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A Fender em parceria com a Roland®, vem apresentar uma guitarra revolucionária.

A "VG Stratocaster®", um instrumento incrivelmente versátil, que dispõe de 37 opções de timbres, com 5 afinações diferentes. - Corpo: Alder. - Braço: Maple "modern C" shape, Parafusado. - Escala: Maple, One Piece. - Trastes: 22. - Marcação: Black Dots. - Captadores: ...3 American Strat® Single-Coil. ...1 Captador Roland GK. - Chave Seletora: 5 Posições. - Controles: ...Volume. ...Tone. ...Tuning: Simula Violão de 12 cordas, D Modal, Drop D, Open G, Normal e Baritono. ...Mode: Seleciona entre 5 distintos modelos(Normal, Stratocaster, Telecaster, Humbicking Pickups e Acustico). - Alimentação do sistema de simulação: 6V( 4 x 1.5V, AA). - Ponte: Tremolo. - Ferragens: Chrome. - Tarraxas: Fender. - Escudo: Branco(sanduiche). - Pintura: Verniz Brilhante. - Largura do Braço no 1° Traste: 4,5cm. - Acompanha: Correia, Cabo, Flanela, Alavanca, Chaves de Regulagem, Manual do Usuário e Case Deluxe. - Origem: U.S.A.

Muita gente, ao ler a biografia do Maiden ou o review de discos como o Somewhere in Time e Seventh Son of a Seventh Son, se depara com a expressão "guitarras sintetizadas" e acaba ficando em dúvida. O que seria isso e porque usá-las? Nesta matéria falaremos sobre isto. Bom, guitarras sintetizadas são guitarras que, quando devidamente equipadas, reproduzem sons de sintetizadores e de outros instrumentos. Em idos de 1986, o Maiden se aprofundou na tecnologia da época e gravou Somewhere in Time. Para, os fãs mais ardorosos, foi um choque, porque eles deixaram um pouco de lado o peso dos álbuns anteriores e trouxeram sons novos. As guitarras ganharam mais brilho no som e o uso de teclados se intensificou nessa época. As guitarras foram equipadas com captadores MIDI da Roland, algo extremamente novo e caro para a época (ainda é hoje, mas por ser novidade, era mais caro ainda). Com esse artifício, eles ligavam as guitarras através de um cabo especial (MIDI) ao um módulo sintetizador, capaz de reproduzir os mais diversos sons, desde pianos a flautas, etc. Um exemplo dessa guitarra, é a Jackson que Adrian Smith usa no clipe de Stranger in a Strange Land. Ela foi usada poucas vezes ao vivo, sendo substituída por uma Jackson Strato, mais leve e mais confortável para os shows.

S. música que abre o álbum Somewhere in Time. deixando o som mais encorpado. uma banda que apresenta um hard rock bem oitentista mesmo.. GS-500 and PC-50 Title link takes you to shots via this auction. (Adrian Smith And Project). percebemos por quase todas as faixas do álbum.que pode ser ouvido claramente no solo de Dave Murray em The Clairvoyant). sendo que está mais nítido em Seventh Son of a Seventh Son. o principal motivo pelo qual Adrian Smith deixou o Maiden foi o fato da banda querer voltar a fazer um som mais cru. entre várias bandas utilizaram sintetizadores (de guitarra ou teclado) em suas músicas. delay (efeito que consiste em repetir a nota. O Maiden foi uma. Os teclados. é parecida com uma Jackson modelo Kelly. Essa guitarra pode ser vista no clipe de The Evil That Man Do.P. de acordo com a intensidade . Já as guitarras sintetizadas podem ser ouvidas nitidamente no refrão de Can I Play With Madness. O uso de sintetizadores é notado em todo o disco (único) Silver And Gold. Além dos efeitos sintetizados. entre outros. Outros pioneiros do uso de sintetizadores na década de 80 foram Pat Metheny. caindo um pouco para o pop. eles passaram a usar mais chorus (efeito que causa uma leve desafinação na nota. o Maiden explorou ainda mais esse recurso e incrementou ainda mais o seu novo disco com teclados e guitarras sintetizadas.S. deixando um pouco de lado o uso dos sintetizadores.Além das guitarras. sendo que após a saída.A. Roland GR-500. . ideal para sons limpos ou solos). Um exemplo próximo. Você pode ouvir claramente o baixo sintetizado no início de Caught Somewhere In Time. é o A. banda que Adrian Smith formou após sair do Maiden em 1990. Falando nisso. Em 1988. formou o A. o baixo também foi ligado ao sintetizador. John McLaughlin. Frank Zappa e outras bandas. Adrian usava uma guitarra equipada com os captadores MIDI para reproduzir os sons. Adrian ficou insatisfeito com essa decisão do grupo.P. tanto é que nos show. causando um "eco".A.

Because of the Les Paul style body this guitar sustains for days and has a nice warm tone. with a single humbucker plus a hexaphonic pickup for driving the GR500. You can create anything with this one. The playability is very good. The condition is good. The sound is very very very versatile as you may expect. and LFO sections. Just light playwear. The guitar has a very nice honeyburst finish. I'm sure the guitarsynth experts know what i'm talking about. VCF. individual on/off switches for each of the . There are plenty of sliders to adjust the VCO.Details: "Roland GR-500 and GS-500 Guitarset including controllers and cables. Solo Synth. there were magnets under the face of the guitar that could increase its sustain'' This is the complete set including the guitar. with a nice comfortable neck and low string action. VCA. 24-way cable and the synthesizer unit (GR500). Here is another description for the high tech guitarplayers among us: The GS500 was a heavily modified Ibanez guitar. but nothing serious. Here is a description: ''This is THE first guitar synth ever made & it came out in 1977! It came with an Ibanez made Les Paul type guitar with tons of knobs to control various parameters of the 3 separate synth's that were built in to the module. Some scratches here and there. and String sounds based on previous Orchestral and analog mono-synths from Roland. The guitar utilizes a special pickup system that is connected to the synth module via Roland's own 24-pin interface and controlled it using CV/GATE signals generated by the guitar's pickup system while playing the guitar. the PC-50 Preset Controller footswitch. As used by Mike Rutherford of Genesis and Alex Lifeson of Rush. A hardcase is included for the guitar. In addition to the modified pickup. The synthesizer module included Bass. very rare because you won't find this combination anywhere! only a few where made in the past.

or both simultaneously. While players were to find this very frustrating. and the similar-looking cable used for future Roland guitar synths was wired differently and does not work correctly. plus EQ. Given that there are now no spares left. B. heavy paperweight. you cannot even build a new one. the synthesizer. The GS500 really was far more than just a guitar plugged into a sound generator! If the GS500 had a limitation. you owned nothing more than a large. it had a huge benefit for Kakehashi and Roland when the prototype was stolen — and then returned as 'unusable' — just hours before its world launch in Australia. but very heavy instrument whose body contained magnets that fed the audio output back to the strings. Without this. These were the straight- . multi-core cable unique to the GS/GR500 combination (shown in the above picture). it was that you could only connect it to the outside world using a heavy. switches to select the sound of the guitar itself.four synthesis sections. with five sound generation sections — G. M and S — that you could play individually or in any combination. The synthesizer module (shown below) was amazing. P. thus creating an 'infinite sustain' system. All this appeared as a beautifully crafted.

but with a number of very important bonuses. and LFO sections. was interesting. The synthesizer module itself was a simple analog affair with Bass. The GR-500 is a vintage guitar controlled synthesizer . the VCA was 'touch sensitive'. but it was the Melody section that captured players' imagination because it was here that the real synthesis took place. and an 'external synthesizer' section designed to interface with and control an SH5. System 100 or System 700.before there was MIDI too! It was the first synth of this kind that Roland had ever produced. A fourth switch returned control to the guitar. but no memory to store your edits. There are plenty of sliders to adjust the VCO. and the output from the Poly-ensemble was an input in the solo synth's mixer. Sounds were generated by a conventional VCO/VCF/VCA architecture reminiscent of the earliest SH-series synths. M and S sections and select between them using stomp switches. Solo Synth. I have never seen mention of the PC50 in any of Roland's documentation" via Johan Thanks to Roland. In addition. Melody. Another superb innovation was the output buss system that allowed you to direct the sounds generated by each of the sections to any one of three outputs as well as a global 'Mix' output. VCA. the PC50 Preset Controller was a floor unit that allowed you to set up three mixes for the P. For example. guitars and synthesizers have had a long working relationship together. Bass. B. which treated the independent outputs from the 'hex' pickup. VCF. The synth module is controlled by a "highly modified" guitar. and String sounds based on previous Orchestral and analog mono-synths from Roland. Poly-ensemble. It utilized a special pickup system that connected to the synth module via Roland's own 24-pin interface and controlled it using CV/GATE signals generated by the guitar's pickup system while playing the guitar.through Guitar. The Polyensemble. back in 1977. so you could inject the polyphonic sound into the VCF/VCA signal path. In addition to the . Notice all those knobs on the guitar pictured above. and produced what would later become Roland's signature 'bowed guitar' sound.

. Performance accuracy was "iffy" but good for 1977 and pre-MIDI. there were magnets under the face of the guitar that could increase its sustain. As a piece of guitar-synth history. Mike Rutherford of Genesis and Alex Lifeson of Rush. the GR-500 makes an excellent collectors item and may come in handy for the occasional growl or a strummed analog sound effect. It has been used by Tangerine Dream.modified pickup.