The Roland GR-300 holds a unique position in the world of guitar synths. While the sonic potential of the GR-300 was limited, its incredibly fast and accurate tracking made
The Roland GR-300 holds a unique position in the world of guitar synths. While the sonic potential of the GR-300 was limited, its incredibly fast and accurate tracking made it the only guitar synthesizer to ever live up to the marketing hype. So naturally, Roland Corporation created quite a stir among guitar synth enthusiasts with the announcement that the new VG-99 would include a software emulation of the GR-300.
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Recently, GR-300 modules have sold for close to $2000 on eBay, with complete systems featuring the G-303 controller selling for over $3000. This is well above the cost of a complete VG-99/FC-300/GK-3 rig, which made me wonder, would the VG-99/ GR-300 emulation compare with the original 1980 version?
What makes the GR-300 so special?
To appreciate the unique qualities of the GR- 300, let’s take a look at the unusual design of this early guitar synthesizer. Before the GR-300, most designers used a pitch-to-voltage circuit to generate a control voltage to drive a VCO, or voltage controlled oscillator. In other words, the guitar fretboard was basically substituting for a keyboard. This approach is much like today’s MIDI guitar synthesizers, which convert the pitch of a guitar string into a MIDI note.
The advantage of pitch-to-voltage systems, like pitch-to-MIDI systems, is that the guitar controller can be interfaced with similarly equipped gear. The ARP Avatar, for example, could be expanded with other ARP modules, or similar vintage synths. The GR-300 broke from this tradition, and used the output of the Roland hex pickup to directly drive the guitar synthesis process. It was a closed system, but what the GR-300 lacked in expansion and voicing options, it more than made up for in its remarkable ability to almost immediately translate fretboard actions into distinct synthesizer sounds.
While conventional analog synthesizers typically offer a variety of waveform outputs, the GR-300 has a unique sawtooth waveform not found on any other analog synthesizer. Because the cycle of the waveform from the hex pickup drives the synthesis process, Roland designers realized that lower notes would be much louder than higher notes. In fact, with each successive octave the waveform would lose half its amplitude. The solution was to simply chop off much of the top of the waveform, as this would keep all the notes at the same volume across the range of the guitar. This was certainly a brute-force approach, but this shifting sawtooth waveform gave the GR-300 a sound not found anywhere else. In the nineties, Roland sound designer Scott Summers sampled his own GR-300, and the unique GR-300 waveform started to show up in some new Roland guitar synthesizers. But sampling the GR-300 was clearly not the same experience as playing a GR-300.
Blue Box in a Silver Box
After much input from internet user groups, and perhaps after seeing the price of their venerable GR-300 soar in used gear markets, Roland promised to recreate the sound of the GR-300 inside the VG-99. Were they successful? Absolutely. After playing a GR-300 for years, it was quite disconcerting playing the VG-99/GR-300 emulation for the first time. The sound is all there, from the “spit” of the GR-300’s attack, to the characteristic breakup of the sawtooth waveform before the sound stops.
And Roland included all the features of a complete GR-300 rig, including pitch sweep controls, envelope filter modulation, LFO and even hex fuzz, a feature that was actually a part of the vintage guitar controller and not the GR-300 itself. When Roland claimed to completely emulate a GR-300 in the VG-99, they were serious. The new VG-99/ GR-300 has more creative options, along with the bells and whistles of modern technology: USB and coaxial digital outputs, and more effects than an entire eighties studio. For the critical tests, I plugged a Roland-Ready Fender Stratocaster into a converter/splitter so that I could play the VG-99 and GR-300 at the same time. Audio samples of these tests are available online, along with waveform photos and more info for the guitar geek.
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When playing complex patches, the emulation of the GR-300 is virtually indistinguishable from the original. However, critically comparing the two synths side-by-side reveals a few minor flaws in the emulation. First, the waveform generated by the VG- 99 looks exactly like the diagram of the waveform found in the original Roland GR-300 patent application. But the actual GR-300 waveform lacks the crispness of the emulation, and has a very slight harmonic peak. Consequently, with the filters wide open on both synths, the VG-99 is perhaps a bit sharper and brighter in tone. However, once you start to close the -24 dB low pass filters down, the waveforms become nearly identical. Speaking of the filter, the emulation of the dramatic analog filter is also amazingly accurate, though the resonance is a bit more aggressive on the VG- 99 than it is on the original GR-300.
Emulating analog synthesizers in software actually presents some philosophical issues for designers. Do you slavishly recreate the sound of a 25-year-old synth, or do you recreate the sound of the synth as the original designers intended? And what is the sound of a GR-300? No doubt that after 25 years many of the components in my test GR-300 have lost their original electrical values. But since no one is building new GR-300s, this was the best test rig I could come up with.
Also of concern is the amplitude envelope. The decay of a sustained note using the VG- 99/GR-300 closely followed the actual decay of the unprocessed Strat sound. However, in the GR-300 the sound was a bit more compressed, holding at a fairly steady level before abruptly dropping off. The GR- 300, both real and emulated, does have a compression switch, but I had this turned off for these tests. For moderate to fast playing, you cannot hear the difference, but one of the pleasures of playing a GR-300 is hearing a low note sustain for twenty or thirty seconds before fading out. In the sustained audio samples, the VG-99/GR-300 always fades out before the original GR-300 does.
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A minor note: the VG-99/GR-300 does not specifically mimic the “string select” feature found in the original GR-300. There are three modes of operation in the GR-300. Mode one is hex fuzz only, mode two is a combination of hex fuzz and synth sound, and mode three is synthesizer only. Pat Metheny, for example, only uses his GR-300 in mode three for lead voice. On the original GR-300 you can turn individual strings on and off, but only in mode three. The VG-99/GR-300 does not have this feature in the GR-300 section, but provides a way to switch individual strings on and off through the guitar modeling parameters.
The VG-99/GR-300 certainly recreates the analog fatness and vibe of the original GR-300. Perhaps Roland engineers had an advantage modeling the GR-300. Software emulations often suffer from being too perfect: the oscillators work too precisely, and the MIDI-based keyboard tracking generates perfectly intonated pitches. The VG-99/GR- 300 readily recreates the human quality of the original GR-300 synth, because any flaws in the Roland GK guitar controller are reproduced. The subtle difference between playing the same note on a wound or unwound string is heard, as is the inherent intonation compromises found in any guitar fretboard. It is these subtle differences that make the sound of the GR-300, real or virtual, more complex and interesting to the human ear than typical synthesizers. Unlike most synths, playing the same note twice does not create the exact same sound.
And now for Version 2.0?
My quibbles with the GR-300 emulation are really pretty small. For most GR-300 players, the VG-99 is well worth the money, since you can now keep your pricey vintage gear at home. Also, the VG-99 offers something the GR-300 never had: presets. Players pretty much had to stick to one sound, since there was no way to store and recall settings. Connect the FC-300 to the VG-99, and you can easily changes patches and recreate the octave shifts that are an essential part of the drama of any GR-300 solo. The VG-99 also lets the user assign more than one function to pressing a footswitch or moving a pedal. So hitting the CTL 1 switch can simultaneously change octaves, engage filter modulation and tweak the final output equalizer.
The VG-99 is software based, so there is always the possibility that Roland engineers will address the envelope issue in a future version, but even if that day never comes, I am truly impressed with the work that Roland put into the GR-300 emulation on the VG-99. Unlike most software vintage synthesizers that can exist solely in a CPU, the VG-99, like the GR-300, requires input from the real world to start its engines. And the dual-channel VG-99 will let you actually play two GR- 300s at the same time. Just try to track down the equivalent vintage gear to do that: two GR-300s, a super-rare Roland US-2 splitter, and three of the 24-pin cables. With prices steadily creeping higher and higher in the vintage market, you might be able to afford a new car for the same money!
With the VG-99 now providing my GR-300 tones, my elderly GR-300 is getting some well-deserved rest. Everything old, it seems, is new again.
Roland
rolandus.com/
Day 9 of Stompboxtober is live! Win today's featured pedal from EBS Sweden. Enter now and return tomorrow for more!
EBS BassIQ Blue Label Triple Envelope Filter Pedal
The EBS BassIQ produces sounds ranging from classic auto-wah effects to spaced-out "Funkadelic" and synth-bass sounds. It is for everyone looking for a fun, fat-sounding, and responsive envelope filter that reacts to how you play in a musical way.
Positive Grid unveils Spark EDGE, a multi-channel smart amp & PA engineered for musicians demanding portability, versatility, and pro-level sound.
Positive Grid unveils Spark EDGE, a multi-channel smart amp & PA engineered for musicians demanding portability, versatility, and pro-level sound. Designed for everyone from singer-songwriters and buskers to acoustic duos and electric players, Spark EDGE packs 65 watts of studio-quality sound, built-in effects, and a looper into a lightweight, compact design. Capable of serving as an amp, PA, or personal monitor, Spark EDGE offers flexible connectivity for electric and acoustic guitars, bass, vocals, keyboards, and more. With optional battery power (sold separately), Spark EDGE delivers the freedom to perform anytime, anywhere.
Pro-Level Sound with Advanced Audio
Powered by Sonic IQ Computational Audio, Spark EDGE enhances every note with precision. Its tech-driven system features a dedicated computational audio chip that refines dynamic range, boosts vocal clarity, and deepens bass. The result? Precise, immersive sound in any setting. Complemented by an advanced speaker design—featuring a woofer, tweeter, and reflex ports—Spark EDGE delivers rich, full-bodied sound that brings any performance to life.
Seamless Multi-Instrument Connectivity
Featuring four versatile channels, Spark EDGE offers seamless connectivity for multiple instruments:
- Channel 1: Equipped with 36 amp models and 50 effects for electric guitars, acoustic guitars, bass, and vocals.
- Channel 2: Tailored with dedicated amp models and effects for vocals, bass, and acoustic guitars.
- Channels 3/4: Stereo input channels designed for keyboards, drum machines, and other instruments.
All the Gear in One App
The Spark App transforms Spark EDGE into a performance powerhouse:
- 36 Amps: Instant access to guitar, bass, and acoustic amp models
- 50 Effects: A comprehensive selection of built-in effects for any instrument
- Creative Groove Looper: Layer, loop, and experiment with over 100 drum patterns
- Spark AI: Automatically generate the ideal tone with AI-powered suggestions
- Smart Jam: Create dynamic backing tracks that adapt to any playing style
- Auto Chords: Real-time chord display for millions of songs
- 100,000+ Tones: A vast library of downloadable tones, created by musicians worldwide
Ready for the Road
Lightweight yet rugged, Spark EDGE is built to go anywhere. Featuring an ergonomic handle for easy carrying and a durable design that withstands the rigors of travel, Spark EDGE offers two listening angles—upright or tilted. In addition, an optional rechargeable battery (sold separately) offers up to 10 hours of playing time per charge.
Limited Edition Grilles
Limited-edition grilles (sold separately) allow for personalization, with bold designs like Sunburst and On the Edge offering a distinct, eye-catching look before the first note is even played.
Essential Extras
- Bluetooth® Streaming: Stream music directly through the amp and blend tracks with live performances using onboard volume control
- WiFi: Over-the-air firmware updates ensure seamless improvements, with no computer required
- Send stereo outs to the PA and use Spark EDGE as a monitor while maintaining tone control
- Compatible with Spark accessories including Spark Control X, Spark CAB, Spark LINK and more
Handmade in Japan, this bass features a bolt-on hard maple neck, alder body, VolaJS5-N neck and Vola JS5-B bridge pickups, and a Vola ATR-I Active 3-band EQ. Experience top-quality craftsmanship and tonal potential with the ZVA 5 Bass.
The tried-and-true ZVA bass is back, this time with additional range! The all-new 5-string version maintains its most prominent features while providing players with an expanded scope of tonal potential. Its bolt-on hard maple neck is equipped with 21 frets, a rosewood fingerboard, a 34.5” scale, and a Duracon nut for optimal performance. The modern C-shaped neck allows for easy access to the entire fretboard while maintaining perfect comfort. The body is made of alder, offering a balanced playing experience. From a hardware standpoint, the nickel components were manufactured by Gotoh, including the machine heads and a string-through bridge setup. The bass is equipped with VolaJS5-N neck and Vola JS5-B bridge pickups, coupled with a Vola ATR-I Active 3-band EQ and a handy mini switch for seamless transition between passive and active modes. Overall, the ZVA 5-string carries on its predecessor’s legacy with extended range and accessibility for every type of bassist.
Features Include
- Country of Origin: Handmade in Japan
- Construction: Bolt-on neck
- Body: Alder
- Neck: Maple/Rosewood, Vola Modern C shape (bass) 1F(21.5mm)/ 12F(24mm)
- Fingerboard: Maple, 9.5" Radius
- Inlays: Classic dot inlay
- Nut: 47.6mm Duracon nut with Zero Fret
- Frets/ Scale: 21 Frets/ 34.5"
- Pickups: Vola JS5 neck, Vola JS5 Bridge
- Electronics: 1 Volume, 1 Balance, Vola ATR-I Active 3band EQ, 1mini switch(passive/active)
- Hardware: Gotoh 303 SJ 5 Bass bridge w/String thru the body, Gotoh 404SJ-5(4:1) Tuners
- Strings: Daddario EXL-170-5SL 45-65-80-100-130 Super long
- Misc: 4mm Allen key for truss rod adjustment
- Country of Origin: Handmade in Japan
- Case: Vola Custom Series bass Gig bag
The Vola ZVA 5Bass is the culmination of Vola’s dedication to designing top-quality instruments for demanding players, without sacrificing the beauty that invites a closer look. Visit their website or your local Vola dealer for a closer look at the Vola ZVA 5 Bass. The Vola OZ Supernova has a street price of$1,189 USD. Vola Guitars now sells direct!
For more information, please visit volaguitars.com.
Introducing: The All-New ZVA 5 Bass - YouTube
If you’re new to Priest’s music or are trying to find your own starting point, we’ve got some great tips for guitar jammers. And if you’re a hardcore fan, maybe you’ve got some tips you can share for our next steps.
In this episode, we’re celebrating the thrill of guitarmony, sick riffs, and driving 8th-note rhythms by talking about Judas Priest. Before getting ready for this episode, neither of your esteemed hosts had ever delved into the Priest discography beyond the rock-radio hits and Beavis and Butthead—though we’d both spent our time with Heavy Metal Parking Lot. Since so many of the GOATs hold the band in the highest of regard, we knew that K.K. Downing and Glenn Tipton belonged on this list, so we embarked on a journey to find out why.
After hours of listening and watching, we’re happy to report that we get it. From their debut, 1974’s Rocka Rolla, through 1980’s British Steel, deep into the ’80s-production era with 1986’s Turbo, and through the speed-metal bravado of 1990’s Painkiller, plus live videos and records—the super-loud US Festival performance and the crushing Unleashed in the East record—we found a lot that we love.