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First published by Routledge 8: Kegan Paul Ltd This edition first published by Routledge 2 Park Square, Milton Park, Abingdon, Oxfordshire OX
Table of contents

Official Sites.

Company Credits. Technical Specs. Plot Summary. Plot Keywords.

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Parents Guide. External Sites. User Reviews. User Ratings. External Reviews. Metacritic Reviews.

The Birth of Gamification (History of Gamification Pt.2)

Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Silent Witness —. Rate This. Season 6 Episode 4. All Episodes The police continue their investigation into the deaths of several members of the Irons family but based on the forensic evidence, they now believe he may have been killed elsewhere and Director: Renny Rye.


  1. Residential Tenancy Act?
  2. The Cabin at the Lake;
  3. A Man For Mom?
  4. Keeping children safe in education!
  5. Kith and Kill: Part 2.
  6. Heroes Often Fail (River City Crime Novel Book 2).

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  • The History Of Roland: Part 2;
  • The House by the Church-Yard.
  • Planar Metamaterial Based Microwave Sensor Arrays for Biomedical Analysis and Treatment (Springer Theses).
  • My Forbidden Face pt 2.
  • The McGowan Wolves: Blood Betrayal (The McGowan Wolves Series Book 5).

    • 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.

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    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.

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    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.

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    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.

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    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.