04 Roland-Ready GR-700 Turbo Synth - Final Release Version 5 Roland Factory Software

YouTube Uploaded by WayneJoness on Feb 7, 2011

via this auction
"There are four documented versions of GR-700 software noted in the GR-700 service manual. Version four (1.4) is the most common software found in the GR-700. However, some of the last GR-700s made by Roland shipped with the rare, version 5 (1.5) software. The GR-700 Turbo has the rare version 5.0 software! Unlike the earlier upgrades, version 5.0 software does not add any new features, but instead improves on the most neglected aspect of the GR-700: faster and more accurate tracking. On average, version 5.0 is 1.5 milliseconds faster than version 4.0. The GR-700 Turbo does not reach the speed and accuracy of modern synthesizers, but it is an improvement over earlier versions, and includes the final revisions of the GR-700 factory patches."

"Interface and Sound Board Chips (2 chips total) + 128 Additional Patches
Rare, final version 1.5 operating system EPROM chips
Improves on speed and tracking of previous versions
28.53 ms (version 1.5) average response time versus 29.87 ms (version 1.4)
Easy to install and replace
Allows change in reference pitch from the original A=442 standard (improvement over version 1.1)
Fixes sustain level failure when in EDIT mode (improvement over version 1.2)
Adjusts pitch range for "B" to be same as all other notes (improvement over version 1.3)
Includes final revisions of the factory patches for banks 1-4
PLUS - 2 Complete banks of original Roland GR-700 alternate sounds on print outs, 18 pages (64 patches x 2)
More information on hardware and software revisions on the GR-700 resource webpage
Questions? Feel free to email me!

About these Roland GR-700 Version 1.5 software EPROM chips:
I have been able to document five different versions of software for the GR-700. The most common version in my experience is version 4. The GR-700 service notes explain the differences for versions 1, 2, 3 and 4. I have seen a few GR-700s with version 5 software. What version software does your synth have? This is easy to check! Power up the GR-700 while holding down the STRING SELECT NO. 4 button. The display will show the software version, 1-4 means version 4. 1-2 indicates version 2 software. Incidentally, the patch corresponding to the software version will be selected when doing this procedure.

Initializing Patches:
It is possible to reinitialize the first four banks of patches for the GR-700, banks 1 though 4. There is no way to recover patches in banks 5 through 8 if they have been lost. To reinitialize patches in banks 1 - 4, turn on the power switch while pressing down the WRITE (copy) button. Be sure to have the memory protect turned off.

Roland GR-700 - Final Release Version 5 Roland Factory Software
Roland made it very easy to change or upgrade the operating system in the Roland GR-700 guitar synthesizers. There are two main boards in the GR-700, the interface board, which attaches to the top of the GR-700, and which connects to the switches, output jackes, display, etc. And the sound or voice board. The voice board is on the bottom on the GR-700.

Each board uses a 64K EPROM chip for its operating system/operating parameters. One chip is marked as "IF" for the interface board, and "SH" for the sound or voice board. Simply open the GR-700 up, remove the existing chips and install the new chips, then power the GR-700 up. There is no special initialization procedure. The software is loaded when the unit is turned on. These chips also contain the bank 1-4 factory patches. Initializing the sound banks in the GR-700 will load these patches from the "SH" chip."

Roland GR-500 Vintage 1970s Analog Guitar Synthesizer

Note: Auction links are affiliate links for which the site may be compensated.
YouTube Published on May 12, 2012 by WayneJoness

http://www.joness.com/gr300/GR-500.html
"The Roland GR/GS-500 paraphonic guitar synthesizer system was introduced in 1977, and it laid the foundation for the very successful Roland vintage 24-pin guitar synthesizers, like the GR-300 and GR-700, that would follow a few years later. The GR/GS-500 uses the same 24-pin cable as the later synths, and many of the control voltages, string outputs, etc. are the same across all the synths. The different systems are not 100% compatible, but can be engineered to work together with a few modifications. The GR-500 has five sections: guitar, polyensemble, bass, solo melody, and external synth."

Playlist:
Roland GR-500 Vintage 1970s Analog Guitar Synthesizer - Introduction and Review

Roland GR-500 Polyensemble Section - Infinite Sustain Engage! - "The first synth section of the GR-300 is the polyensemble. In the polyensemble section, each string is processed through proprietary Roland waveshaping chips to produce a variety of sounds. The GR-500 brochure describes the different polyensemble outputs with terms like "wood," "soft reed" "brass" and "strings." But to me, they sound like four different kinds of buzzy guitar. The Polyensemble has a three stage envelope, identical to the envelope generators in the bass and solo melody section. You have control over: attack, decay, and sustain. With it's polyphonic effects, and smooth envelope generator, the Polyensemble may be one of the most musical sections in the GR-500."

Roland GR-500 Solo Melody Section - True Monophonic Vintage Analog Synthesis - "The most ambitious section of the GR-500 is the Solo melody. The Solo Melody is built around a last-note played priority pitch to voltage monphonic synthesizer. There are two waveforms available, a 16' pulse width modulation wave, 8' pulse width modulation wave, and 8' sawtooth wave. The width, or duty cycle, of the pusle wave can be manuall set, or controller by either the LFO or envelope generator. The Solo Melody has the same attack, decay, and sustain envelope genetator as the bass and poly snsemble sections. In addition to processing the mono synth output, the -24 dB per octvae solo melody filter can also process the polysensemble output. This is a great addition, enabling use of the low-pass filter with polyphonic input."

Roland GR-500 Bass Section - Floor Rumbling Analog Bass - "The bass section represents the first real, pitch to control voltage synthesis in the GR-500. Like the polysensemble, there are multiple voices: Percussion, soft and hard. For me, this translate to percussive effects similar to the percussion simulation on a vintage Hammond organ, the soft sound, which is like an upright bass, and the hard sound, calling to mind a pick bass. Like the polysensemble, there is a three stage envelope generator."

Roland GS-500 Guitar Controller for GR-500 (Introduction) Features - "The GS-500 guitar synthesizer controller is a solid and hefty instrument. Even with substantial parts of the body cut away to accomodate the electronics, this guitar still weighs around 11 pounds. The retail price on the GS-500 was somewhere around $1,000 in 1977, which translates into around $4,300 in todays currency. So think of the GS-500 as being in the Paul Reed Smith category of guitars, or the high-end Moog guitars, and not a mass-produced instrument."

Roland GR-55 and GS-500 Performance Video - Vintage Analog Guitar Synthesis - "In this demo I use all four sections of the GR/GS-500 independently and together: Bass, Polyensemble, Solo Melody, and Guitar,"

Roland GS-500 - Demo Video with GR-55, VG-99 and BX-13-VX Guitar Synthesis - "I thought it would be cool to play the latest Roland guitar synthesizer, the GR-55, with the first Roland guitar synthesizer controller, the GS-500. I custom built a BX-13-VX for the GS-500, and did some quick demos. It works surprisingly well!"

Roland GR-500s on eBay

Roland GR-77B Vintage Bass Guitar Synthesizer vs GR-700 Demo Features Review

Published on May 30, 2015 WayneJoness

http://www.joness.com/gr300/GR-77B.htm

Preset audio demos below.

"The Roland GR-77B is the greatest bass guitar synth you have probably never heard of! The GR-77B has a superior synth engine, built around the fat classic vintage Roland JX-8P, and a quick 32 millisecond average response time, and tracking that outclasses both modern and vintage bass synths that rely on pitch-toMIDI conversion.

Both the GR-77B, and its older brother, the Roland GR-33B, benefit from following on the heels of more well-known guitar predecessors, the GR-700 and GR-300 guitar synths. In each case, the bass version has improved design and features.

This video details the features of the Roland GR-77B, and compares the GR-77B with the GR-700. The soundtrack for the video was performed entirely on with the GR-77b, with Stylus RMX only providing the rhythm/drums."

Roland GR-77B Vintage Bass Guitar Synthesizer - User Presets Demo


"Quick listen through banks 1- 4, the user presets from the amazing vintage Roland Bass Synthesizer, the GR-77B.

The video starts with a demo the tuning feature, and also shows use of the LFO touch pad, and the latching/unlatching hold pedal."

Roland GR-77B Vintage Bass Guitar Synthesizer - Factory Presets Demo + EV-5 Pith/Filter Mod

Published on May 30, 2015

"Quick listen through banks 5- 8, the fixed factory presets from the amazing vintage Roland Bass Synthesizer, the GR-77B.

The video starts with a demo of using a Roland EV-5 with the Pitch and Filter pedal inputs on the rear panel, plus use of the LFO touch pads on the guitar."

Super Fat Analog Roland Guitar Synth Video

Super Fat Analog Roland Guitar Synth - GR-300 VG-99 Control Voltage MIDI Demo

Published on Nov 26, 2012 by WayneJoness

"http://www.joness.com/gr300/vwham.htm Inspired by the original Analogger GR-300 video using control voltages [embed added below], this clip shows a simple VG-99 GR-300 patch being modulated using MIDI CC commands for filter cutoff and resonance. With its built in effects, including poly compression which puts a compressor on each individual string, the VG-99 is capable rich, thick, analog synthesizer tones. In this demo, the two VCOs of the GR-300 are layered in 5ths for a fatter sound."

Update: some additional info from WayneJoness:
"Quite some time ago, I was really impressed with a demo of the Roland GR-300 that Analogger did, using a MIDI sequence, then converting the MIDI sequence to control voltages using a Roland MPU-101, and then taking the output of the MPU-101 to the CV/filter pedal input on the GR-300.

So I thought: couldn't you do this directly with the VG-99? It would be easy to make a basic MIDI sequence that would send MIDI CCs to the VG-99. I came up with a simple pattern and added a drum loop. See the video below. Most of this video is me playing a four note pattern on the VG-99: E, G, F and Bb, with the VCOs tuned in 5ths. In some sections I added a top note on the high E string, and in other sections, I just played minor chords: Em, Gm, Fm and Bbm. I added in a low bass at one point, with the second VCO pitched one octave down.

I used poly compression and regular compression to reduce the natural attack of the GR-300 to give it more of a keyboard sound. Anyway, I was surprised at how analog the entire thing sounds, it fell together quickly, and I spent as much time tweaking the video as I did playing the track! Because of the nature of the GR-300 waveform, and the fact that the guitar almost never plays the same note the same way twice, I think this is very convincing analog simulation, on par with the best virtual analog synths."

Update 9:47PM: Here's the Roland GR-300 video referenced in the description above.

Roland GR-300 Guitar Synth (filter modulation)

Uploaded by Analogger on Jul 18, 2007

"Greetings everybody! Please check out my new Myspace music page when you get a chance. The project goes by the name "Mr. Dithers." thanks!

http://www.myspace.com/mrdithersnoisebox
I have this immaculate Roland GR-300 guitar synth and the G-707 guitar controller. (I have the 505 as well which actually works better with the GR-300 but I wanted to test the 707 with the 24-pin cable I bought on Ebay!)) I am not really a guitar player but wanted to use the 300 for textures - kind of like what Andy Summers did with his on certain Police tunes. The GR-300 is not midi in any way. It is triggered by a guitar equipped with a GK-1 pickup and rare 24-pin cable. The GR-300 features six voltage controlled oscillators (VCOs)-one for each string. It also features a hexa-fuzz unit (again one for each string) which can be layered with the VCOs. You can also blend the actual clean guitar sound as well. The key to the sound is that the VCOs and Hexa-fuzz go through a beautiful fat 24dB analog filter. The cutoff and resonance are adjusted from the guitar. However, in the back of the unit you will find an input for an expression pedal. This is designed to sweep the filter to give you wah-wah efx. This is for all the synth geeks out there who are compulsive 'tone chasers.'"

Also see this post for the GR-300 on it's one.

Roland GR-100

via this auction

"The Roland GR100 was developed as a system to electronically process sounds with the string vibrations themselves being the sound source. This was Rolands first guitar synth made in the 1970's and is now a collectors item.

HEXA distortion circuit makes it possible to get clean distortion which could not be experienced by electric guitar. The GR-100 is equipped with the HEXA Dis tortion circuit which can distort the string vibrations that are divided into six sound sources by the Divided Pickup. The sound distorted by the HEXA Distortion is clean, deep, and powerful, with a rich sustained sound and beautiful harmony could not be obtained by a regular distortion or over-drive device.

HEXA Filter, cutoff frequency, and resonance for powerful filtering effects Each sound source from the string passes through the HEXA Filter circuit of the GR-100 as well as the HEXA Distortion. HEXA Filter is preadjusted in accordance with the guitar tuning (E, B, D, A, G), low for the lower notes and high for the higher notes. Therefore, unlike using the graphic equalizer or the parametric equalizer, it is possible to balance the string sounds and create a versatile selection of sounds, from soft to hard, using the Cutoff Frequency and Resonance.

GR-100 is equipped with three effect controls, and one of them is the Filter Modulation. It enables you to add a "wow" effect onto the electronic sounds regardless of Cutoff Frequency or Resonance, and controls the picking power (stress) with the SENS control and the depth of the "wow" effect with the PEAK control.

The second effect control on the GR-100 is Vibrato. By turning the Touch Vibrato switch ON and OFF, a powerful vibrato effect quite different from a manual vibrato can be obtained. The third effect control is Stereo Chorus which deepens and broadens the sound.

As the electric guitar amplifiers are made for electric guitars, they are designed to raise and emphasize the higher range, resulting in a thin sound when recorded directly out from line. GR-100 has a wide range and shows outstanding performance without losing the true nature of the guitar sound, making it suitable even for studio work."

Toccata in D minor (Bach)-Ketil Strand-Roland GR-100/G-505 electric guitar

"This is a follow-up to my previous Toccata version played on my Axon AX100 guitar synth.
Some of the commenters on the Toccata video asked me to do a guitar version without the synth organ sound, so here it is. Instead I'm using a pretty rare device this time; the Roland GR-100 Electronic Guitar, which is a "hexaphonic fuzz" unit that is controlled from my Roland G-505 "synth controller" guitar. It creates a soft "fuzz"-type overdrive, but it's hexaphonic, so you can play any chord and hear all the notes clearly, unlike a regular fuzz/overdrive pedal. This was one of Roland's early GR series of "guitar synth" units that came out in the early 80's I think (pre-midi), but unlike the other Roland GR products this isn't really a synth, it's more like 6 fuzz pedals in one.. It's a fully analog guitar signal, but it uses the guitar's built-in hexaphonic pickup instead of the regular pickups. The GR-100 unit also has built-in Filter, Vibrato and Chorus effects, but I'm not using these here. The "hex. fuzz"is controlled from the Roland G-505 guitar's built-in controls and switches.
Although the built-in hex. pickup on my Roland guitar basically is the same type as Roland's current GK pickups, it's not compatible with current guitar synths because of the different type of connectors. The Roland G-505 uses a large 24-pin connector that was discontinued years ago, but today Roland and Axon synth guitar systems uses a much more convenient 13-pin connector. So that's why I also have an additional Roland GK-3 pickup mounted on my Roland guitar.
Other pedals used: Ibanez Tube King pedal with gain on "0" just to warm up the sound a bit, an Electro-Harmonix Micro POG adding both an octave up and an octave down, Exar Compressor, Boss RV-5 reverb, Boss DD-6 Dig.Delay, Boss PS-5 Super Shifter and a Palmer "The Junction" DI Box.

www.ketilstrand.com
mp3 version: www.geocities.com/ketilstrand/lydklipp"

Update via Joe S. in the comments: "I have one of these. On my quest for a G-808/GR-300 setup, I stumbled across a G-505 and a GR-100 for sale. I thought at first that I might sell this setup when I found a 808/300; however, I can say now that will not be the case - as I enjoy the GR-100 a great deal!

The 300 apparently uses the hex fuzz circuit that is built into the guitar controller, but the 100 actually has provides its own hex fuzz circuit, which has a different voice - more "saturated" sounding IMO. The sustain mode is also unique to this unit (engaged using the toggle on the guitar). That, combined with the -12db/octave filtering (GR-300 has -24db/oct), inverted envelope mode, and the vibrato can really produce some interesting "synth-like" sounds, as well as that wonderful distortion tone heard in the seller's great demo video.

You can head my GR-100 setup in this track:

http://www.hillscloud.com/music/Passage-to-Infinity.mp3

I'm playing it with a G-505, and it comes in doubling the Multimoog melody. It can also be heard in the bridge section with the chorus engaged (and phasing from a frequency shifter), and you can head a bit of the vibrato kick in just before the solo section.

Sorry I don't have anything yet with it more "up-front" in the mix, or featuring a more aggressive sound - but this might give you an idea of the subtle synthetic nature it is capable of. The sounds can get much more dramatic by opening up the filters and experimenting with the envelope sensitivity.

Overall a very fun little box, and great addition to an old 24-pin setup!!"

Roland GR-700 Turbo PLUS Guitar Synthesizer - w/ DT-200 Programmer & Extras

Note: Auction links are affiliate links for which the site may be compensated.
GR-700 Turbo capabilities | GR-700 Turbo PLUS capabilities posted here

Playlist:
01 Roland-Ready GR-700 Turbo Synth - Modern 13-Pin Input
02 Roland-Ready GR-700 Turbo Synth - Restored VCF/VCA 80017a Voice Chips
03 Roland-Ready GR-700 Turbo Synth - Expanded Patch Memory - From 64 to 320 Patches
04 Roland-Ready GR-700 Turbo Synth - Final Release Version 5 Roland Factory Software
05 Roland-Ready GR-700 Turbo Synth - Filter, Edit, Response Controls
06 Roland-Ready GR-700 Turbo Synth - Final Version Voice Board with NEW Lithium Memory Battery
07 Roland-Ready GR-700 Turbo Synth NEW End Panels!
Roland G-505 Metallic Red Vintage Analog GR-300 Guitar Synthesizer Controller w/ VG-99

via this auction

One of it’s kind Roland GR-700 Turbo PLUS, built by Wayne Joness in Los Angeles, CA.

The capabilities are amazing and best explained and demo-ed by Wayne himself – watch his Youtube Playlist [above] explaining both the Turbo and PLUS fearures found the GR-700 for sale."

CLICK FOR MORE »

Roland GR-700 - Back, MIDI Input Mod & Memory Mod

Roland GR-700 MIDI INPUT Analog Synthesizer - Bach 2-Part Invention

YouTube Published on May 27, 2012 by WayneJoness

"http://www.joness.com/gr300/GR-700.htm This GR-700 has the rare, MIDI Input modification. What can you do with a GR-700 that has this modification? I use Digital Performer to play a sequence of Bach's 2-part invention in E minor, incorporating program changes to call up various patches. The internal sounds are the original GR-700 factory patches, and the cartridge sounds are the second generation factory patches."

Roland GR-700 Analog Guitar Synthesizer with MIDI INPUT Mark Tsurata Modification

Published on May 27, 2012 by WayneJoness

"http://www.joness.com/gr300/GR-700.htm Roland engineer Mark Tsurata created a MIDI Input modification for the Roland GR-700 programmable analog guitar synthesizer. This is a very, very rare modification. This video clip gives you all the details on how the modification works, and how to access the MIDI IN paramaters."

Roland GR-700 Analog Guitar Synthesizer with MIDI INPUT with Memory Expansion

Published on May 27, 2012 by WayneJoness

"http://www.joness.com/gr300/GR-700.htm This video clip shows how a Roland M-64C memory cartridge can be used with the Roland GR-700 to expand the external memory from 64 patches to 256 patches!"

Roland GR-700 Turbo PLUS - Vintage GR-700 with GR-100 Polydistortion

Roland GR-700 Turbo PLUS - Vintage GR-700 with GR-100 Polydistortion and 13-pin Input

Published on Jun 27, 2013 WayneJoness·267 videos

"http://www.joness.com/gr300/GR-700.ht... The GR-700 Turbo PLUS adds the sound of the GR-100 hexaphonic polydistortion to the Roland GR-700, with all the original features of the GR-700 Turbo. This includes a modern 13-pin input, top panel controls for string level and filter cutoff and EDIT parameters. The PLUS also adds a latching sustain input. The GR-700 Turbo PLUS has the ability to blend analog distortion with synthesizer tones for new synth sounds never heard before."

Roland GR-300 Guitar Synth SN 232801 with Wayne Jones RC-1324-VR

Note: Auction links are affiliate links for which the site may be compensated.

via this auction
Note: I added a new Wayne Jones label to the site. New posts will get them. For older posts, click here.

You can find a video of the RC-1324-VR previously posted here.

"Here's a package deal that will get you playing a modern 13 pin guitar synthesizer controller with a vintage Roland GR-300 Guitar Synthesizer module.

** This system is not recommended for use with GODIN 13 pin guitars ** See below for more information.

The winning bidder will receive the following:

1) One of Roland GR-300 Synthesizer Module with upgraded capacitors and a DB25 pin input. Unit tested by none other than Wayne Joness in January 2013.

2) One of RC-1324-VR 13 to DB25 pin converter. Built by Wayne Joness in January 2013 for myself.

3) One of DB25 pin cable to connect the RC-1324-VR to the GR-300

The overall condition of everything is excellent for the GR-300 and near mint for the RC-1324-VR. Everything is in proper working condition.

You can get more information on the RC-1324-VR at Wayne's site: http://www.joness.com/gr300/RC13.htm

Please Note: The GR-300's input has been changed from one that fits the traditional 24 pin cable to a DB25 style input, allowing for use of inexpensive and shielded replacement cables such as those made by Belkin, as opposed to the expensive and non-shielded proprietary Roland 24 pin cables. What this means though, is that if you plan to ALSO use this system with a viintage 24 pin guitar controller like a G-505 or G-202 etc...., you will either need to make a 24 pin to DB25 pin cable (Wayne can make you one....) or, you can modify and upgrade the controller itself to a DB25 pin output and solve your Roland cable issues forever.

The GR-300 unit was tested by Wayne Joness in January 2013. Here is what Wayne had to say:

'Hello Keith!

So...I am happy to report your GR-300 passed all the tests with flying colors.

I have removed the bottom panel, and I can tell you that your unit is a "version C" meaning the final revision of the circuit board. This is a good thing.

http://www.joness.com/gr300/GR-300.htm#version

I checked the power supply, and your unit does have the problematic blue tantalum capacitors in place:

http://www.joness.com/gr300/GR-300.htm#repairs

I did not mention this originally when you asked about sending me your unit, but I would like to propose that I replace the blue tantalum capacitors with modern electrolytic capacitors as outlined on the website. This will protect your GR-300 from future failures.'

I agreed to the capacitor upgrade of course! So the future owner has a fully bench tested AND upgraded/protected GR-300 to boot!"

CLICK FOR MORE »

2億4千万の瞳Roland GR 55 guitar synthesizer

Published on May 12, 2014 Alma Brown·105 videos

"音色は570 80s Brass 2 625 Vintage Str 3 411 Baritone Sax 599 Vintage Brs 3を使いました.

荻野目洋子さんの曲を弾いてみました 音色はOrchestrahit Reso Bass 1 Dreamvox 2 St.Piano 4 Wide SynBrs Dnce Kit 2を使いました.

COMPLEXの曲をギターシンセGR-55のorchestra hit organ pianoの音色とナイロンとエレキギターのモデリングを使って弾きました。

The title pretty much says it all - the pizzicato strings, timpani, guitars and heavy metal synth lead stuff all comes from one box, the fantastic Roland GR-.

Roland GR-55 Guitar Synth: playing Bach's Bourree in Em excerpt and triggering Native Instruments Alecia's Keys piano virtual instrument + strings. I didn'.

ギターシンセサイザーのループ機能を使って、あぶない刑事のサントラ風なものを弾いて­みました.

ラッツ＆スターの曲をギターシンセを使って弾いてみました.

James Horner's Braveheart Soundtrack theme played on synth guitar. Godin Grand Concert SA Roland GR55 Digitech Jamman Stereo Looper sound thru Yamaha HS55 mo.

piano,deep jazz vibes,acoustic bass,hollow body guitar. loop performance by OpuspOkus.

CLICK FOR MORE »

Roland GR-700 PLUS 13 - Vintage Analog Guitar Synthesier w/ 13-pin Output, Memory Upgrade

Published on Oct 17, 2013

http://www.joness.com/gr300/GR-700.ht...

"The GR-700 PLUS 13 offers a significant upgrade over a standard vintage Roland GR-700:

First and foremost, this GR-700 has a custom printed circuit board installed to buffer the internal guitar synth signals, and provide a modern, 13-pin Roland synthesizer output. A vintage Roland guitar connected to this GR-700 will be able to access both the classic analog sounds from the GR-700, plus the latest in cutting edge Roland guitar synth tones, using the Roland GR-55 or VG-99.

The active circuitry is part of a DB25 input card, which frees the GR-700 user from searching for hard-to-fnd, expensive 24-pin cables. This GR-700 can use data-grade, shielded 25-pin cables which offer improved performance over the original Roland cable, at a fraction of the price.

To connect this GR-700 to a vintage Roland G-707 guitar, included is a matching DB25 output card for a Roland G-707 guitar. And more than just a 24-pin to 25-pin adapter, this card has a Roland G-202 poly distortion, hex fuzz circuit onboard. Unlike the G-202/303/505 or 808 guitars, the G-707 did not include hex fuzz. With this card, the G-707 has the same full range of capabilities as the other Roland guitars."

ROLAND GR-100 FLOOR GUITAR SYNTH

via this auction

"The Roland GR-100 is the least known of all the vintage Roland guitar synthesizers. If six fuzz pedals with six -12 dB low-pass filters can make a guitar synthesizer, then this is a guitar synthesizer. But Roland wisely decided to call the GR-100 an "electronic guitar,". I would have to say it is a fuzz box with an adequate filter and a very nice chorus and vibrato circuit.

The GR-100 Synth Engine:
In this way, it is very different from the GR-300. The GR-300 generates its hex-fuzz sound by using the hex-fuzz circuitry contained in the guitar controller. For example, the G-202 has a different hex-fuzz circuit than the G-808. And the G-707 has no hex-fuzz circuit at all. But none of that matters with the GR-100, as it has a slightly more sophisticated version of the G-303/G-808 hex-fuzz design.

The hex-fuzz in the GR-100 is smoother than what you hear with a GR-300, and it also has an additional sustain feature. With the mode switch in the down position (mode 1), you hear guitar only. In the middle position (mode 2) you hear the basic GR-100 hex-fuzz sound, and with the switch in the up position (mode 3) you hear the GR-100 hex-fuzz sound with an additional sustain/compression circuit. As a side note, the hex-fuzz circuit in the RC-1324 is designed to emulate this overdriven, mode 3 hex-fuzz sound."

Tasty Chips GR1 Granular Synthesizer - Latest Details & Kickstarter Campaign Launch

GR-1 Demo: Creative sounds (HDMI screen captures)

Published on Sep 3, 2017 Tasty Chips

GR-1 demo: Stand-alone "play mode"


You might remember the Tasty Chips GR1 from previous posts here. The following are the details and pics via the Kickstarter campaign.

"The GR-1 is a hardware polyphonic granular synthesizer in a class of its own. The GR-1 is capable of creating textures, characteristic sounds, drones, soundscapes, pads etc. with the help of your creativity! A sample and a few knob tweaks is enough to create something beautiful!

A truly high-end device

CLICK FOR MORE »

Vintage Roland GR-33B Bass Guitar Synthesizer SN 020307

Note: Auction links are affiliate links for which the site may be compensated.
video upload by PlethoraTone

via this auction

"This GR-33B looks brand new, just like when I bought it decades ago! I'm the original owner of GR-33B, serial number 020307, and boy-o-boy, does she look gorgeous. The video shows this actual GR-33B in action in a short iPhone-recorded demo here at PlethoraTone just a few minutes ago. When not in use throughout the decades, the GR-33B has always been safely stored on a studio equipment shelf. Included items with the GR-33B are its original factory box, original printed factory manual, original Roland warranty card, and its original clear plastic overlay protector. No bass or 24-pin cable - just the stunning floor synth. Lots of amazing tones, analog lushness, and tracking fun with this gorgeous GR-33B, just like the well-loved GR-300 we sold the day before yesterday, the GR-100 the day before that, and the rare 24-pin US-2 switcher!

There's absolutely nothing like playing an analog Roland GR!"

CLICK FOR MORE »

CV-13

images via this auction
There are some videos with descriptions at the auction.

"Combines Features of the Roland BC-13 with Control Voltage Conversion for ALL Vintage GR Controls. Works with Roland G-202, 303, 505, 707, 808, Ibanez IMG2010 and Roland GI-10, GI-20, GR-1, GR-9, GR-30, GR-33, VG-88, VG-99 and More!

Features of the CV-13:
* Converts Vintage Roland 24-pin GR Signals to Modern 13-pin Signals
* Four top panel foot switch controls for Synthesizer Volume, Filter, Resonance and Guitar Mute
* Up to FIVE simultaneous control voltage outputs in Roland EV-5 standard
* Six internal precision Phifer cermet trimmers to adjust response range
* Rear panel EV-5 volume pedal input for direct guitar signal
* Bi-directional support for Ibanez IMG2010 virtual whammy bar
* "Pin-9 to Ground" switch to reduce grounding issues with Roland synthesizers
* Powered by 13-Pin Guitar Cable! No External Power Supply or Batteries Required
* Solid oiled walnut sides on a black, ventilated steel base with contempra grey (beige) aluminum top panel, 280 mm x 220 mm x 100 mm.
* Backed by One-Year Parts and Labor Warranty
* Elegant Design

The onboard controllers that made the early Roland synths so much fun to play disappeared when Roland switched from the 24-pin design to 13-pin design. While Roland has continued to dramatically advance their guitar synthesizer design, modern 13-pin systems are still limited compared to their 24-pin predecessors. Realizing that guitar players wanted more control options, Roland added both a D Beam controller and Ribbon Controller to the new VG-99. These options are great, but they are not as convenient as the vintage 24-pin onboard controllers. And the D Beam and Ribbon controllers require the guitar player to be relatively near the VG-99.

The new CV-13 completely bridges the gap between a vintage 24-pin guitar controller and the VG-99/FC-300 combination. How? The VG-99 has an EV-5 control pedal input on the back, plus there are three EV-5 inputs on the FC-300, making a total of four continuous control inputs to the VG-99/FC-300 combination. With a Roland G-303 and the CV-13, for example, and you can use the filter, resonance, vibrato, and balance controls on the guitar to operate the VG-99. The virtual GR-300 in the VG-99 can now work exactly like a real GR-300, with the player adjusting GR-300 parameters from the guitar!

But this is just the beginning! The CV-13 also supports the virtual whammy bar found on the super-cool Ibanez IMG2010. And the CV-13 provides two whammy bar outputs, one control signal for moving the bar up, and one for moving the bar down! While recreating a virtual GR-300 was the initial inspiration for the CV-13, so much more is possible! The VG-99 has over 4000 target parameters, and any of these can be assigned any controller on a vintage 24-pin guitar. Or the guitar controllers can be assigned to continuous MIDI controllers, for manipulating soft synths in real time!

This setup requires several TRS cables from the CV-13 to the VG-99/FC-300 EV-5 inputs. For this reason, the CV-13 package also includes one 12’ TRS cable and three 3’ TRS cables. These are brand new, high-quality cables from Orange Country Speaker, specially modified for the VG-99/FC-300."

Auction videos minus the descriptions here. Also check out the BX-13 here, and the DC-13 here.

07 Roland-Ready GR-700 Turbo Synth NEW End Panels!

YouTube via WayneJoness | February 07, 2011 |

"I have been working with the Roland GR-700 since 1985! I have accumulated a large supply of GR-700 parts, some in great condition, and some rusty and worn-out. The GR-700 Turbo is built from the best possible components. All switches are clean, functional, and fully tested. In addition, I have replaced the original flimsy plastic end panels with new, solid block end panels custom made by California Acrylic Design in Los Angeles."

06 Roland-Ready GR-700 Turbo Synth - Final Version Voice Board with NEW Lithium Memory Battery

WayneJoness | February 07, 2011 |

"The GR-700 Turbo also has the final revision of the GR-700 Voice Board, plus a new battery for patch memory backup. The early GR-700 voice boards used open frame trimmers for the adjusting the critical parameters of each voice chip: level, DC balance, filter cutoff and resonance. The GR-700 Turbo has the last revision of the Voice Board with closed trimmers. The later Voice Boards also have additional test points to make testing and adjusting the board easier. And finally the 3 volt lithium memory backup battery has been replaced. This is the battery used to power the memory chip so that patches are retained even when the unit is turned off. This battery should last five years, so the original GR-700 batteries are long overdue for replacement!"

Latest Guitar Synth Videos by WayneJoness Featuring the Roland GM-70 Turbo

Roland GM-70 Turbo Vintage Guitar Synth Volume Control Options + Hex Fuzz GR-300 Demo

Published on Jun 12, 2013 WayneJoness·265 videos

"http://www.joness.com/gr300/GM-70.htm... The specialized Roland BC-13/GM-70 Turbo circuit board also reconfigures the way volume commands are processed. With the original Roland GM-70, you can have 100% synth output and 0% guitar. Or 0% synth, and 100% guitar. Or any mix between, such as 75% synth, and 25% guitar. But not 100% synth, and 100% guitar. With the GM-70 Turbo Plus, you can have 100% synth, and 100% guitar. The master volume now directly controls the synth volume regardless of the mix/blend control, and the mix/blend controls guitar volume control, dependent on the master volume level."

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The Roland GR-500 - guitarra sintetizador 1977 - Tenaz

Published on Oct 28, 2014 FinlAndean Pletórico

"The Roland GR-500 was the first guitar synthesizer to be manufactured by the Roland Corporation.

The synthesizer module included Polyensemble, Bass, Solo Synth, and External synthesizer control. Much of the voltage-controller filter and voltage controlled amplifier sections were based on previous analog mono-synths from Roland. There are a number of sliders to adjust the VCO, VCF, VCA, and LFO sections but no memory to store your edits.

The synth module is controlled by a highly modified guitar. The GS-500 guitar controller was built in a partnership between Roland and the large Japanese guitar builder Fujigen. The result was the Fuji Roland Corporation, established in 1977 through a joint capital investment. Because Fujigen was also the builder of Ibanez guitars during this period, the GS-500 and subsequent 24-pin Roland guitars have been described as being manufactured by Ibanez but this is incorrect.

The GS-500 controller used a special pickup system that connected to the synth module via Roland's own 24-pin interface. Controls on the guitar primarily were for adjusting the relative volume of the different sections: guitar, polyensemble, bass, solo section and external synth. The GS-500 guitar does not have a standard 1/4" guitar output and cannot be used without the GR-500 synthesizer module. The GR-500 has a simple-but-effective infinite sustain system. The frets in the GR-500 are connected to its electrical ground. When a player fretted a string, an electric current passed through the string. The electric signal passing through the string is a greatly-amplified version of the string signal detected by the divided hexaphonic pickup. Large magnets replaced the traditional "neck" pickup. As a result of Fleming's Law, the alternating electric current in the string passing through the strong magnetic field caused the string to vibrate and create a feedback loop and infinite sustain. The GS-500 used a bridge with plastic saddles to electrically isolate each string.

Here is a brief description of each section:

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Roland Guitar Synthesizers - GR-33B, GR-300, G-303 and US-2

Roland US-2 Turbo Vintage Guitar Synth Switcher GR-300 Parker PM-10 Korg Kronos GM-70

YouTube Uploaded by WayneJoness on Mar 14, 2012

"http://www.gr300.com A vintage Roland US-2 is modified with modern, 25-pin DB 25 connectors, and optional EV-5 inputs for independent control over CV#1 (filter), CV#2 (resonance) and CV#4 (lfo). A Parker PM-10 is used with a RC-1324-VR to connect to the US-2 Turbo, with a Roland GR-300 connected to the Synth A output, and a GM-70 connected to the Synth B output. The GM-70 is driving a Korg Kronos 88."

Update:

Roland Guitar Synthesizers - GR-33B, GR-300, G-303 and US-2

YouTube Uploaded by WayneJoness on Mar 15, 2012

"At last! An answer to the question, can you play a vintage Roland GR-33B bass synthesizer with a vintage Roland G-303 guitar. Yes, you can! This clip show the Roland G-303 guitar playing the GR-33B and GR-300 at the same time, using the very rare Roland US-2."

Roland Interview with the Developers of the Original JUPITER-8, JUNO-106, and JX-3P

The interview is currently on Roland's site here. The text is captured below for the archives.

"WHAT ARE YOUR HONEST OPINIONS REGARDING THE ROLAND BOUTIQUE SERIES? AS DEVELOPERS OF THE ORIGINAL PRODUCTS, WHAT WERE YOUR IMPRESSIONS WHEN YOU HEARD ABOUT THE MODERN RECREATIONS?

Takahashi:I'd heard about this product series rather early on thanks to my position at the company, and my honest feeling about it was that I was excited. I was truly excited at the prospect of a simulation being released of a product that I was involved with decades ago. Synthesizers from those days have a unique feel that you can only get on analog, so I was interested in seeing how much of that could be reproduced in the digital realm. I knew that the Roland Boutique series development team was working on this very seriously. More than being intrigued, I was truly very excited.

Matsui:I'm no longer with the company, so I hadn't heard about this until very recently when someone mentioned, "We're working on this project relating to the JX-3P." Honestly, I was very happy to hear that. I was very happy to hear that Roland will be releasing a product that I had a part in developing in the past in a new form. That's because the JX-3P was a very special product for me.

DO YOU HAVE ANY INTERESTING MEMORIES RELATING TO THE JX-3P?

Matsui:That synth was developed at Roland's Matsumoto factory. I was working at Matsumoto at the time and was involved in guitar synth development. Guitar synths up to the GR-300 and GR-100 were based on converting pitch into a CV (Control Voltage) signal, which would then trigger an analog synth. But for the next generation of guitar synths, we decided to use a design where pitch would be converted to MIDI, which would then control the sound engine digitally (though the sound engine itself would still be analog). We studied how guitarists were using the GR-300 and GR-100 and realized that they didn't do much sound creation on their own. (Laughs.) So if that was the case, we decided to go with an easy-to-use synth with presets. And this was the start of the GR-700 project.

The [GR-700] would feature a built-in pitch-to-MIDI converter and a sound engine with presets. But even if this was to be a preset synth, it would still be too difficult to create sounds without any knob controls. So we made a programmer—solely for development purposes—with which we could adjust the tones. Sometime later in the development process, one of our superiors remarked, "You can attach a keyboard to that and make a polyphonic synth out of it, can't you?" [Laughs.] So that's how the JX-3P came about. The reason it's a six-voice polyphonic synth is because it started out as a sound engine for guitar synths, guitar being a six-string instrument. (Laughs.)

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