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Dirk Jamaal
Dirk Jamaal

Roland Gr 55 Artist Patches _VERIFIED_



Robert Marcello is a masterful guitar artist from Sweden. His skill and stylistic range have made him a sought-after tour and studio player for such artists as John Corabi (Motley Crue), Bobby Blotzer (RATT), Mike Vescera (Yngwie Malmsteen), Tony Montana (Great White), Fergie Frederiksen (Toto), George Lynch (Dokken), Twisted Sister, Sebastian Bach (Skid Row), Stet Howland (WASP) and many others.




Roland Gr 55 Artist Patches


Download: https://www.google.com/url?q=https%3A%2F%2Furluso.com%2F2ubOwL&sa=D&sntz=1&usg=AOvVaw340R25TJkq3ATLlUGEHt7m



These patches feature both keyboard and guitar sounds from 25 famous songs. They show off the amazing versatility and wide-ranging sound capability of the GR-55, which provides both synthesizer voices and authentic guitar and amp tones using powerful onboard COSM modeling.


Dial in to some of the biggest tones in rock with this ULTIMATE collection of simulated artist tones. This is a compilation of patches made with the ROLAND GR-55 guitar processor designed to elevate your creativity and playing experience.


The GR-55 was used on several tunes for synth or COSM sounds only. I would be silly to use it for guitar sounds when you own an Axe FX II anyway! However, note that the GR-55 was not recorded separately from the Axe. It was plugged into the Axe's effects loop. This has two advantages: first, you get far better effects from the Axe, so even the synth sounds can benefit from those, and second, when mixing natural guitar and synth sounds (especially on lead and improvised parts), the whole output is much more coherent, as if a single source actually produced the sound in question. This, however, has an important consequence for those of you who will download the GR-55 patches provided below: all these sounds are "dry", meaning no leaking effects such as delays or reverbs. These are all generated by the Axe. There may be a slight chorus effect here and there, but that's basically it.


Here are the Axe and GR-55 patches that I used on the album. Note that these patches won't necessarily work out of the box for you. Many parameters are dynamically controlled via MIDI. This includes Axe FX scene and effects selection, tempo, volume control, GR-55 PCM tone activation etc. The resulting sound also depends heavily on your input volume and the kind of guitar / pickup you use, not to mention the obligatory tweaks that took place in the studio. In general I find it silly to release patches without all that information, so I will try to be exhaustive. Also, for more details on my guitars, strings and picks, see this page.


This is a double patch actually, since I use two different guitars on this song. It merges the acoustic nylon sound above with a Metheny-like, warm Jazz sound (think PMG this time). This is also a nice example of how to use scenes for making two very different patches in one.


High altitude turbulence experienced at supersonic speeds is described in terms of gust accelerations measured on the YF-12A airplane. The data were obtained during 90 flights at altitudes above 12.2 kilometers (40,000 feet). Subjective turbulence intensity ratings were obtained from air crew members. The air crew often rated given gust accelerations as being more intense during high altitude supersonic flight than during low altitude subsonic flight. The portion of flight distance in turbulence ranged from 6 percent to 8 percent at altitudes between 12.2 kilometers and 16.8 kilometers (40,000 feet and 55,000 feet) to less than 1 percent at altitudes above 18.3 kilometers (60,000 feet). The amount of turbulence varied with season, increasing by a factor of 3 or more from summer to winter. Given values of gust acceleration were less frequent, on the basis of distance traveled, for supersonic flight of the YF-12A airplane at altitudes above 12.2 kilometers (40,000 feet) than for subsonic flight of a jet passenger airplane at altitudes below 12.2 kilometers (40,000 feet). The median thickness of high altitude turbulence patches was less than 400 meters (1300 feet); the median length was less than 16 kilometers (10 miles). The distribution of the patch dimensions tended to be log normal.


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