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By Jim Bybee
Okay, I admit it: I’m a lousy keyboard player. Sure, I can call up a bass sound or some drum voices and hunt and peck some MIDI data into a sequencer (thank goodness for quantizing). But if you ask me to play anything but a simple triad on the keys, I’m looking for my chord-finder in a hurry. Thankfully, Roland has been carrying the guitar synthesizer torch for the last twenty-some years, giving guitarists like me a way to tap into keyboard and synth sounds without having to learn to play keys.
Top Contender
The GR-33 Guitar Synthesizer is the newest addition to a lineage that began way back in 1977. And all those years of steadfast guitar synth development have definitely paid off; this latest entry is Roland’s fastest-tracking and best-sounding guitar synth yet. Weighing in at just under 6 lbs., the GR-33 packs a powerful punch in a compact package. It’s also the most affordable Roland guitar synth in some time, with a suggested retail price of only $695 or $895 with the GK-2A pickup.
First off, the unit features an all-new 48-voice polyphonic sound engine based on Roland’s benchmark JV-Series synthesizers. Nearly 400 world-class Tones are at your disposal, including pianos, strings, vintage synths, bass, nylon- and steel-string guitars and percussion. Two of these Tones can be combined into a Patch, with each having its own amplifier envelope and filter cutoff settings. The sound can then be processed with chorus and one of eight reverb/delay effects. In addition, a Patch can be further effected with an in-line multi-effects processor, offering overdrive and distortion, phaser, rotary speaker emulation and much more. 128 Preset Patch memories are provided, as well as 128 User Patches for you to store your own custom settings. The sound quality is, in a word, awesome. It is easily the best sound engine that Roland has ever integrated into a guitar synth. Furthering this impressive package, you’ll also find a Harmonist that creates intelligent harmonies in realtime and a built-in Arpeggiator with 50 selectable patterns.
Total Control
Users of previous Roland guitar synths will immediately notice the GR-33’s improved user interface with a backlit LCD display. This display lets you give your Patches descriptive names like “Piano” or “Strings” instead of having to remember numbers like “A33” or “C14.” Dedicated buttons allow you to jump to the editing group of your choice, and the Value dial and Parameter buttons make navigation a breeze. There’s also a handy Output Select switch for tailoring the GR’s audio output to the desired output gear, be it a mixer connection or combo amp. For foot control, there are four switches available. Used in conjunction with the S1 and S2 switches on the GK-2A pickup (see Square One sidebar), these are your key to realtime control. Group, Bank and Patch selection are available, as well as a Tuner On/Off function. Four performance features can be activated from here also: Wah/Modulation, P-Glide (portamento), Hold (sustain) and Control (a user-assignable parameter). Last but not least, there’s a built-in expression pedal which can be assigned to continuously control one of eighteen onboard parameters (such as Patch volume or reverb depth) or transmit MIDI control change messages.
Call Me “Lightning”
The main knock against early guitar synths was that the tracking was erratic (resulting in misfired notes and “glitches”) and that there was a time lag between the string attack and the resulting audio. The reason for this lag is simple: when you pluck a guitar string, the hex pickup converts this signal into a voltage. This voltage then travels down a cable into the guitar synth, which has to read this information and figure out what pitch was played. The result of this calculation is then converted into a data stream that triggers an onboard sound source and feeds a MIDI processing section (which feeds the MIDI output). It takes some powerful computing power to pull off this feat in a split-second, and that’s just for a single note. Imagine how much number-crunching goes on when you strum a chord or play a fast single-note run.
When the GR-30 was released in 1997, Roland had seemingly reached the pinnacle of this technology; the GR-30 was simply the most responsive and “playable” guitar synth to date. But, amazingly, the new GR-33 ups the ante one more time by surpassing the fast tracking speed previously attained. The result is the ability to achieve a level of speed and accuracy previously unavailable in any guitar synth at any price. And this translates into an instrument that responds with ease to all the nuances and dynamics of your personal playing style.
The Sounds
The sounds on the GR-33 are very cool. Included is everything from stereo strings, brass, an incredible jazz scat patch with dynamic switching between “doo” and “da”, basses, killer pianos and today’s techno/dance sounds. The GK-2A has a 3-way switch on it so you can easily switch between GR-33, straight guitar or mix. Mixing in the real guitar with the synth is where the sound gets cool. You can mix in guitar with beautiful strings which flow in slowly, or call up a muted trumpet á la Miles and play solos. The sound palette is almost unlimited; remember, the sound engine of the GR-33 is based on the renowned JV rack synths.
The use of effects on a Patch is also astounding. For example, there is a great B3-style rock organ. By pressing the expression pedal, the rotary effect speeds up the rotating speaker or slows it down. Very impressive. Many of the synth bass Patches, ambient synth sounds and synth brass also have the filter assigned to open and close. By calling up a huge synth bass Patch you can control the pedal for great “wet sounding” filter/resonance sweeps which rival a classic TB-303. The realtime control of the pedal is a welcome sonic tool.
Last but not least is the built-in arpeggiator and Harmonist. You can assign one of the arpeggiator styles to a sound, hold a chord or note, and automatic rhythms will be played. The most impressive is the nylon string guitar with the classical guitar-type arpeggio. Hold a chord and you’ll swear you studied right-hand classical technique for years. The synth Harmonist is also great since you can assign it to play diatonic harmonies automatically. If you set an interval up a 3rd in a specific key, just play a scale and all the correct harmonies are automatically added.
The MIDI Connection
Though the GR-33 has an incredible array of onboard sounds, its link to the outside world comes through its MIDI capabilities. Converting pitch into MIDI data, the GR turns your guitar into a high-powered MIDI controller. Poly mode sends MIDI information on a single channel—good for inputting data into a MIDI sequencer or triggering the Patches of an external sound module. Mono mode sends data on six different MIDI channels—one for each string. When connected to a multitimbral sound module such as a JV- or XV-Series synth, you can trigger a different sound with each guitar string! A GR-33 Patch also can be programmed to transmit Bank Select and Program Change messages for calling up Patches on a remote device, and the aforementioned expression pedal can transmit MIDI control change data for further manipulation of your external MIDI gear.
Final Thoughts
The GR-33 is an incredibly powerful music-making tool. It can be used for so many applications: spicing up your straight guitar sound with some synth backing; emulating a harmonica or sax on stage at a moment’s notice; or integrating into the world of MIDI music without the frustration of learning a whole new instrument. If you’re a guitarist who has never explored the world of guitar synthesis, you owe it to yourself to check out the GR-33. It’ll open the doors to a whole new world of creative possibilities.
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Understanding the GK-2A Divided Pickup
After reading about the GR-33, you may be wondering “What the heck is a GK-2A pickup?” or “Why do I need one?” The answers are relatively simple; to convert a guitar string’s pitch into synth/MIDI data, the GR-33 and other GR-Series guitar synthesizers simply need more information than a standard guitar pickup can muster. Therefore, interfacing your guitar with the GR-33 requires it be equipped with a GK-2A Divided Pickup (or compatible).
The GK-2A is a six-in-one affair. Inside the slim case are actually six individual pickups—one for each string. Each has its own discrete output, which is fed to the GR via a special 13-pin cable. This allows the synth to process each string’s output independently for extremely accurate tracking and MIDI conversion. But the GK-2A isn’t just a pickup; the attached control housing supplies a synth volume control and two switches (“S1” and “S2”) for controlling assignable GR functions directly from your guitar. Your regular guitar output can also be plugged into the GK housing using a special mini-cable. A three-way selector switch then allows you to blend your “straight” guitar sound with GR voices.
The GK-2A can be installed on most guitars in a matter of minutes. It can be temporarily mounted with double-stick tape (supplied), or with screws for a more permanent installation. Roland also offers an internal guitar mount version, the GK-2AKIT (professional installation recommended). In addition, there are a number of guitars on the market that come factory-equipped with GK-compatible pickups. These are available from manufacturers such as Fender®, Godin®, Ovation® and Brian Moore Guitars®.