Roland GR-300 User manual

Roland
Polyphonic
Guitar Synthesi^gr
GR-300 OWNER'S MANUAL
Guitar Synthesi^r

FEATURES INDEX
Any guitarist can play the GR-300, using all
standard guitar playing techniques, including:
hammering, glissandos, harmonics, chopping,
etc.
The GR-300 produces effects and nuances which
keyboard synthesizers cannot easily produce.
To produce the effect of the GR-300, you would
need:
6-octave shifters +6-com pressors +6-chorus
machines +6-distortion units +6-phase shifters
+waw +etc. +etc
It is very easy to produce anything from simple
or complex solo sounds to the sounds of ahuge
band or orchestra. All major functions are con-
trolled with foot switches and require no hands.
Smalt, compact unit (like an effects box) with
all electronic-type foot-controlled switching
of major functions; good for live perform-
ance.
Produces stable effects for all styles of guitar
playing which, up to now, were impossible:
hammering, glissando, chopping, etc.
Totally polyphonic: one VCO for each string.
Instant and accurate transposing to two
preset pitches.
Duet switch for chorus effect.
Polyphonic distortion for new clarity, even
with chords.
STANDARD CONNECTIONS
MIXED OUTPUT 3
GUITAR SYNTHSIZER OUTPUT 3
BASIC SETTING 4
PRODUCING SOUND 5
VCF 5
COMPRESSION 6
VCO VIBRATO 7
PITCH SHIFT 7
STRING SELECTOR 9
HEXA DISTORTION 9
USJNG ATTACHMENTS 10
SAMPLE SOUNDS 11-13
SAMPLE NOTES 1418
SPECIFICATIONS 19
OPTIONAL ACCESSORIES 19
Before Starting
•Use atransformer to produce the correct
line voltage if the line voltage in your area
does not match the value specified on the
name plate.
•Keep away from flourescent lamps, neon
lights, and high-power transformers as these
wilt produce high noise levels in the Guitar
Synthesizer.
•Avoid the use of this instrument in places
that are dusty, of high temperature or high
humidity.
•Clean the control panel with neutral deter-
gent. Use asoft, dry cloth for the wooden
parts. Do not use solvents such as paint
thinner.
•The GR-300 Guitar Synthesizer has been
designed to work with the G-303 or G-808
Guitar Controller and will not work with the
GR-500 Guitar Controller.
•The length of the sound may be shorter
than normal, or the synthesized sound may
be one octave higher than normal with cer-
tain styles of picking and stopping the strings.
•Synthesizer ON/OFF for each string.

STANDARD CONNECTIONS
GUITAR CONNECTIONS MIXED OUTPUT
USING ONE AMPLIFIER GUITAR SYNTHESIZER OUTPUT
USING TWO AMPLIFIERS
^— -------- ----
uIHHWIlHMIir-IMIM^M.1- HMMMMMIlXi
i
GUITAR AMP
Note:The GR-300 outputs
are set at guitar level for
use with guitar amplifiers.
When using the AUX IN of
ahi-fi type amplifier, apr-
eamp may be necessary in
order to bring the sound
level up to the desired
listening level.
(AUX)
HUH
:.i: INSERT CONNECTOR LOCK
Connect the G-303 or G-808 as shown in the
drawing using the chrome guitar connector.
The connector is keyed and must be inserted
correctly (lock lever up) for aproper fit. (The
NORMAL OUTPUT jack on the Guitar Control-
ler is not connected to the Guitar Synthesizer.)
When there is no connection to the GUITAR
OUTPUT jack on the rear panel of the Guitar
Synthesizer, the output at the MIX/SYNTH jack
consists of an equal mixture of the guitar and
synthesizer sounds.
OR USE LEFT
AND RIGHT
INPUT OF STEREO
AMPLIFIER
When both output jacks are used, the outputs
are separated with the guitar sound at the OUT-
PUT jack and the synthesizer sound at the MIX/
SYNTH jack. These separate outputs can be
passed through separate effects devices and
amplifiers for stereo sound.

STANDARD SETTING
GS-303/808
OUITAR TONE mmj
C3UITAB SYNTH
BALANCE
MASTER VOL
CUTOFF FREO 10 VCO o"tq
RESONANCE LFO(VIB) DEPTH
GR-300
|STRING SELECT .
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COMPRESSION
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HEXAVCO
MASTER TUNING RISE TIME FALL TIME
A-« PITCM-
•©?* Jm•v+
LFO RATE r~B-- m
VCF
ATTACK TIME
Roland
GR-300
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PRODUCING SOUND
Set the controls as shown on the left. Set the
external amplifier volume at minimum and turn
on all the power switches. Turn up the volume
control; playing the guitar should produce the
guitar sound. If needed, tune the Guitar Con-
troller in exactly the same way as an ordinary
electric guitar is tuned.
To produce the synthesizer sound, turn the
BALANCE control fully clockwise (to "10").
This control determines the balance between
the guitar and synthesizer sounds. For the
moment, leave it at "10".
The sound produced now is the unprocessed
sound from the synthesizer VCO's (voltage con-
trolled oscillators). Press the DUET foot switch.
The DUET switch adds the fundamental pitches
of the guitar strings to the VCO sounds to
produce achorus effect. It is necessary to tune
the VCO's so that they match the pitches of the
strings by using the MASTER TUNING control.
For accurate tuning, use as high aguitar pitch
as possible and allow at least ten minutes for a
warm-up period after first turning on the power
switch.
USING THE VCF
Let's try the VCF (voltage controlled filter)
section next. While producing sound as des-
cribed above, try slowly lowering the Guitar
Controller VCF CUTOFF FREQ control to "0".
Note that the sound becomes softer with fewer
harmonics. The purpose of the VCF is to con-
trol the tone color of the synthesizer sound.
Next, raise the Guitar Controller RESONANCE
control alittle at atime while trying different
positions of the CUTOFF FREO control. This
produces an electronic type of sound usually
associated with synthesizers. The two controls,
CUTOFF FREQ and RESONANCE, combine
to control the tone color of the sound passing
through the VCF.
Raise the VCF SENS (sensitivity) control to
maximum. Setthe RESONANCE control at "5"
and the CUTOFF FREQ control at "3". While
repeatedly picking astring, try pressing the
ENV MOD (envelope modulation) foot switch.
In this mode of operation, the filtering action
of the VCF is controlled by the picking of the
guitar strings instead of manually, as before, to
produce a"wow" sound. This is called envelope
modulation.
Try raising the ATTACK TIME control. This
causes the rising {attack time) of the "wow"
sound to become longer.
DUET
DUET SWITCH ADDS
THE FUNDAMENTAL
PITCHES OF THE GUITAR
STRINGS TO VCO
MASTER TUNING
TUNES VCO'S
CUTOFF FREO -ia
RESONANCE
If afoot volume pedal (Roland FV-20; sold
separately) is connected to the VCF PEDAL
jack on the rear panel of the VCF, the VCF
cutoff frequency (in other words, the tone
color of the output sound) can be controlled
manually with your foot.

To review:
The ENV MOD (envelope modulation) foot
switch turns the "WOW" effect on and off.
The SENS (sensitivity) knob controls the depth
of the "wow" effect.
The ATTACK TIME knob controls the time
required for the rising part of the "wow" sound.
The CUTOFF FREQ knob controls the tone
color of the sound manually and is used to set
the initial tone color value. When the EN VMOD
mode is used, the tone color is swept up, then
back down to the initial tone color. If the CUT-
OFF FREQ knob is at "10", the initial tone
color will be bright, but since the tone color
control is already at maximum, the ENV MOD
mode will have no effect on the tone color.
Press the ENV INV (envelope invert) foot switch
and try the above VCF experiments again, but
this time with the VCF CUTOFF FREQ control
between "7" and "8" instead of "3".
The ENV INV foot switch inverts the effect
that picking astring has on the sound. Instead
of sweeping up, then down, the sound will
sweep down, then back up to the initial
CUTOFF FREQ setting. For this reason, the
VCF CUTOFF FREQ control will have to be
set initially higher than with the normal ENV
MOD mode.
From the above experiments, the basic idea of
how the VCF works can be understood.
CAUTIONS WHEN PLAYING
When playing arpeggios and using envelope mod-
ulation of the VCF, the VCF cutoff point will
simultaneously follow the vibrations of all the
notes, if this effect is not desired, dampen the
previously picked string.
COMPRESSION
Set the VCF so that sound passes through it
without being processed or affected by it. To
do this, set the VCF CUTOFF FREQ control at
maximum, RESONANCE at "0", and the ENV
MOD foot switch at OFF (LED above the ENV
MOD switch is not lit). With the DUET switch
ON, the sound from the VCO's and the funda-
mental pitches from the strings are combined
and pass through the VCF without being
affected. Try picking one of the strings and
note that the VCO sound has aquick attack
and dies away slowly, just like the original guitar
sound.
Set the COMPRESSION switch at ON and try
picking astring again. The effect is to prolong
the sound. The COMPRESSION mode is most
often used when synthesizing such sounds as
brass and string sounds.
CAUTIONS WHEN PLAYING.
When there is no sound, the compressor circuit
is at maximum gain and the Guitar Controller
will be very sensitive to noises caused by hand-
ling.
#CUTOFF FREQ
G
CUTOFF FREQ CUTOFF FREQ CUTOFF FREQ
L* R*f\
(BECOMES SOFTER)
•RESONANCE
#m m
oio oio oio
RESONANCE RESONANCE RESONANCE
(BECOMES ACCENTED)
VCF
MMM "MAX
ATTACK TIME
EIMV MOD-*-
MIW "MAX
SENS
ENV INV
COMPRESSION
OON:
I
-!dim COMPRESSION
yoff EFFECT

VCO VIBRATO
Next, let's try different ways of modulating or
controlling the VCO's. First is vibrato, which is
aslight wavering of pitch. Vibrato can be
produced in the normal guitar way by using the
finger to vary the tension on the string, or it
can be produced electronically for awide
number of effects.
Set the VIB DEPTH (vibrato depth) knob on
the Guitar Controller at "10". This may or
may not produce the vibrato effect. If not,
touch the metal upper end (Touch Plate 1) of
the hummbucking pickup near the bridge of the
Guitar Controller to turn the vibrato effect ON.
To turn it OFF, touch the opposite end (Touch
Plate 2) of the pickup. The vibrato will decay
after releasing the touch plate.
With the vibrato ON, try various positions of
both the VIB DEPTH control on the Guitar
Controller and the LFO RATE (LFO =low
frequency oscillator) control on the Guitar
Synthesizer and note the effects. VIB DEPTH
controls the depth of the vibrato effect and the
LFO RATE controls the speed of the vibrato.
The electronic vibrato affects only the VCO's.
In the DUET mode, the combination of the
non-vibrato fundamental string pitches with the
vibrato VCO pitches produces the chorus effect
sound.
The Guitar Controller Instruction Manual
contains additional information on the vibrato
ON/OFF function.
If afoot switch is used with the rear panel
COMP jack, the ON/OFF function of the
compression can be controlled with afoot
switch.
m*
TOUCH PLATE 2
Turns VIBRATO effect OFF, or for touch-Vibrato.
VIBRATO DEPTH
TOUCH PLATE 1
Turns the VIBRATO effect on
CONTROLS THE
SPEED OF THE
VIBRATO

PITCH SHIFT
Another VCO effect is pitch shift, an effect
where the VCO's can be shifted to pitches other
than the string pitches. In the DUET mode, the
fundamental pitches will be the same as the
string pitches, and the VCO's can be turned to
other pitches so that one instrument produces
the effect of avery large group.
Set the Guitar Synthesizer and Controller for
the standard settings shown on page 4, but with
the BALANCE control fully clockwise. Press
the DUET foot switch. Next, press the PITCH
"A" foot switch and note that the LED above
the switch lights. While producing sound, try
turning the PITCH "A" knob up and down and
note that this now controls the VCO pitches.
Try tuning the VCO's to aperfect fourth below
the fundamental string pitch. For this, the
PITCH "A" knob will be set somewhere near
-3
Next, try Pitch "B" by pressing the PITCH "B"
foot switch and adjusting the PITCH "B" knob
so as to produce the interval of amajor third
above the fundamental.
At this point, "A" tuning is aperfect fourth
below the fundamental string pitch and "B"
tuning is amajor third above. The VCO tuning
can now be switched instantly and accurately
between these two preset pitches and unison by
pressing the appropriate PITCH foot switch.
Pressing PITCH "A" produces the "A" tuning;
pressing it again cancels the "A" tuning. Press-
ing PITCH "B" produces the "B" tuning, and
pressing again cancels it. It is possible to switch
from "A" to "B" or from "B" to "A" without
passing through unison by merely pressing the
new pitch foot switch.
The UNLATCH/LATCH switch below each
PITCH knob controls the latching function of
the related PITCH foot switch. At LATCH, the
pitch change function will alternate between
the ON and OFF state each time the foot switch
is pressed as described in the preceding para-
graph. At UNLATCH, the tuning function will
be ON only while the foot switch is held down
and OFF when it is released.
It is possible to add apitch sweep (portamento)
to the pitch shift effect. Set the controls as
they were previously ("A" pitch aperfect fourth
below the fundamental and "B" pitch amajor
third above), then set both RISE TIME and
FALL TIME at "5". While producing sound,
press the PITCH "A" foot switch and note that
the pitch slides downwards from unison to the
"A" tuning. Next press the PITCH "B" foot
switch and the pitch will slide from the "A"
tuning to the "B" tuning.
RISE TIME controls the amount of time re-
quired for the pitch to change when it rises;
FALL TIME controls the amount of time
required when the pitch falls. Note that this
effect occurs only when using the pitch shift
effect and is not the same as the portamento
effect which can be added to melodies played
on akeyboard type synthesizer. When "instant"
changes are desired, the controls should be left
at"0". Try this effect with RISE TIME AT "0"
and FALL TIME at "10".
PITCH RISE AND
FALL FINE SET
2CHANNEL SELECTS UNLACH/LACH SELECTS Aor
PITCH SHIFT mode FOOT SWITCH Bby FOOT
SWITCH
If afoot switch is used with the rear panel
SWEEP ON/OFF jack, the ON/OFF function of
the pitch sweep can be controlled with afoot
switch.
#

STRING SELECTOR
When using the guitar and synthesizer sounds
simultaneously (Guitar Controller BALANCE
control somewhere near center), the STRING
SELECT switches can be used to determine
which strings are to produce the synthesizer
sounds. There are six switches, one for each
string. Only those switches that are ON will
produce synthesizer sounds. These switches
can be used where it is desired to play amelody
or abass line against guitar chords, for example,
or for other effects where the synthesizer notes
are to be relatively independent of the guitar
notes.
DISTORTION
There is one more switch on the Guitar Con-
troller left to be explained. With this switch at
the VCO position (pointing towards the bridge),
the VCO synthesizer sound is produced. When
changed to point in the opposite direction, the
HEXA-DISTORTION effect is produced. At
center, both synthesizer and distortion sounds
are produced.
The GR-300 distortion is different from ordinary
guitar distortion in that there is aseparate dis-
tortion circuit for each of the six guitar strings
thus producing an unusually clear distortion
effect even when chords are played. This sound
is also passed through the VCF where the tone
color can be further processed. Try the VCO
DISTORTION sound.
ISTRING SELECT ,
o o o o oo
DIM
OFF
ON
OFF
The STRING SELECT switches affect only
the VCO's.
Afoot switch can be used with the STRING
SELECT jack on the rear panel for selecting
between the condition set with the STRING
SELECT switches, or all strings ON.
m*
,BT DISTORTION
—VCO +DISTORTIOM
vcd VCO

USING ATTACHMENTS
Attachments can be connected between the
Guitar Synthesizer and the external amplifier.
Since the GR-300 is asynthesizer, try devices
designed for use with synthesizers, such as phase
shifters, flangers, chorus and echo machines.
GR-300 +SPV-355
When asoio type synthesizer sound is desired,
try the Roland P/V Synthesizer SPV-355. Use
the NORMAL OUTPUT on the Guitar control-
ler, or use the GUITAR OUTPUT from the GR-
300.
ECHO CHAMBER
ANALOG ECHO
PHASER
FLANGER
CHORUS
EQUALIZER
REVERB
P/V SYNTH
4<^?
HPi^
RE-501
RE-3 01
RE-201
RE-150
DC-30
DC-20
SPH-323
PH-1
BF-1
BF-2
SBF-325
CE-1
CE-2
GE-10
GE-6
RV-100
SPV-355
10

Following are avery few of the infinite range of possibilities with the Guitar Synthesizer.
5AIVI PLESOUINI DS Try a,terin 9tne sounds shown by changing controls slightly and using pitch shift, vibrato,
duet mode, etc.
3] BASS ^SYNTH BASS
Turning on the ENV MOD (and the ENV INV) for aper- Adjust the SENS and RESONANCE.
cussive bass sound.
TG-303/808
MASTER VOL
BUITAR TONE
BUITAR SYNTH
BALANCE VCO+OIBT
CUTOFF FREO UTO VCO -
1Q
RESONANCE LFO(VIB) DEPTH
'G-303/808
MASTER VOL
BUITAR TONE
BUITAR SYNTH
BALANCE VCO+D1ST
10 VCO O1Q
RESONANCE LFO(VIB) DEPTH
'GR-300
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ATTACK TIME
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ENV IVI DO -
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GR-300
11

[1TUBA
Set the CUTOFF FREQ to the level between 2-6 depend-
ing on what is desired as an effect.
'G-303/808
VCO+DIBT
MASTER VOL
CUTOFF FREQ RESONANCE LFO(VIB) DEPTH
YGR-300
SELECT ,COMPRB
|STRING SELECT .
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MASTER TUNING
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RISE TIME FALL TIME
A- PITCH-
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APITCH BEIMV MOD- EIMV IIMV
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It is also effective to turn on the DUET Switch.
G-303/808
ASTER VOL
CUTOFF FREQ \VCD OlO
RESONANCE LFO(VIB) DEPTH
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3SELECT—-, COMPfiEBBIC
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12

11BRASS ENSEMBLE
It is important that the setting of the CUT OFF FREQ and
the ATTACK TIME is done correctly.
It is also effective to turn on the DUET Switch.
G-303/808
GUITAR TOME
GUITAR SYIMTH
BALANCE VCO tDIST
[6]SYNTH VOICE
Use the pitch shifter effectively —Pitch Ais the low-
pitched voice, pitch Bis the high-pitched voice.
Use the delay vibrato.
G-303/808
MABTEB VOL
CUTOFF FREQ
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SAMPLE NOTES
rG-303/808
DUITAR TONE (©)
BUITAR 8VNTH
BALANCE
MASTER VOL
,-VCO+DIBT
CUTOFF FRED DlO VCD O10
RESONANCE LFO(VIB) DEPTH
GR-300
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MASTER TUNING RISE TIME FALL TIME
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APITCH -BENV MOD" EIMV IIMV
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BUITAR TONE ^=^JJ
OUITAR SYNTH
BALANCE
MASTER VOL
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CUTDFF FREO OID VCO OIO
RESONANCE LFO(VIB) DEPTH
GR-300
ISTRING SELECT ,
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MASTER TUNING RISE TIME FALL TIME
A- PITCH-
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A- PITCH BEIMV MOD-• EIMV IIMV
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GUITAR TONE
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A- PITCH- ENV MOD- EIW IIMV
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GUITAR TONE VVM^
QUITAR SYNTH
BALANCE i—VCO +OIST
MASTER VOL J
o10 VCO O1O
CUTOFF FHEQ RESONANCE LFO(VIB) DEPTH
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MASTER TUNING RI5E TIME FALL TIME
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A- PITCH -B ENV MOD- EIMV ItJV
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GUITAR TONE ^^JJ
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rG-303/808
GUITAR TONE V^JJ
QUITAR BYNTH
BALANCE rVCD tOIBT
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GUITAR TONE V^JJ
GUITAR SYNTH
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rG-303/808
GUITAR TONE V^J
GUITAR SYNTH
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MASTER VOL
rVCO+DHT
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QUITAR TONE V^JJ
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rVCD+DI6T
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A-. PITCH B
LFO RATE unutch ||„TCmum-stcm J [LATC„
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A-* PITCH B
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SPECIFICATIONS
HEXA VCO
MASTER TUNING
PITCH A(± 1300 CENT)
PITCH B(± 1300 CENT)
PITCH LACH/UNLACH SWITCH
SWEEP RISE TIME (0-6 SEC) .
SWEEP FALL TIME {0-6 SEC) .
LFO RATE (2-10 HZ)
VCF
ATTACK TIME (0-2 SEC) ....
MOD SENS
VCA
COMPRESSION SWITCH
(LONG SUSTAIN) ..
FOOT SWITCH
DUET
PITCH A(PITCH A/OFF SELECT)
PITCH B(PITCH B/OFF SELECT)
ENV MOD (VCF ENVEROPE MOD)
ENV INV (ENV MOD INVERT)
STRING SELECT
1-6 SELECT SWITCH 6
STRING INDICATOR 6
EXT FOOT CONTROL
STRING SELECT SWITCH 1
SWEEP ON/OFF 1
VCF PEDAL 1
COMPRESSION SWITCH 1
INPUT
24P CONNECTOR 1
OUTPUT
MIX/SYNTH 1
GUITAR 1
POWER REQUIREMENTS 20W
SIZE 400 (W) x290 (D) x100 (H) mm
NET WEIGHT 5kg
19

Gft-300 OWNER'S MANUAL 80* SEP.
Roland Corporation