Roland GR-30 Guitar Synthesizer

It's kinda hard to use because it's really complex. I know there's a lot of features I'll never touch because I don't know what they do. Of, course, I got it from a pawn shop without a manual.

Great sound output. I love it. It gets a little clicky depending on the guitar you use. I'm going through a BC Rich Warlock and it sounds awesome.

If I ever get a show....big if, then I'd use it. The storage is very dependable and comparable to all the other effect pedals with built in memory.

I con't find a manual in PDF format (or any format, for that matter.) Roland hasn't been a bit of help.

I'm a lead guitarist for an industrial group, so I find the synth on this pedal very high quality. I would recommend it for anyone in the industrial/goth/techno genre. Props to Roland for the inovation.

This thing couldn't be much more simple and still give the flexibility it does. You can change things like reverb, and the balance of attack vs. sustain for a sound. There's options like creating your own arpeggio patterns but they're more hidden so as not to make the interface look like an industrial computer.

The woodwinds are for the most part fantastic! Also, the cello and and violin, and piano are great. Some of the synth patches are great and because you can change the envelope, you can make them respond in a way that feels natural. I'm surprised how bad the guitar sounds are though. It makes me relieved that I'm actually still playing a guitar so I can just bypass this thing. I was really hoping to get a great acoustic simulator. Also, there's a few sound effects which can be quite useful. I took the "bomb" sound and made it sound like a concert bass drum. Overall, this box does what I need it to.
This is the first Roland synth to sound like real instruments and not a tone generator trying to fake real instruments. This is going to be the cheapest option to still do the job well.

The GK-2A and cord are a little too plastic for me. The cord can develop shorts and you have to treat it like a porcelain doll.

The Roland people are friendly and knowledgeable, but you pay for everything - even manuals.

I really enjoy the creativity that this device allows. It will be a long time before I get bored having exhausted its possibilities. There's a lot of high-power hidden functions if you're willing to read the manual. One thing to know is that this device samples the frequencies that you're playing, which can include harmonics. YOU HAVE TO PLAY CLEANLY or expect to be frustrated. This is good for discipline in becoming a better instrumentalist anyway. If stolen, I'd absolutely buy another one!!!

To be honest, it only took me a couple of runs through to totally get a grasp on how this thing works. For a synth, its damn near idiot proof.

Despite what a lot of reviewers are saying, this thing's sounds are great for me. There are a few things that I'd definately make clear though. A. You CAN'T simply use this as a guitar preamp. I use the guitar out jack to run some preamp stuff (the main thing is a Sans Amp Tube GT-2) for my guitar sounds. The guitar sounds on this thing are a joke. I play a lot of techno/electronic stuff so usually, I'll blend the synth guitar sounds with the real guitar to come up with a tone I'm really happy with. But if you have another preamp setup, don't sell it! Otherwise-the rest of the sounds are great. The pianos are dead on (I think the acoustics are really good too). The acoustic guitars are decent, but one thing that I think guitarists should be aware of is that a synth can't emulate real guitar sounds. In essence, the clean electric guitar is good, but you can't affect the tone by how hard you pick and stuff you know? Also, it doesn't track the greatest (I set all the clean guitars on either finger pick, or tap play feel and it'll still fudge it). However-after some tinkering with the pickup sensitivity and what have you, I use the clean sound from the GR-30 almost exclusively.

I've only played one gig so far with it. But it is definately cool! I got it mounted on an SKB PS-25 so its pretty much out of harms way. One thing I do reccomend is making sure you got the power supply cord set in the little groove deal on the back. Mine got knocked out mid song (yeah real professional!). Other than that, I'm real impressed with how its built.

I got a MC-505 Groovebox that I had to deal with these people on...they do suck ass. but I'll just leave this blank because the GR-30 has been fine.

Overall, if you understand what you're getting into when getting a GR-30, its awesome. The synth sounds blend to create some amazing tones with a regular guitar sound. However-if you're planning on replacing a guitar processor with it, I'd still keep the processor. Other than some problems with the clean guitar tracking, I think the system tracks very well. If it were lost, I'd replace it, simply because I've written music around it! Plus I've actually gotten some gigs just playing piano music with it (and I can't play piano so i'd be screwed otherwise!). I compared this to the VG-8 and basically, I decided that with the guitar out jack, I could keep my current sound and use the GR-30 for color, which was my ultimate goal. If that's something you'd like to do, the GR-30 works great. However, if I was a millionare, I'd own the GR-30, the US-20 and the VG-8! I can't possibly see how anyone could not be inspired by this thing (unless you're totally locked into a power trio format, in which case, you shouldn't buy this). For anyone who wants to add some cool colors to their sound, I'd reccomend this unit.

If you don't know it yet, you must install a GK-2A divided pickup on your guitar to control the synth. Installation can be made by double sided tape (sucks) to drilling holes in your guitar (scary). I installed the GK-2A divided pickup on my Parker Fly Deluxe guitar, at first with the double sided tape (which yields the worst operation) to finally holding my breath and drilling the mounting holes in my expensive guitar. Let me say at this point, after 2 years of playing with the GR-30, if someone stole my rig, I would buy another synth and another Parker Fly, and drill those holes. I LOVE THIS THING! Now, you must take some time to adjust the sounds, because the factory presets are not very good. Once the patches have been tweaked, the unit is operationally straightforward. The four control pedals on the front of the unit can control 'Wah', 'Sweep', 'Hold' and 'Arpeggio/Harmonist on/off'. After trying those functions just once I was comfortable with them. I ordered and viewed the owners video tape before making my purchase, and I'm glad I did. The demonstration is quite clear and professionally presented. The owners manual is clearly written, too. No problems there.

As is stated before, I've installed the pickup on my Parker Fly Deluxe. The stereo signal from the synth then goes into an Ernie Ball Stereo Volume Pedal, from there to the stereo input of an Alesis Nanoverb, and finally into the stereo input of a Roland 300 Keyboard Amp. Standard issue guitar amplifiers cannot reproduce the higher frequencies the synth provides. The piezo (acoustic) pickup on the Fly is also patched into a separate channel on the keyboard amp, and then I run a cable from the LINE OUT jack into the P.A. The magnetic pickups from the Parker then patch into a few stomp boxes and go into a 1965 Fender Showman. I get a HUGE sound on stage. I also use a Roland expression pedal for the synth to control pitch, patch sweeping and wah-wah. Volume can also be controlled from the expression pedal if you wish, but I use the Ernie Ball for that, so I have better options with the expression pedal. Now, the synth comes with internal delays, reverbs, choruses and flanges. I do make use of the chorus/flangers, but I do not use the internal delays/reverbs. Why? Because when switching the synth's patches, the delays are cut off, which creates a sudden transistion that I don't care for. So, I use the Alesis Nanoverb to smooth those transistions out. This synth tracks much better than any guitar synth I've tried before, and even though it's not perfect it is quite amazing and fun to play. I've found that my playing style has cleaned up quite a bit, too. If you slop around on the guitar (as I sometimes do) the synth will slop right with you, but you won't dig it! The synth itself is very quiet. You have to keep some of the descriptive words I'm using here separate. The GR-30 includes hundreds of individual TONES (pianos, guitars, flutes, sax, etc.) and then there are PATCHES (combined tones, used in performance). Some of the raw TONES are not real convincing, but they don't suck either. Most of the guitar and percussion TONES fall into that catagory. They just need a little help from the user, so preparation of those sounds before gigging with it is a must. For instance, the 12 String Guitars are problematic and unconvincing, but I've found that if I adjust the synth's Tone Control, Patch Level, and Play/Feel then mix it slightly back of the Parker's piezo pickup and magnetic pickups I can get a real convincing 'Byrds' guitar sound. I really like the Pad Sweeps, and Roland thoughtfully included one of the fundamental sounds from their ancient GR-300 guitar synth here. Can you say Pat Metheny? None of the factory preset PATCHES are really very good, but you must keep in mind they are only starting points. You have to dig into each sound on the patches and tweak them until you get the response you want, and you CAN get it to respond correctly. The editing controls on this unit are deep and wide, which is a good thing; it makes each patch you develop as unique as yourself. Great sounds are not obtained real fast, but so what? If you approach it as learning a new instrument then you know it will take some time. Remember when you first picked up a guitar and tried to play it? You knew how bad you were, but you sure could see possiblities! The first time I picked up an Ebow, I sucked so bad people were leaving the music store, and quick! But I could envision what I could do with the thing. And controlling the GR-30 is easier than the Ebow. So, the principle is the same. And I know keyboard players that would kill to have the expression that a guitarist can provide to a synthesizer, simply by virtue of having our fingers on the strings. Vibrato, whammy bar, glissando, hammer-ons and pull offs, the tone canvas possiblities are endless.

I have had my GR-30 for almost 2 years now, and it has survived lots of gigs, indoor and outdoor, with zero trouble. The GK-2A pickup is a lot more sturdy than it looks. I keep my Parker in a gig bag, and both guitar and pickup are doing very well, thank you. I do not have a backup for the synth yet, but if it died or was stolen I would replace it in a heartbeat. I have another pickup installed on a homemade tele style guitar as a backup in case something happens to the Parker.

I haven't needed to deal with them on this.

I'm in a rock band that plays mostly originals, but we also do some covers. We play a killer version of 'Hot'lanta' (Allman Brothers) complete with organ solo (your's truly on the the synth). It's fun to see the look on people's faces when we pull that one out. All of you sloppy guitarists out there, prepare to be humbled. The GR-30 synth is an amazing piece of gear but you must be disciplined and intelligent and flexible. If you are none of these things you shouldn't be playing anyway.

Very easy to use oncew you have the GK2A pickup installed, or if you are using a guitar with pre-installed hex pickup. The manual is not Roland's usual manual from tech-writer's hell. It actually makes sense most of the time. I would wish that it contained some musical examples to illustrate some of the functions, but then I've yet to see a manual that has them.

Well, a synth isn't for everybody. If you understand that you're getting synth sounds, not guitar effects or something else, you'll like these. Some are duds, noticeably the guitar patches, but I like most of the others. Some of them sound more like idealized sounds. For example the nylon string guitar sounds like a processed recording of a classical guitar with a lot of reverb. Thus, it sounds a bit unnatural, but if you're recording it works great, like it is pre-optimzed for recording. I've got a Yamaha MU80 module, and the GR30 sounds much better.

I think I'd have to beat it with a hammer to break the case. I tried pressing down on it very hard in its middle and it barely flexed. However, I think the 13 pin cable jack could be easily damaged if one stepped on it. I take the thing out to play for some old people's groups twice a month.

I learned when I had a Roland VS recorder that it is one weird company. If I never have to deal with them it will be too soon. Never had a problem with the GR30 - have had it for 2 years.

I give it a 10 for a simple reason: whenever I play it I am totally delighted. A synth is not for everybody, though. It is not an effects processor. If I were mainly interested in rock guitar or heavy music I would probably find this to be worthless to me. I use it for Jazz Era tunes, for which piano, vibes, organ etc are more useful sounds at times than guitar. Also, it can take a while to adapt to. It requires a clean style, but it teaches you that. After 2 years I am a much better player than I was, but I didn't put any conscious effort into learning. You just adapt over time.

The mmanual is poorly written. The tracking is questionable and unreliable.

It was packaged with the Fender Strat setup, which isn't a good guitar --cheesy pickups, cheap tremolo. I use several high-quality amps -- Trace acoustic, California Blonde by SWR and my computer system which has Event Near Field Monitors. Play real slow and the sounds are okay, but most are stuff I don't use and cheesy at that.

Not reliable. I would never take this thing on a gig.

Roland may ahve some good products, but their customer service support sucks. Ordering the video manual and getting it was a major task.

Disappointing, especially after all that it promises. It gets in the way of serious music.

As with most things you buy the factory presets are never really as good as they should be (they should hire me to program this stuff!) All presets have no effects turned on, they are not dreadful just in need of customizing. I think the editor is relatively simple, I have made minute ajustments while playing. I did however sit down for a bout a week and design a lot of my sounds. I have one GK pickup temp mounted on my beautiful Carvin DC400 translucent black goddess and one hard mount on a strat I made from Carvin parts. Both work and track fine. You need to do a little brain storming on these sounds and get innovative with the capabilities, I think it tracks fine, more on this. The sound voices are really nice my presets sound exactly like what they say, it has a lot to do with what you're amping it through.
I love this thing, and I create some very heavy music with it. (maybe I shouldn't spread that around too much, word could get out what you can do with these puppies)

The sound of this synth is incredible, use solid state amps or keyboard/PA type amps never run this through a guitar amp like a tube or dirty amp its just going to suck. The bandwidth and clarity is too much for a regular guitar amp. I use two SX200D's from Carvin in stereo and they sound fantastic. One very important thing here is tracking, you must understand that strumming your guitar like an idiot while trying to play piano is just stupid, playing as fast as Malmstein on a string patch expecting it too track is also stupid. It is all technique and finese of playing. I have created some choir patches that track under my regular heavy distortion that will take the top of your head off, can you say Diary of a Madman? Also by using the Grand Piano and tuning one voice down a full octave makes the richest sounding grand you can imagine. My band loves this thing we sound heavier than anything you can imagine. (Roland should ask me to demo this puppy). It takes a little work and brain to deal with a synth, if you're a dumbass and 'plug in and play wherever the amp is set is fine' guitarist stay away from technical equipment. This unit I think is easier to program than the DSP-Legend I had.

I've had mine for over a year, no problems. Just don't let yourself and anyone step on the midi cable or housing. It costs almost a grand, take care of it for god's sake!! I did get a bad GK pickup the first time I got one, the other two were fine. Two of the strings were reversed in the pickup wiring and the tracking and glitching were maddening, I was really pissed at first until I figured out the wiring screwup.

Never had to talk to them. They should call me and get copies of my presets, mine are so sweet, the Sitar, Grand, Choirs, Strings, Piano& Strings, Horns, and this little one I call Hell Fall is just ungodly to say the least. You should see the faces on people in the sound room when I kick that on...it's the most incredible sound ever!!!

I'm an experienced player and have owned just about everything at one time or another. Playing over 20 years. This synth I must say is about the only thing I have ever bought which actually exceeded my expectations!! I'm serious if you are a well versed player this will take you to the next level. I play extremely heavy metal type original music and if you like any of the new Metallica S&M versions imagine being able to play things under your sound similar to that. the ones who complain about tracking are just not realizing the need of playing with technique. The other guitarist in my band was bitching about the low string piano tracking until I showed him how to control attack differently I mean one doesn't open up a piano and start doing Who power chord swings or young players who strum too much without control.

it's a plugnplay unit - just switch it on and rock; some presets are very nice - but most of them are useless, so after a couple of days playing with that toy i erased the whole user-memory and did all the patches from scratch. editing patches on the unit directly is really a pain in the ass - but when using the gr30edit it is a breeze.

i use fender std strat w/seymour duncan pickups and a small marshall valvestate 15 amp, but it won't help alot =) the only parameter of a guitar that affects the quality of midi-picking is the sustain.
soundquality is very nice - it's roland, guys.

plastic case - but i think it's no prob, my korg ax300g is also plastic, i use it for more than a year and it is okay.
but pedals leave much durability to be desired - i am afraid to jump on it on a gig and accidentally break it :)
yeah, i would use it without a backup - only because a backup gr30 is way too expensive :)

never needed

we play mostly brit-pop/rock/softrock music, and still have no keyboardist because we do not need him that much - but on some songs keyboard solos and backings are very nice. so i decided to buy a midiguitar; i think my selection was the best one - i was considering to buy a gi-10 - but it suck pretty much; yamaha g50 (which is indeed an early version of an axon) is nice, but controlling a rack unit without a $300 worth footcontroller is a real pain in the ass.

if it were stolen or lost, i'd better buy a bluechip axon1000 + roland jv2080 - that pair sounds way better, that will be my next gear, but i think i will buy a gr30 also for gigs. so the gr30 is only a temporary (for a couple o'years) solution for me. but i like it!..

It's not too hard to play around with the prebuilt patches, but the whole "knob system" is an anachronism and a real pain in the ass to boot. Editing patches this way is a real nightmare.

I'm playing a Carvin DC127T with a Roland GK2a pickup - using a pair of Roland KB500 keyboard amps.

Some of the sounds, when you can get them, are great. HOWEVER...I had a HUGE problem with the tracking on this thing. Any tiny little string movement would setoff an ugly random sample. Playing around with the string sensitivity didn't help this much, forcing me to carefully mute during chord transitions and generally try to play my guitar like a keyboard. Not fun. In addition, I don't care how fast Roland *claims* the tracking on this thing is, it was still way too slow for my tastes. Even doing things like trills on some of the keyboard patches would miss samples half the time. It's not the pickup, either - believe me, my GK2a is properly installed - I use it with a VG-8 (awesome device), and was very careful to get it setup properly.

The sounds themselves range from useless to really cool. The piano patch (A72) sounds really good, and the one right after that, which is a piano with a delayed string swell after, sounds pretty cool as well (I put a brief sound clip of this on my web page at http://www.sydtech.com/holiday99/guitars.htm). The saxophone and wind instruments were really well done, but the percussion and guitar sounds pretty much sucked.

Looks OK for a controlled studio environment, but I doubt this could stand up to any moderate degree of road abuse - it's a fairly flimsy plastic case. The MIDI connectors look like they could break fairly easily with repeated connects/disconnects as well.

Never had to deal with Roland support before.

Besides, as soon as I submit this I'm taking it back to guitar center.

I was really disappointed. I tried hard to get to a place where I could use this thing without having it hamper my playing style, and it just wasn't happening. The tracking is really the thing that kills it for me. Too bad, because some of the sounds (especially the wind instruments) are really well served by the expressiveness of the guitar as a trigger instrument.

Roland says this is 20 years worth of research. Sounds promising, but I'll wait a couple more.

Once the pickup is properly fitted, and you've set the string sensitivities, it's pretty easy to pick a patch and play. Two things that make a big difference to how good the unit sounds -
1: Play feel - the most forgiving and reliable is probably TAP (limited dynamic range).
2: Chromatic mode - if you can possibly live without bending the notes, select one of the ON settings to ensure stable pitch.
Editing is quite easy, but the two-knob system is a royal pain.
The manual is quite well-written, but it's not always that easy to find the info you want.

I use separate outputs. The synth sound goes out mono via a DI / earth lift box to a Peavey KB60 (for personal monitoring), the FOH PA, and the backline monitor system (for other players). The guitar sound goes straight to a Peavey Duel combo. This adds a little hiss to the guitar signal, but not enough to be a problem live.
I have GK2As on my Levinson Blade and my Yamaha Pacifica 604. It broke my heart to drill holes in these, but it's the only way!
I find I can usually get close to the sound I want, the two exceptions being Irish low whistle and tubular bells.
The effects are somewhat limited by being presets, so I generally add just a bit of reverb.
Good sounds - brass, strings, organs, various synths.
Bad sounds - violin, guitar (except classical).

This unit has given me no problems that were not my own fault.
I have mounted it in a 9mm ply home-made stage board / carry case, along with the PSU, bank up/down switches, and an expression pedal.
I do worry about someone treading on a connector and breaking the circuit board.
I would recommend backing up the memory as a SYSEX file on a regular basis - that way, you won't lose your settings if the unit is trashed, stolen etc.

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I use the GR30 to take the role of "virtual keyboard player" in a covers band which plays weddings, parties, dinner-dances etc. I have used it live on a regular basis for over a year now, and it really works.
At the time, there wasn't much else around. I would consider the new Axon unit, but it doesn't look as user-friendly.
I don't like the fact that tracking on the lowest notes is slow and sometimes erratic, but I tend to program my way around this (e.g. play higher, transpose the voice down).
I wish it had a facility to name the patch, not just a number.