing, scale length, string tension and wood selection all had some effect on the response time (tracking) of the synth. After about twelve prototypes we not only had achieved superb guitar synth tracking but we'd done it in a nylon string guitar. Several years have passed since the first Multiac made its debut and we continue to refine our designs and explore new possibilities such as the new Multiac Fretless. There are now nine Godin models that include synth access.

Connecting the GR-33
Connect a patch cord from the Mix out on the back of the GR-33 into an amp (mono) or Mixer (stereo).

Insert the 13-pin cable from the guitar output into the 13-pin input marked “GK” on the GR-33.

Power up the GR-33, tune, and you’re ready to go! However here are a few tips to get the optimal performance from the Godin and GR-33.

Using the on-board guitar tuner
Hit the “Tune” button on the GR-33 and simply tune the guitar the same way you would when using a digital tuner.

Hit “Play” on the GR-33 when you want to return to the main screen/menu.

Pick-up sensitivity
If the guitar’s output is too hot for the GR-33 it can cause the GR-33 to double trigger random notes or octave jump. Properly setting the sensitivity will allow the sounds to track quicker, with better dynamics and greater ease in playing the synth sounds.

To adjust the pickup sensitivity simply:
Hit the “System” button on the GR-33. Using the Bank/Parameter arrows go to Pick-Up SENS (Sensitivity). Push the right arrow twice to get there.

You will see two numbers on the screen. For example 1-3.
The first number indicates the guitar string you are setting, the second number is the sensitivity output, which goes from 1-8. The goal is to the have each string’s output to be as even as possible.

Simply hit the string you are setting and using either the Patch/Value wheel on the GR-33 or the Up/Down buttons on the Godin guitar increase or decrease the sensitivity setting so that each string is even sounding and one string is not louder than another.

If you set the sensitivity too high the box on the right side of the screen will become white indicating that the output is too hot.

On Godin guitars the strings are resting right on the transducers therefore there is no need to set the sensitivity very high. The usual setting for each string is between 1 and 4.

To return to the main screen/menu hit “Play” on the GR-33

Adjusting the Play Feel on the GR-33
Another adjustment that can be made to optimize tracking and overall efficiency is the Play Feel setting. This setting takes into consideration the Feel or style of the player. You can choose from Normal, Finger-style, Hard, Soft, Tapping etc…in most cases the default “Normal” setting is perfect. However if you are a hard picker, select the “Hard” setting or “Finger-style” if you don’t use a pick.

Hit “Common” on the GR-33.

Using the Bank/Parameter arrows go to “Play Feel”. Push the right arrow twice to get there.

Using either the Patch/Value wheel on the GR-33 or the Up/Down buttons on the Godin guitar you can select different “Play Feels”. Once you have made your selection hit the “Play” button to return to the made screen/menu and start playing!
{.} Quick Start
The ten Multiac models featured on the following pages represent the crème de la crème of the acoustic/electric guitar world. Whether you're recording, performing or just looking for an incredible plugged-in sound, these instruments deliver superb results. Seven of these guitars are nylon string and the three remaining guitars are steel string. The various models are also distinguished by the two electronic systems used in the Multiac series guitars. The RMCTM equipped Multiacs include synth access capabilities

Bears and Blankets (Friends Web Page and Passion)

This is my good friends passion and desire to help little ones. Please check out there web page by clicking the link and if there is anything that you can do to help them please contact Charline. They can use bears, blankets, materials, boxes, wraping, books, cash (there not tax exempt yet but hope to be soon) This is a quality person and project that all the money and efforts go to helping little one the Kids of the world. I will be donating 10% of my new cd sales to them and hope to see them grow and even a spot on Opera someday. This is again an awsome woman who took a passion and used it to help her heal and bless others, she is a blast to hang out with and talk to so feel free to contact her and talk "Bears and Blankets"

T-Shirt

T-Shirt
Originally uploaded by o2ma.

ToadsFOH

ToadsFOH
Originally uploaded by o2ma.

Denver Paramount 2

Denver Paramount 2
Originally uploaded by o2ma.

Splashing on the rocks

Splashing on the rocks
Originally uploaded by charlene4235.

Monterey beach

Monterey beach
Originally uploaded by charlene4235.

Surf

Surf
Originally uploaded by charlene4235.

Monterey Sunset

Monterey Sunset
Originally uploaded by charlene4235.

Monterey

Monterey
Originally uploaded by charlene4235.

Monterey rocky shoreline

Monterey rocky shoreline
Originally uploaded by charlene4235.

Monterey surf

Monterey surf
Originally uploaded by charlene4235.

Monterey sunset

Monterey sunset
Originally uploaded by charlene4235.

Monterey sunset

Monterey sunset
Originally uploaded by charlene4235.

Eddie Bauer Shirt Batlik & Oxford Shirt

Orederd one of these today.

90408 Hits so far on www.victortarassov.com

Its been 8 months since we put up www.victortarssov.com and so far its had 90,408 hits as of 3/10/06 wow. The sight is growning feel free to tell me what you like and dont like on the sight and what you like to see more of.

Negative Nit Picking

What is it about people just wanting to nit pick and not see the big picture. Or coming up to you to tell you what's good, wrong etc. What is so hard about telling other "good job"? Why cant management see the good and build off strength and not flaws? O when will it end? Just some rants and rave for the day.

VICTastic

Hey AJ came up with a new way to look at things and a word that can be used if I wind up running for mayor. Its "Victastic" what do you think?

Pink Panther Tab from 911 Tabs/com

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----------0---------------0-4-3---------3-2------------------------
--1-2---4--------1-2---4----------2--5--------5---202--------------
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-------------------------------------------------------------------
---------------------------4-3-------------------------------------
-----------0-------------0------------32---------------------------
--1-2---4------1-2---4---------2--5---------5----202---------------
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Jake On Uke Wow (While my Guitar Gently Weeps

I saw this guy about 6 years ago in Hawai at a Film Festavile and man he was good so click the above link and when you see his photo click that and you will be able to hear him play. http://www.transbuddha.com/mediaHolder.php?id=576 Steve Kahn sent this to me and it was a gental and yet very beautiful performace by Jake.

B Band History

B-Band
B-Band is original. When outdated piezo crystal technologies have been mutated in countless ways, and extra hardware expanded to make the acoustic instrument to sound "more real", B-Band Ltd has concentrated its efforts in a different direction. B-Band Ltd has developed an unique and innovative transducer material, and manufacturing technology that produces a pickup that more efficiently replicates the natural sound of any instrument.
The material is a permanently charged film with microscopic gas bubbles trapped inside and produces signal in a completely different way than other materials used for pickups. As vibrations are fed to the pickup they pass without multiplying the output signal but with a very wide frequency response and dynamic range resulting in a more natural reproduction of the instrument's sound with none of the dynamic problems that other materials impart.
Even when hitting the strings hard the sound will remain clear and free of synthetic tone. When playing softly all the subtle dynamics and nuances of the performance will be heard. Also the pickup has a natural resistance to feedback that enables performances in loud environments.
B-Band transducer systems, in their simplicity, do not color the tone and are so unobtrusive that they do not spoil the natural uniqueness of your instrument.
Determined
B-Band Ltd has sustained a high profile within the music transducer industry. Fundamental to this success are the endeavors and hard work of many, and for B-Band to intuitively rise to the commitment of a mission that is continually set by customer expectations. B-Band's team determination focuses on continuous innovation and the upgrade of quality. B-Band believes that for their customer to succeed, B-Band needs to go beyond what their customer expects.
Band Ltd was originally founded in 1991. The starting point of the company's new business in 1995 was the introduction of the proprietary Emfit® material, the invention of the well-known Finnish inventor Kari Kirjavainen. Lasse Räisänen, an associate of Kari, and Lasse's brother Heikki Räisänen, founder and director of B-Band Ltd, nurtured Kari's idea - that the Emfit material can make an excellent transducer of acoustic instruments. That idea was realized and continues to be a source of new inspirations for the articulation of amplified acoustic sound. Emfit is used in every B-Band transducer.
B-Band cares what the performer, luthier, guitar tech, dealer, distributor and musical instrument maker want. They know that their customers not only do business for profit but, more importantly, to be recognized as a leader by using or distributing a great sounding, quality product.
We at B-Band are honestly determined to help you reach your audience, and customers, through quality and innovation.
Heikki Räisänen
Managing director,
B-Band Ltd
B-Band, B-Band logo, A1, A2, A2.2, A3.2, A4.2, A5, A6.2, A7, A8, A9, A10, A1N, DST, DM-K, DM-S, DM-T, Statement, D1, S1, XOM, UST and AST are either registered trademarks or trademarks of B-Band Ltd in U.S., EU and/or other countries. Copyright © 1996-2006 B-Band Ltd. All rights reserved.

B Band Pick Up Review

From the article: Finnish Line, B-Band transducers and preamps
By Jeff Colchamiro, Guitar World Acoustic #58
Finnish Line, B-Band transducers and preamps
When played through an amp or PA system, an acoustic guitar is only as good as the microphones used or pickup systems capturing its sound. Even the finest high-end instrument will sound thin and brittle when paired with a cheap piezo pickup. I recently checked out several new products from B-Band, a Finnish company that manufactures preamps and transducers that feature a patented high-tech electret film different than that used in standard piezo-electric pickups, and I'm happy to report that the results were anything but thin.
I first examined a Larrivee L-05 that featured a built-in B-Band A-6 sidemount preamp, UST (Under-Saddle Transducer) and AST (Acoustic Soundboard Transducer). While the L-05 can be purchased with this system already installed, all of the B-Band components included are sold individually as well.
I plugged the guitar into Tech 21 Bronzewood 60 acoustic amp and the results were dazzling. The sound that streamed from my amp was remarkably similar to the natural tone produced by the guitar-full, balanced and not the least bit harsh. And that was before I even made any adjustments to the system. The A-6 preamp has a three-band EQ, a balance control to blend the two transducers, a notch filter to fight feedback (I didn't encounter much, except at very loud volumes) and a phase switch. Even with the treble cranked, the sound never had that harsh tone associated with piezos. The EQ did a great job of highlighting different aspects of the guitar, and different settings worked better for different playing styles. But it always sounded warm, natural and-there's no other word for it-acoustic.
I also tested B-Band's A-1 endpin preamp with the UST and the AST units (each one separately, as only one transducer can be connected to the A-1). The sound was impressive, though certainly less remarkable than that produced by the A-6 system. While the UST delivered a nice tone, it was a little on the bright side, and the A-1 preamp doesn't have any controls to alter the sound. If you have a good acoustic amp (or outboard preamp), however, you can use the outboard controls to eliminate some of the high end and customize your tone.
The AST sounded warmer and emphasized the guitar's midrange more, though it wasn't quite as punchy and defined as the UST. After hearing how well they complement each other, it was hard to settle for just one, though each performed admirably on its own.
If you have a problem with the sound of piezo pickups, why buy one and then try to fix its sound with EQ and effects? Look into B-Band's line of products - you won't "B" sorry.
Jeff Colchamiro
© Copyright 2003 Guitar World Acoustic
Reprinted from the No. 58 issue of Guitar World Acoustic.
Reprinted with permission from Guitar World Acoustic.
For subscription information, please call (212) 807-7100 or visit
www.guitarworld.com
B-Band, B-Band logo, A1, A2, A2.2, A3.2, A4.2, A5, A6.2, A7, A8, A9, A10, A1N, DST, DM-K, DM-S, DM-T, Statement, D1, S1, XOM, UST and AST are either registered trademarks or trademarks of B-Band Ltd in U.S., EU and/or other countries. Copyright © 1996-2005 B-Band Ltd. All rights reserved

Santa Barbra Wine Will Be Drinking some later.

Santa Barbara Winery



202 Anacapa Street, Santa Barbara
10-5 daily
(805) 963-3633
1-(800-225-3633
fax (805) 962-4981
wine@sbwinery.com
www.sbwinery.com
Patio.

The county's oldest winery was founded in 1962 by Pierre Lafond. We grow eight varietals at our Lafond Vineyard including Pinot Noir, Syrah and Chardonnay. The area's oldest Zinfandel highlights the many limited releases crafted by winemaker Bruce McGuire. http://www.sbwinery.com/

Line 6 FBV Longboard for Line 6 Pod XT series

I hope to pick on of these up soon for my new Line 6 Pod XT Pro soon. I think I will pick one up on ebay or used at Guitar Center or Sam Ash.

B Band UST Should be comming this afternoon Yeh!

I will be installing this in my main Flamenco Negra and use it live and try sounds out in the studio as well. I will use it in conjunture with the Line 6 Pod XT as well. Ottmar Libert used to use this brand in his early days but now just uses two Shure KSM 141 mic's with in ear moniters when playing live. Maybe some day I can do that but for now this is what looks like will work for live performaces for me. Well I just put the pick up in the Flamenco gutiar on 3/3/06 and it took about 2 hours to do the whole thing. Man my hands dont fit to well to put some of the wire fastners in the guitar. I pluged in the gutiar at 10:20pm and in the Pod XT Pro and used the Nylon Dreams 2. Wow it sounded good. Its all done the Pod XT Pro, The B band UST and V-1 Pre Amp.