MIDI Guitar aficionados will note that the GR-30 looks and feels like its predecessor, the GR-09, except that it is black. In fact, both units are contained in the exact same foot-controlled floor unit. Real estate wise, this is a small box. It measures 12" wide by 11" deep and a couple of inches high. With this kind of portability, Roland is targeting the musician "on the go." While there are similarities between the GR-09 and the GR-30, there are also many differences. Let's take a closer look.

Pickup Setup

Before you fire up the GR-30, the GK-2A (or compatible) pickup needs to be installed (for further information see my article, "Guitar Synthesis: Past, Present and Future" in the July 1995 issue). The hex pickup comes in two connected parts: the actual pickup and the control housing. The pickup fits next to the guitar's bridge while the housing unit mounts on the surface of the instrument. In addition to a small volume knob, the housing has a three way selector switch. This toggles between synth sounds, "regular" guitar sounds or a combination of the two. Also, there are two small buttons (S1 and S2) that act as remote controls for the synth module.

After installing the pickup, each string's sensitivity needs to be set. These settings adjust the output level relative to the guitarists' picking pressure based on the GK-2A's proximity to the strings. The process is as simple as setting a level meter.

Next, Roland provides a Play Feel adjustment. This function takes into account that different playing styles require different picking dynamics. For example, there are settings for hard and soft picking, string tapping, finger picking and envelope control. With envelope control, the synth's volume envelope and tonal brightness are determined by the amplitude of the guitar strings. This adds more expression to the synth's tones via the guitarist's picking pressure.

Guided Tour

On top of the GR-30 are four foot pedals used in conjunction with the S1 and S2 buttons. These handle everything from the tuner to patch changes to real time modulation effects.

Above the pedals are two large rotary dials. The Edit Target dial selects menu options while the Parameter Select chooses one of four settings to be edited. Each dial has 8 indent positions. On the left are two knobs for master volume and string select. Towards the top of the GR-30 is a small recessed display screen. In this area, a three digit alpha-numeric LED displays information. On the display are several other buttons used for scrolling parameter values.

Roland has managed to squeeze a lot of information on to the surface of the synth. Every dial and knob has a menu name written next to it. At first glance, it looks rather busy and confusing; once you get to know the synth, it's quite helpful.

On the back-side are connector points, including two main audio outputs (stereo), direct guitar connectors, MIDI in and outs, bank shift and an expression pedal connector. And yes, there is the typical wall-wart power supply.

This device makes good ergonomic sense.

Architecture

The GR-30 ships with 384 tones comprising 8 MB of memory with 28-voice polyphony. As in the GR-09, two tones can be combined to create a patch. There are a total of 256 patches: 128 factory presets and 128 user locations.

Most of the sounds are bread-and-butter presets like pianos, basses, guitars, percussion and orchestral instruments. There's also a healthy dose of analog-type leads, pads, and sound effects. To my ears, these are the most successful.

"Sync Lead 1" and "Super Sweep" are great patches with buzzy and breathy filter effects. Also strong are the bass and organ sounds. Unfortunately, the orchestral patches are the weakest of the bunch (yes, a good set of orchestral CD-ROMs can cost as much as the whole GR-30).

However, there are some knock-outs in the traditional instrument category. For size, try the realism of the nylon and steel string guitars. The accordion and the banjo are great. Also strong are the ethnic instruments. Overall, Roland has chosen a rather conservative but well diversified group of sounds.

There are a ton of new features that separate the GR-30 from its predecessors. For starters, check out the arpeggiator and a harmonist. The first patch, "Classical Guitar," makes good use of the arpeggiator. Play one note and an amazing arpeggiated trill kicks in. Instantly you're flamenco virtuoso! Roland was smart to put this preset first - if this doesn't sell 'em off the floor, nothing will.

Another great patch is "Drone Sitar." In this preset, the arpeggiator plays a tabla loop underneath a sitar. Custom-designed arpeggiated patterns can also be programmed into the GR-30. In fact, each string can have its own separate arpeggiator.

If you're not into being a flamenco guitarist, check out the next preset, "Rock Duo C." This patch utilizes the GR-30's "intelligent" harmonist function. The first tone is a combination of a distorted guitar and bass. This comprises the main sound. The second supporting tone is a feedback sample with the harmonist tuned to a 3rd. If you like an in-your-face guitar lead, this one's for you. The GR-30 also provides a setting for the key signature. This determines the corresponding harmonic interval for the notes played. Both the arpeggiator and the harmonist let you specify which of the tones (or both) are to be processed. Unfortunately, the arpeggiator and the harmonist can't function at the same time. However, MIDI data from each can be sent to external sound modules and sequencers.

FX

Also packed away in this package is an effects section. While there are fewer choices than the GR-09, there's still a healthy dose of reverbs, delays, delay pans, choruses, flanges and special effects.

But don't expect to tweak your settings to sonic perfection. For reverbs, there's only two editable parameters: level amount and decay time. For chorus and other related effects, the pickings (sorry) are slim. There are no editable parameters! However, Roland provides over 40 effects and this should be adequate for most users in most situations.

Another cool feature on the GR-30 are the pedal controllers. These include the four onboard pedals and an external expression pedal. By switching into the pedal effects mode, each of the onboard pedals becomes a real-time controller. These let you choose between Wah-Wah, Pitch Glide, Sostenuto/Hold and Arpeggiator/Harmonist.

Each of these effects has multiple settings and can be used in some very interesting ways. To take it a step further (no pun intended), an external expression pedal can be connected to the GR-30 to provide an additional 15 controllable effects. Choices include volume, pitch, modulation, pan settings, reverb level and arpeggiator tempo. Also note that most (but not all) pedal controllers can respond to MIDI data.

Performance

In the "old days" of guitar synthesis (10 years ago), certain playing techniques simply didn't work. Forget about finger-picking, forget about string tapping and forget about chordal strums. The GR-30 handles these tasks beautifully.

Another major gremlin with guitar synths is glitches. These critters are erroneous noises, bleeps, and buzzes resulting from inaccurate pitch detection. Glitches on the GR-30 are next to nil...honest! And because of the clean tracking, sequencing works very well.

The other factor that has plagued MIDI guitar since day one is tracking delay - notes can't be triggered until the string's vibration becomes constant. This can take anywhere from 5 - 15 milliseconds. However, the GR-30's response time is excellent due in part to Roland's optimization of the internal sounds.

Final Verdict

Roland guitar synths are not the only game in town. However, they've managed to corner the market with 20 years of development. That's hard to beat.

The GR-30 is designed to work well as a gig instrument. And for most guitarists, this should fit the bill. However, compromises were made to keep this box "affordable." For example, editing features are rudimentary, not all parameters are MIDI programmable, the synth is not multi-timbral and the GR-30 can't remember the last patch when turned off (it always defaults to A11). But my main gripe is that I'd gladly pay extra dollars for a readable LCD instead of the red LED. [Roland feels that the red LED is more readable in live performance.-NB]

There's certainly good news, though: the GR-30 is probably the best guitar synth on the market. It feels smooth and expressive, glitching is almost non-existent and tracking is excellent. You'll find the internal sounds and effects more than adequate. And the extra goodies like the arpeggiator, harmonist and the pedal controllers are hard to beat.

All in all, this is one solid package. But even better is the price tag - it's Roland's most affordable guitar synth to date.

Price: GR-30, $895; GK-2A, $275; Package (GR-30 & GK-2A)/$1095 More from: Roland Corporation USA, 7200 Dominion Circle, Los Angeles, CA 90040-3696. (213) 685-5141. www.rolandus.com