Hi Ricard, thanks for the listen and comment. It is probably hard not to hear 14 edo as out of tune since it so close to 12 but not quite there. I think then your sense of it being flattened and less bright is the result of the tuning.

interesting piece, all the notes/sounds seems a bit flattened out (ie less bright, is that a result of the tuning?

pretty cool

pretty cool,,

Ha, wow, fascinating!

I enjoyed this, it's most interesting and compelling.

A jazzy little peach!

An enjoyable and delightful song.

Love the jauntiness! Nice Bryan Ferry touch to the vocal. Very cool.

Wow now thats cool great sound mate.

On the three GR-20 pieces uploaded 6/8/11 this is how it works. In a nutshell - my guitar replaces a keyboard - but can do more. Everything you hear is driven by me playing my Fender Mustang in one improvised pass. Now, for each song the Fender Mustang by itself (or through an amp simulator) is heard - this sound comes from the traditional pick ups on the guitar. Besides that I have installed a Roland GK-3 pick up on my Mustang. This pick up has 6 tiny picks ups - one for each string and connects to a fairly large switch and then a 1/4" cable with some 11 lines - regular guitar output and 6 outputs for the GK-3. This cable connects to the GR-20 synthesizer / midi interface. The GR-20 first decodes, almost instantly, the note each string is playing. It then converts that to midi pitch information and shoves that out the back. More on that later. Also, since the GR-20 is a synthesizer besides, it takes the pitch information and routes it to an internal sound (if desired). The really interesting part is what happens when I route that midi output to my computer. At my computer Sonar lets me assign that midi data to any number of synthesizers / samplers/ what-have-you all at the same time. So, if I want a voice or strings or piano - no problem. As for drums - Kontakt has a really neat groups of sampled drum sets that are a combination of "one shots" and smaller loops. So for instance on one of the pieces when I played the C below middle C I got a snare roll, play the B below it I get the accent that finishes the roll. So, by playing many notes I get a complex assortment of drum sounds that are in time with my playing. I've used this technique before - I am learning how to control it better - and the response is different for each of the dozen or so drum kits packaged with Kontakt - and then consider the effect of different tempos - the result is a fair amount of variety.

Peachy!

Jazzerremendous...........

I can listen to this all day! awesome!

Outstanding.

Love it

Killer sound and nice playing

some very moody blues there (not referring to the band)! Well played. Some old Beck/Clapton/Page sounds shining through.

cool composition man. you asked about "One Chord & Four Notes" - nope i don't think i ever used b major, only arpeggiated down Bsus2.

Nice one mate excellent.

Great music Brian and company!

really quite like this one! floaty, bouncy but has some nice grit layered in!

Rock on Reg!

Interesting sounds - what synth are you using?

How did you get Tina's vocal?

This is fantastic!

man.... you make the piano speak!

OMG I hate this place! You've made it in psychedelic salad!

excellent!

excellent rolling D's!

Rockabilly Awesome!

Thanks for mashing!

certainly gets a vibe going!

A stormy composition Ben that rolls on the listener like waves - excellent!

Yes indeed! Wonderful piece!

Just awesome!

A lovely aural dream!

astounding work! - love the coda especially

ahh then the actual sysnth pad ! - excellent!

nicely done! I like how the reverse guitar becomes a pad - it has shades if Magical Mystery Tour to my ears.