Midi Guitar Roland

I cannot recall the first time I saw the Roland GC-10, but I am pretty sure it was from looking at a Japanese web site.

As far as I have been able to determine, the Roland GC-10 was briefly sold with the Roland GI-10 in the early nineties, primarily in Japan.

The guitar was never offered for sale in the United States, nor can I find any reference to the Roland GC-10 in any Roland English-language literature.

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There is badging at the top of the headstock that reads GTM. I saw a web page that called this the Roland Guitar-to-MIDI controller. I have seen one other guitar with the badging, and it is the guitar played on the Roland VG-99 demo page, though it is a different guitar.

What is interesting though is the installation of the divided pickup. It is actually opposite of the way most divided pickups are installed, with the extra arm length extending towards the controls, instead of sticking out above the low E string. I think this works better, and if you ever rest your hand on the bridge of the guitar, you do not bump into the divided pickup. I noticed that in order to install the pickup in this manner, the original Roland badge on the pickup was also inverted.

Probably the best feature of this guitar is how comfortable it is to play. I am guessing that the neck is 9 inch radius, though I am not sure. It reminds me of the smaller, fast necks on the Roland-Ready strat series, with a 41 mm or 1 5/8” nut width. This guitar is easy to play sitting down, and standing up. And the weight: this baby barely weighs 5 lbs! Yep! 5 lbs and 3/4 ounce on my scales! The only other guitar I know with this kind of playability and weight is a Parker Fly guitar! If your shoulders get tired playing, or you are gigging all night long, this curious little guitar is just what the doctor ordered!

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Video demo of the rare Roland GC-10 13-pin guitar synthesizer controller. These controllers were primarily sold in Japan, often with the Roland GI-10, guitar to MIDI interface.

As far as I have been able to dtermine, the GC-10 was never sold in the United States, and I cannot find any reference to the GC-10 in any English language Roland product brochures. This video shows the GC-10 with the Roland VG-99.

The GC-10 works equally well with any Roland guitar synthesizer. In this clip the GC-10 plays some of the wonderful factory patches in the Roland VG-88, the predecessor to the popular Roland VG-99.

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This video shows the GC-10 with the Roland GI-20, driving Native Instruments Reaktor 5.0 run as a standalone application on a Intel Mac.

Roland-Ready Parker GC-10 with Roland VG-99. This video demo shows the PM-10 with the VG-99, playing a patch suggested by VG-99 wizard Bill Ruppert. Play a chord, and let it sustain. The VG-99 will automatically hold that chord...forever! Then solo along with the chord! Very Cool!

No need to use the D-Beam trigger, the sustain starts as soon as the input level falls below a set threshold. You can use the second VG-99 channel to solo with, in this demo I use a distortion patch with the slow gear effect.While most manufacturers have all but given up on guitar synthesis, Roland have demonstrated an admirable degree of tenacity in this area, and given that our surveys indicate that around half the UK's project studio owners play guitar as a first instrument, this is definitely good news for SOS readers. Over the past few years, Roland have launched some very affordable and surprisingly playable models including the GR09 and the GR30 (reviewed back in SOS May '94 and February '97 respectively), but their new GR33 is both the most sophisticated and the least expensive guitar synth they've ever built.

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Retailing at just under £500, the GR33 is based around the JV sound engine, as used in Roland's popular JV1080 and JV2080 synths, giving this GR a far better sound quality than previous ones, which used sounds derived from more basic Sound Canvas sound sets. Although the GR33 isn't expandable by means of cards like other instruments in the mainstream JV range, its waveforms have been selected from a number of different JV sound sets in order to provide the guitarist with a wide tonal palette. As with other JV instruments, a comprehensive multi‑effects section is included.

The GR33 is designed as a floor unit for both live and studio use and must be used in conjunction with a Roland GK2A divided pickup or one of its licensed equivalents (note that this is

Included in the GR33's £499 price tag, Roland's logic being that many prospective GR33 purchasers will already have one from their previous system). This pickup derives a separate signal from each guitar string and sends these signals to the circuitry that analyses the string pitch and then drives the synth section. You can use sticky pads to affix the pickup, but I've always found that it needs to be screwed firmly to the guitar for the best results, and with the new mounting bracket for the GK2A's control box, which uses the guitar's strap peg, there's now even less of a reason to use adhesive pads and risk damaging your guitar's finish.

Roland Gk 2a Midi Guitar Pickup Serial Zg59700, Beg. (stockholm)

The GR33 features a full LCD display along with an integral pedal that can be assigned to a number of real‑time control functions on a per‑patch basis — volume, rotary speed, auto‑harmony level and so on. In addition, there are the four familiar footswitches that can be switched between two modes using the S1 and S2 buttons on the GK2A control box. In one mode the switches are used for sound selection (Groups, Banks and Patches) while in the other they provide real‑time control inputs for wah, pitch glide, hold effects and other controllers. As the wah and glide effects are controlled here by on/off switches rather than variable pedals, the software provides for a choice of rise and fall times.

The physical controls on the front panel have been kept as simple as possible while still offering a sensible degree of editability to the sounds. In addition to volume and data knobs, there's just a handful of buttons, a three‑digit LED window and a two‑line backlit LCD window. Two Peak/Parameter buttons above the data wheel act as cursor key while a single button below the display switches from PA to guitar amp mode. In PA mode, the output is untreated, just as it would be from a keyboard, but in guitar amp mode, the synth output is EQ'd so as to sound reasonably accurate when played via a guitar amp. This is a useful feature for those live players who don't have the luxury of a separate amp for their synth.

The eight main buttons are arranged in two rows of four. The upper four are Play, System, Tuner and Write. Play mode is used when you're playing rather then editing or tweaking, and System lets you set up global parameters, such as the string sensitivity. Tuner turns the display into a very accurate guitar tuner that automatically recognises which string you're tuning up, and Write is used to save patches you've created or edited.

Roland Gk 3 Divided Guitar Pickup Adjustable External Guitar Midi Input (gk3 Gk 3)

The lower four buttons, Common, Tone, Effects and String Select, all deal with sound editing. The GR33 has 384 waveforms or Tones stored in ROM, and a Patch can make use of either one or two Tones. The maximum polyphony is 48 voices (one voice is required to play one Tone), and in addition to the 128 factory patches, there's RAM space for a further 128 user sounds. Sound editing overall is much simpler than on an ordinary synth, so instead of full ADSR envelope control, each sound comes with a preset envelope where the default attack and release settings can be increased or decreased by the user via just two parameters. Similarly, the usual filter controls are replaced by a Brightness parameter. Other then those very basic tweaks, you can adjust the balance between the two Tones and also detune them by two preset amounts. Any further sound design has to be undertaken by adding effects.

You use the Tone button to set up which tone or pair of Tones is to be used for your patch, and parameters that all Patches have but which can be different in each Patch are grouped under the Common button. It's here, therefore, that you set up individual user patch names, and access the parameters necessary for setting the patch‑specific functions of pedals and controllers. The picking style can be set on a per‑patch basis, and as well as hard, normal and soft, there are finger‑style, tapping and fixed‑level modes as well as two other options that allow the guitar note envelope to be imposed upon the synth sound. There's also another set of picking modes with the prefix 'Accl' (Acceleration) that provide even faster tracking at the expense of some 'noise', for use by more experienced guitar

Posted by zodaries14

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