Roland GA-212 Stereo Amp

Started by BenT, March 22, 2012, 02:30:56 PM

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Elantric

#25
Refer to the graph below:


The nominal measurement amplitude level was -36dBFS
There is typical guitar speaker fall off above 9KHz, but there is significant content above extending to 18kHz but at -84dB this is -50dB down from 1kHz reference and very far from being "flat" response

Read
https://www.vguitarforums.com/smf/index.php?topic=12011.msg89769#msg89769

http://www.centerpointaudio.com/HowToUnderstandSoundFrequencyResponseGraph.aspx
http://www.centerpointaudio.com/HowToUnderstandFlatFrequencyResponseGraph.aspx


https://www.vguitarforums.com/smf/index.php?topic=88.msg3791#msg3791
Typical Amp, Cab, Mic Frequency Response Curves.

Although I developed these tests a few years ago with a Line6 Vetta  - the basic characteristic "EQ Curve" of most popular Amps, Cabs, and Mics are documented here - to get you in the ball park. I think anyone trying to get a decent guitar tone will be better equipped if they understand the Frequency response differences / relationships between:

Amp Heads:  a Fender Twin, and a Marshall JCM-800, or a Peavey 5150.

Speaker Cabs:  A Celestion Vintage 30, Jenson C10Q, or a JBL D130

Mics: Shure SM-57, Seinheisser 421, Neumann U-47 - (both On Axis and Off Axis!)

Its not off topic to refer to these EQ plots when trying to emulate these sounds with a VG-99 - I view each of the companies (Line6, Roland, Digitech, Axsys) as leapfrogging each other  - its more a function of "who's got the faster DSP and highest bit depth this year?

http://www.vettaville.com/vetta_frequency_plots.htm

(Must be a member of VGuitarforums and "logged in" to download the attached documents)


https://www.vguitarforums.com/smf/index.php?action=dlattach;topic=88.0;attach=919

https://www.vguitarforums.com/smf/index.php?action=dlattach;topic=88.0;attach=920

https://www.vguitarforums.com/smf/index.php?action=dlattach;topic=88.0;attach=921

aliensporebomb

$1200!  Holy crimeny!  If it was true hi-fi stereo it would be one thing.  But my JC-120 that's going on 32 years old and has never needed a repair would be a more economical, sturdy and realistic alternative.

$1200!
My music projects online at http://www.aliensporebomb.com/

GK Devices:  Roland VG-99, Boss GP-10, Boss SY-1000.

Ed_Saxman

#27
Quote from: Elantric on September 16, 2014, 09:43:24 AM
Refer to the graph below:
The nominal measurement amplitude level was -36dBFS
There is typical guitar speaker fall off above 9KHz, but there is significant content above extending to 18kHz but at -84dB this is -50dB down from 1kHz reference and very far from being "flat" response

that's true, but hey! I have not bought this thing thinking it was a FRFR monitor or Hi-Fi system! As I had said before, I already have a good pair of studio monitors (200W, which cost more than 1000 € at the time).

Anyway, I understand you're saying that because this amplifier section has the caption "Topics about what Amplifications systems work well and do not work well with the VG-99", but the only synth that I have is a EWI4000S (which I have not yet tested the amp, by the way, but I do not really need any amp for this. Onstage I connect directly to the PA through a DI box).

All such information on the frequency of the modeled amps is fine, but based on my experience, I'm not entirely agree that a full-range system is the best choice for guitars. Obviously this can be the case if you're using guitar synths (which I personally do not like at all), but if we talk about digital effects pedals, or even more specifically amp modeling, I think this is questionable, at least (except in the realm of the recording studio, of course)

And I say this for several reasons:
- I've heard some friends playing with keyboard amplifiers and digital multi-effects (specifically the Roland KC series), and perhaps just listening to the guitar sounded good, but in the context of the band sounded too bright and thin.
- When I use my POD HD500 with my studio monitors, in most of my presets I'm using the "Mid Focus EQ" to reduce the high frequencies by 30-35% (using the Low Pass Filter parameter around 65-70 %), and also low frequencies -HPF- around 5% (although this can be done better with the "Low Cut", which is in the cab parameters and is expressed in Hz and not in percentage.
However, connecting the HD500 to the amp not find it necessary to reduce the upper frequency range at all, as it does naturally. Maybe that's why I find a much more pleasant sound the processed guitar sound through the amplifier than in my studio monitors.
Here you can see better how the "Mid Focus EQ" works:

- With the above I mean that each instrument should take its place in the mix, and perhaps for that reason there are still guitar amps on the market, instead of full-range amplifiers for all kinds of instruments.
- Finally, in the context of a live band, maybe you're using your brand new keyboard amplifier to reproduce the full frequency range, but surely the guys at the mixer going to cut much of your sound spectrum , intending that the guitar sound in the frequency range where it belongs.

Of course I am aware that digital amp modelers make use of simulated microphones (they certainly have a big impact on the EQ) as well as the sonic properties of the modeled cabs, and all this can have a great impact when you connect your modeler to a guitar amp.
In some cases it may be necessary to use alternative modes with modelers (in the POD HD can choose several different modes: studio direct, combo, stack), not to use mics simulations, override cabs, etc, but this sense there are no rules. Maybe the "studio direct" mode sounds best for you even if you're using a guitar amp This is exactly my case, and it seems like for many users, so I've read out there. Anyway bear in mind I'm using the stereo line in connections included in the GA-212, so I'm skipping the preamp and going directly to the power amplifier. Your mileage may vary.

Returning to my thoughts on the GA-212, I much prefer the natural sound of this amp than any of the emulations included in the POD (especially as it relates to clean or crunchy sounds). For the first time in my life I start thinking I do not need amp emulators at all. It would be enough for me to have the effects that I like: Wah, Compressor, Chorus, delay and reverb, plus the overdrive / distortion included in the amp.

In the next days I'll try the famous "4 method cable", to see how it works. Since I am not a big fan of individual pedals, maybe the next step for me is to sell the POD HD and buy the new Fractal Audio FX8  ::) (assuming it will not be too expensive, which I sincerely doubt)


Ed_Saxman

#28
Offtopic for whom it may concern: In the last 2 or 3 days, the prices of the Roland Cube GX series have decreased considerably: The 80GX price was €375 last week. Today the same amp costs €299. The 40GX and 20GX models also significantly moderated its price (€199 and €169 respectively).
Maybe Roland is planning to renovate their entire Cube series soon? I think it's pretty likely.

Elantric

For the next 2 weeks there are "back to school" discount sales that may play a role in The lowered prices you are seeing

Ed_Saxman

Since no one replied to my previous post (the long one)  :(, I'll quote a post that I read today in the same direction, with the sole purpose of feeding healthy debate about using FRFR Systems with modelers:

quote author=Rewolf40 (line6 forums)
If using a budget "FRFR" (PA Speaker) you will need EQ to tame the high-end fizz and overwhelming bottom end.  These speakers often "enhance" the top and bottom end as that sounds good for full range music such as DJ use - not at all good for Guitar Amp Modellers though.

Line 6 modelled the Amp/Cab/Mic block exactly what you would hear on the Mic a few inches from a speaker, directly in line with the power amp on full, any Sound Engineer will immediately set the channel eq on the desk to Cut a lot of top and bottom end before letting that signal anywhere near a PA speaker. But many HD500 FRFR users expect it to be perfect as is. On other forums you will find that Axe FX FRFR users typically start before tweaking with a Low Pass Filter at 5K, but how to do that on HD500?

You have to use an FX slot with an EQ, and then learn how to use the thing. The one that I have finally found to be easiest to use is Vintage Pre for the very simple reason that it has EQ values in HZ.  It isn't always considered as Meambobbo didn't like it much so it didn't feature in his guide, and many people when they first try it get a nasty distortion from the default settings assume it is rubbish and then ignore it.

Don't - Line 6 added it in as part of the later revisions because it really does fill in a hole combining EQ and Valve Compression and when you are going into FRFR you need both. Try as a starting point:

LP Freq = 5.5KHz
HP Freq = 100 Hz
Output to Max
Input to a level where the bypassed and direct volume are similar - this will be a surprisingly low setting

This will cut the ice-pick highs and the really boomy bottom, and add a little subtle warmth and minimal compression. Then you can increase the Input and lower the Output until you get a compression level you want, but only push it into distortion (which it will do) if you really want that effect.



Elantric

#32
Ed Saxman wrote>

Roland GA-212, 350$ today at MF: http://www.musiciansfriend.com/amplifiers-effects/roland-ga-212-2x12-200w-guitar-combo-amplifier?_requestid=18980
Good for guitar sounds - but no HF drivers for for Synths

mbenigni

#33
Just saw that MF Deal on the GA212.  They're doing a package with the footswitch for $399, too, which basically amounts to getting the footswitch half price:

http://www.musiciansfriend.com/stupid?src=3TP3DRR&src=3TP3DRR&noPopup=true

I am very tempted, but the timing is just awful.  Flying out of town to celebrate our 10th anniversary (!) this weekend, and completely tapped out as a result.  Hopefully they'll run this deal again in a few months.  I'm very curious about these GA amps.

EDIT: poking around the MF site a little more, I see a used GA112 in good condition (which could mean anything) for $191 (effects pedal money!), and a "mint" GA112 with footswitch for $263.  The latter would be a good way to get my feet wet and get ahold of a footswitch cheaply in case I like it and decide to upgrade to the GA212.  (It's a shame that the signal path in the GA112 isn't stereo like the 212's - I'd have expected stereo routing to be an option with a powered extension or second GA112, but it isn't.  This and the fact that neither effects loop is stereo are the only flaws in an otherwise very logical design.)  Anyway, moral of the story is I think I'll be able to find another good deal in a few months, when things aren't so tight.

mbenigni

Quote from: Elantric on October 03, 2014, 08:06:57 AM
One phenomena I observe is the best MF SDOTD deals seem to occur around the 1st of the month - (when monthly bills like rent is due!)
Statistically it seems to be orchestrated as an excess inventory reduction method, while the normal price kicks back in 24 hours later.
I doubt these will sellout today - and will pop back up as a SDOTD in a 6-8 weeks, or Nov 28 Black Friday sale

Good observations - thanks, Steve.  This will help me manage my GAS through to some future date that's less hazardous to my marriage.  ;)

Elantric

#35
FWIW -this SDOTD does not include free shipping.

In California I have to pay tax too - the total for the deal with the Footswitch was $399+ $36.91 shipping + Tax = $479

Sooo - This one below @ $281 total made more sense for my needs/budget - (but might not be a good fit for others - realize I'm a former Roland Service manager and i can fix broken things!)

But I figure i can use the used GA-212 as a foundation for mods -

It weighs 70 pounds and ships on a special truck from MF Kansas City warehouse, and expect 12 days delivery
http://www.musiciansfriend.com/amplifiers-effects/roland-ga-212-2x12-200w-guitar-combo-amplifier?condition=used



i got the one with the least dings in the wood cab ( which seems to not be very tough?)
and avoided this one


mbenigni

#36
I'm looking forward to hearing your thoughts now that you own one.  I know you've been very skeptical about the GA's, and the value they represent vs. a Cube 80.  If the GA212 manages to win you over, that will be very telling.

I've been eyeing the "gently used" 112 with footswitch for $240 here:  http://www.musiciansfriend.com/amplifiers-effects/roland-ga-112-1x12-100w-guitar-combo-amplifier-w-footswitch?condition=used#used

Considering the footswitch is worth between $50 and $100, and seems necessary to make the most of either GA, $240 is pretty easy to justify.  But as we've discussed, it'll wait.

Quote... and avoided this one ...

Ouch!  Looks like that cabinet is a little bit underbuilt for the GA212's (considerable) weight.

Elantric

#37
QuoteI'm looking forward to hearing your thoughts now that you own one.

It will be a week before it arrives - I figure I will not see it until Oct 14

QuoteThank you for providing your order number. The order is currently in a processed status.This means the item has been picked, packed, and labeled for shipment. It will ship out On Monday morning.

For me the "All in one Stereo Amp" was the big attraction - the mono only GA-112 holds far less interest to me.

And My Vetta Combo with its controls oriented on the top restricts use with my other gear when stacked on top

And I can negotiate a deal on a GA-FC Footswitch  from my favorite Roland Dealer in 2 weeks when money is not so tight.

But I may just just stack my Kemper on top and use the GA-212 strictly as a stereo powered cab 

I'll run the Boss GP-10, GR-55 VG-99 and post my thoughts mid October 2014




http://www.rolandus.com/go/purist_amps/

Elantric

#38
Here are some more details on this amp

GA-212/GA-112 Owners manual
http://lib.roland.co.jp/support/en/manuals/res/62468238/GA-212_GA-112_egfispd03_W.pdf


https://www.youtube.com/watch?v=-XIAgRkZAbg&list=PLanks218BcfTwahGbI_KnEYqrPyZ3QMnL







QuoteFACTORY RESET (INITIALIZE)

Product: GA-212

Use the following procedure to clear the GA-212's internal memory and reload its factory settings.

Caution: All User information is lost during a Factory Reset.

1. Start with the power switch in the OFF position.

2. Hold down the [EFX LOOP B] button and the [CH4] button at the same time, and switch the unit ON.

3. Factory reset complete.
Additional reading:
http://www.jazzguitar.be/forum/guitar-amps-gizmos/36187-roland-ga-212-2x12-200w-guitar-combo-amplifier.html

Michael_GE wrote>

The GA-212 is a very powerful combo, yet it gives a good sound and tone at middle to lower volumes as well. I still feel its a good all rounder combo, and suits all degrees of sound from clean, through slightly overdriven, to the extreme 'crunch-sustain'. I use all these sounds through various guitars with active pickups, including an acoustic maple bodied guitar - all jazz music.

The combo has various inputs/thru/outputs. The GA-212 has a stereo main amp stage that can receive a stereo input at the 'Main A-B', for example from multi effects unit, or a mixer output - that input bypasses the COSM preamp stage.

The two effects loops can receive inputs are switchable parallel/series and +4db -10db, can handle most equipment inputs.

There is a 'Thru' output that is the same as the input signal from a guitar at the front input of the combo. The 'Thru' output is connected to the second combo at its input. The two combo's are 'Linked' by a stereo cable, this is used in conjunction with the GA-212 Foot Controller, when you switch channels both combos switch together - very useful.

I route inputs to both combo's in various ways depending on what I am doing. I am an experimenter with various sound situations depending on the music needs of the session. I use a Pigtronix looper, for example, that has a stereo output created from one input or two inputs. Then I route that into an EFX on each of the combo's, its also possible to put the looper stereo channel to each of the combo's guitar front panel inputs.

I also add computer outputs, stereo, via the EFX inputs, sometimes using the 'MAIN IN A-B'.

The foot controller is needed, not cheap, but the overall cost is good to my needs. Get the right volume pedal, it has to be Roland, EFX stereo cable needed for that connection.

The inputs used have an 'impedance'/level factor, like any combo, and the level of background hiss/noise present depending on what input is used, experimentation is needed. On the Roland website under support and FAQ are some very good articles on impedance and noise levels, etc.

I used to use a lot of software, amp-sims, Logic,etc, but I found it too much fiddling about on the computer 'live', and was seeking a creative modelling technology that is simple and powerful, in my opinion the GA series is the best.

Bear in mind that Roland's COSM is an evolving technology, the latest version of that evolution is in the new GA series as a COSM 'progressive amplifier'. Roland is unique in creating a modelling system with COSM as 'one amp' that is a 'progressive amp', it covers a wide range of tube/solid state like amp sounds, with a dynamic response. This in not one model of amp - it has a very wide range of tonal control and creation. Over many weeks of daily use I am still finding new tones, 4 channels and one 'manual' channel = 5 savable channels, its enough for me.

The GA-212 can be 'over kill' at 200 watts, and then getting two of them is extreme, my needs are wide.

In one practice area I stack the two combo's horizontal, then the top combo is set to a more treble sound, the bottom to a more middle and bass sound. The middle tone has a boost button, I use that on the bottom 'bass' combo. Balancing the two sounds varies depending on the music, etc.

I set the combo's apart when in a different set up, which includes a PA system with ribbon mics via the computer for acoustic guitars and recording.

The tonal range is very interesting, as the various buttons switch in/out various tonal inputs to the sound. It does work dynamically, the progressive amp COSM also responds to the way you play, attack, etc. From Roland - "By changing the preamp and poweramp behaviour, you can freely create a broad range of sounds."

Roland describe the 'pure' sound that the GA can produce, also the Progressive Amp has a range of pure to extreme. It does suit all kinds of jazz guitar, as well as all other electric guitar styles.

For example, the treble is boosted by increasing the Gain and Volume of the Progressive Amp (pre-amp) and adjusting the Master volume, and the guitar output; this can be done without creating an overdrive effect. The overdrive effect can be introduced by subtle to extreme degrees through altering the controls. So, adding Gain does not equal distortion, unless you want that, the Boost is there for that. To add Boost and then cut back the Gain/Volume, and then alter the Master gives all kinds of sounds.

The GA-112, 100 watt is adequate for most clean jazz guitar uses, the GA-212 is more powerful with two speakers and costs a little more than the GA-112. Two GA-112's is also another option for stereo.

Roland produces very high quality gear, whatever you get is good, it just depends on your needs, and being aware of the effects input/outputs and routing options that you need. These GA's are for professional use and are designed and built with that level of quality.


http://www.tdpri.com/forum/amp-central-station/319112-new-roland-ga-112-212-amps.html










http://www.guitarworld.com/review-roland-ga-212-guitar-amplifier
The following content is related to the February 13 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now, or in our online store.

After years of development, digital modeling technology can finally deliver tones, dynamics and feel that are almost identical to the characteristics of classic tube amps. Ironically, Roland has just introduced a modeling amp that doesn't offer any copycat emulations at all. It's a ballsy move, but Roland knows full well that its new GA Series amps can stand on their own merits instead of having to rely on "sounds-like" marketing. Eschewing the typical "collection of amps" designs that have characterized modeling amps from the beginning, Roland has taken a bold direction that combines the spirit of traditional tube amps with the benefits and versatility that make digital amps so appealing to gigging guitarists.

The GA-112 and GA-212 are the first of what will surely be many GA Series amps. The former is a 100-watt combo with a single 12-inch speaker, while the latter is a 2x12 combo that provides 200 watts of output. For this review, I tested the GA-212.

Features

Unlike previous Roland COSM products, the GA-212 has just one amp model, called a Progressive Amp. Thanks to a versatile control set, it's possible to dial in an impressively wide variety of tones, ranging from classic favorites to exciting new textures.

The GA-212's front control panel is very welcoming and familiar looking, offering drive and volume controls for the Progressive Amp section; EQ controls consisting of bass, middle, treble, and presence knobs; and reverb and master volume controls. In addition to voice and boost buttons, the amp has pushbuttons for selecting two separate effect loops, four channel buttons with which you can save and recall presets, and a button marked "manual" that makes the current knob settings active.

The rear panel provides two mono effect loops, each with its own 1/4-inch send and return jacks, +4/-10dB level switches and series/parallel switches. Outputs include a 1/4-inch line out, tuner output and a link output for connecting several GA Series amps together. There is also an input for an optional footswitch controller that lets players select channels or control boost, effect loop and reverb functions, and you can connect two expression pedals to the foot controller and use them to control volume and drive in real time while playing.

A pair of 1/4-inch main input jacks allow you to connect a stereo processor in front of the amp and split the left and right signals to individual speakers in the 2x12 cabinet for true stereo sound. The speakers are housed in a half-open/half-closed cabinet that provides the tight, focused bottom end of a closed-back cabinet and the room-filling spatial expansiveness of an open-back cabinet.

Performance
What's truly cool about the GA-212 design is that it forces guitarists to approach it with an open mind and use their ears to create tones instead of relying on some engineer or programmer's preset. Because the controls are similar to those on a standard tube amp, it's easy to quickly dial in any desired clean, overdrive, crunch or distortion texture.

While the GA-212 can produce a wide variety of familiar tones, it really excels at tones that go beyond the limitations of traditional tube and solid-state designs. The EQ goes a little further than typical amp controls while it delivers attractive, musical tones, so if you want more than typical treble cut or even bolder bass boom, it's there with the tweak of a knob.

Best of all, the GA-212 truly feels like a traditional guitar amp, responding faithfully to all of a guitar's attack, sustain and touch dynamics. While some may feel that having only four channels is somewhat limited, this is actually more than enough for most players, and it forces indecisive tweakers to focus on dialing in the amp's best clean, overdrive and distortion tones for their needs.

Cheat Sheet

List Price $1,559

Manufacturer Roland Corporation, rolandus.com

The unique Progressive Amp model goes well beyond traditional amp models (and traditional amps as well) to provide an impressively wide range of musical tones.

Pushbutton channel switches on the front panel let you save and recall four presets, allowing the GA-212 to function like a four-channel amp—or a five-channel amp, including the manual setting.

The Bottom Line

The Roland GA-212 is ideal for guitarists who want the familiar feel and functionality of a traditional amp but also like to dial in their own tones that stand apart in an increasingly soundalike world.

Elantric

#39
http://www.musiciansfriend.com/amplifiers-effects/roland-ga-212-2x12-200w-guitar-combo-amplifier?condition=used
Carsonics wrote>
Comments about Roland GA-212 2X12 200W Guitar Combo Amplifier:
This is a rewrite. After spending time with this amp I really like the sound and stereo features. I wish the documentation highlighted/explained what the amp can really do - I had to rely on internet tutorials by third parties to understand the amp's stereo capabilities. Plug the stereo outs on your MFX processor into the amp's two returns and engage the A/B EFX loop buttons on the front of the amp and you will have stereo effects! (not mentioned anywhere in the manual). This amp has a nice clean tone and plenty of power and castors!


other reviews:

QuoteToday I tried a Roland GA212 - the "200W" 2x12" one. (Test guitar was a Fender MIM Tele Custom.)

First impression - it's nowhere near as ugly as it looks in pics, and slightly smaller than I expected. The orange strip is surprisingly nice because it's brushed-metallic rather than tango-plastic .

Secondly, the power consumption is indeed marked on the back as 75W, so it's not a typo in the manual. This means that the "200W" is total bullshit - it can't be any more than 60W output at best, even with the maximum efficiency you could get with a SMPS and Class D output section.

Sound...

The clean sounds are quite nice, although I didn't feel they're as spacious and deep as a JC-120.

The distortion sounds are *dire*. Utter shite. It's impossible to get anything that isn't farty, flubby, muddy, hollow, thin, harsh or shrill - or some or all of those things at the same time. There's no real top-end at all, even with the treble and presence up full (it just becomes brash and hissy), and it has the typical nasty grating 'crushing glass' digital sound. No depth, no dynamics, and although it is somewhat touch-sensitive it's so fussy to set up you'll be fiddling with it for ages trying to get the right response to picking strength without the EQ sounding wrong the harder you play - let alone if you change pickups. I spent about 15 minutes and could not find one overdriven setting I would find usable.

So unless you need four programmable variations of clean sounds I would steer *well* clear. I can see why they've had to reduce the price, and even then I can't see them selling.

Finally, although the programmable controls have those cool illuminated red indicators which move when you turn the knobs, the master volume (which is an analogue control) doesn't - it just has a dull painted-on red stripe. It's a little detail but it totally spoils the look of the amp.

Fail.

QuoteOne of Roland's many new products for 2012 is the GA-112 – a COSM-based guitar combo using the company's modelling technology to come up with a sound all of its own.

The GA-112 – as well as its larger 2 x 12? brother, the GA-212 – utilises a specially designed COSM-model called Progressive Amp. Progressive Amp promises to give you the full scale of possible amp tones – from ultra-clean all the way to bone-crushingly dirty – from a single digital amp model, using only the gain-control and the combo's EQ.



The 100-Watt Roland GA-112's (current price in Finland: 844 €) looks combine many features from older Roland guitar amps.

The front panel is somewhat reminiscent of the legendary Jazz Chorus combo, while the cabinet's black vinyl cover, as well as the extremely sturdy metal speaker grille have been borrowed from the company's long-running Cube-range.



The GA-112's chunky plastic corner protectors are designed to withstand the rough life of a gigging amplifier.



This Roland is equipped with a fully-digital preamp section offering a whopping five channels – four user-storable selections, plus the current control knob settings in Manual-mode.



Regardless of all the digital circuitry inside, the GA-112's front panel is very clean and easy to understand. All push-buttons are backlit, and all the knobs for storable parameters (meaning all, but the Master Volume) have been equipped with red position LEDs. This combo's settings are easy to read even on a completely darkened stage.

Apart from its two input jacks, the front section offers two buttons – Boost and Voice, which adds a slight loudness EQ-curve to the signal.

The Progressive Amp -section's oblong LED-indicator is a great way to keep you in the picture in regard to the character of the current amp channel/settings, by changing its colour according to the gain setting. A green light, for example, tells you that you are paddling safely in totally clean waters, while purple or white means you are sailing close to distortion meltdown.

The EQ-section is a three-band affair with an added mid-boost for fattening up your tone.

Before travelling onward to the Presence- and reverb-controls your signal can be send to either or both of the GA-112's effect loops. Both loops' on/off-status is stored channel-specifically along with all the other channel data, which means that changing channels also automatically switches the loops on or off.

The GA-combo's only internal effect is its lushly-voiced digital reverb.

Roland's GA-112 stores all changes to one channel's settings automatically each time you switch to another channel, which makes the combo quite intuitive to work with.



The effect loops have been placed alongside all the other connectors on the back panel.



You can choose between a parallel and a series signal path for each loop, and set the correct nominal signal level (-10 dB or +4 dB) for your chosen outboard effects.

The back panel also gives you a tuner output and a line level output for connection to a mixer. You can also daisy-chain two GA-112s for large venues.



For full switching control on-stage you have to buy Roland's own GA-FC-footcontroller, which allows you to switch channels, turn the boost on or off, as well as switch on/off the effect loops and the reverb.

It would have been a nice move, though, if Roland had included a simple up/down-footswitch for channel-switching with the amp.

****



Roland's GA-112 isn't your traditional modelling amp, as it doesn't feature heaps of different models of famous amps, vintage and new, or loads of different internal effects. The approach has been radically different here.

The GA-112's main advantages are its healthy basic sound, as well as the Progressive Amp's huge versatility and tweakability, giving you everything from totally clean to full-on metal.

The Roland isn't about the authenticity of vintage amp models when compared to the physical originals from yesteryear. This is a modelling amp that isn't modelling any specific amps, but uses it digital power to offer the guitarist a blank canvas with a large palette of colours.

The Roland GA-112 makes a great job of offering most guitarists their sound with the minimal amount of fuss and a practically flat learning curve.

Warm Jazz-cleans or biting Country-picking can be dialled in in no time. Organic and dynamically rich Trad Blues and Seventies Rock can also be had. And the GA-112's merciless Metal-riffing will have you headbanging until the janitor takes the main fuse hostage.

Roland's two switching effect loops open up many interesting possiblilities for seasoning your tones.

I suggest you make a beeline for your nearest Roland-dealer, if you are interested in making the GA-112 your personal command centre on-stage or in the studio.

QuoteAs reviewed by BILL LITTLEBRANT on 4/19/2014
This is a solid practice/backup combo amp. I use a Marshall 210C tube combo for gigs, but needed a decent combo for practice and a backup should something go wrong with the Marshall. This has a nice footswitch, easy to use controls, 4 channels, and is built very solid. It is a modeler of sorts, but with it's own sound signature. To my ears, it is a bit too muffled with more than enough low end and not enough mids. You can get fairly close to a good tone by dropping the lows almost all the way out and kicking the mids way up. But, it still lacks something. The presence knob is helpful, but I found that using an eq on the front end gets it to a reasonably useful state. I'm not complaining so much as just giving you some knowledge. If you're like me, you can't really get to play on one of these unless you have it shipped to your door. I will keep it and use the eq. This solid state rig allows me to set it up similar to the way my footswitch is for the Marshall. That allows me to practice with the same movements and not wear down my tubes. Overall - good solid state rig. Got rid of my Peavey Vypyr tube hybrid which sounded better but I didn't care for the noise gate and struggled to get a clean sound that I really liked. Also the foot controller for the Vypyr is just to "toy" like for my taste. I could get passed that if everything else was acceptable, but the combination of the noise gate, clean sound issue, and foot controller was too much for me to keep it. I know there are a lot of fans out there of the Vypyr and there should be. But for me, this just filled the need I had better
show less

QuoteThis amp has flown under the radar so long that they are now blowing them out. Contrary to what others have said, I can get excellent tones at low volumes, and, of course, this thing rocks. Used it with a Tele and a Taylor T5, and you can get great and varied tones out it. I am having loads of fun with this amp! At the Stupid Deal price it was a no brainer. Totally satisfied. Thanks for making these so affordable.


QuoteThis amp is solid built , + this thing rocks no matter what kind of music you play you can dial it in and keep your settings,200 watts of power for that great clean sound, also I would purchase the GA-2 pedal too it works great, I give it 5 Stars

QuoteThe speakers are more PA than Guitar types. They can handle lots of power and clean baritone or monster detuned riffs. The downside:You must crank it.

Run a stereo modeler in the back and I think bypass the built in preamp.

"Voice" button is kinda Fender (6L6) vs. Marshall (EL34) except you don't lose bass when engaged.
"Mid boost" gravitates toward Mesa Boogie or Tube Screamer land if distorted, but also adds girth to Twin Reverb sounds.
"Boost" is the dirt channel, and my least explored. I did accidentally sound like EVH for a second. All the controls are so interactive, it's hard to imagine not being able to find an acceptable sound for a gig.

Very fast attack on the front of the note. Cool, but it never goes away, so saggy saturation has been hard to find.
I'd like to hear the amp through more lively, less bullet proof speakers.
Metal peeps would think it's portable vs. 1/2 stacks.
It looks like you could pull the head out of this combo, but no.
The guts are split in three. Front / Rear / Power Amp in the floor.

After the honeymoon, I think it's great when you need to be loud.
It will not make me sell my real amps.

QuoteI had both the 112 and the 212. The 112 was not very good, I don't know why having the 2 12" speakers makes such a HUGE difference, but it does.

The amp sounds amazing, is brilliantly laid out as well. You can pull any sound out of it that you desire. However, it has almost no built in effects, but I prefer offboard effects anyways.

It is not easy to use, at first. Thankfully it comes with a decent quick guide (which seams like an afterthought) or you could find yourself getting lost and frustrated quickly. Once you get the hang of it, well, I'm selling my other amps now, there's just no point in keeping them.

QuoteBought this New for 399 with MF stupid sale
Have used the amp once for around 10 mins..Seems like a decent amp and I will have to start using it abit more since I have little time in playing guitars lately.But for the price I will be using it as a practice amp and use my Marshall JCM2000 as my main amp.....If this ever goes back onsale I would buy another one as a gift


QuoteThe majority of my playing life I have used the JC 120...happily. So it wasn't hard to buy the GA212 once it was delivered to the scene. In a time where the boutique amps and the Marshall and Mesa markets are strong (understandably so) it is hard to draw attention to the potential this amp has to offer. You basically can pre program 4 channels of either warm crunch, heavy distortion, super clean...whatever, you have 4 channels. This amp will be a sleeper and will surprise many. And the Restock by the way, is the way to go...I got this thing at a steal and will now sell my other amps to buy another. And if you are a BOSS fan, the performance of Boss when mixed with Roland is a match made in heaven, or a factory, whatever, it works. If you want your sound clean, mix in a distorted signal over the clean channels and you can hear the difference and the actual notes you are playing.


QuoteThis is the quietest yet most powerful combo that I have ever used. This amp is perfect for gigging with yet can be tamed enough to use in the home. Very versitile if you are looking for a broad range of guitar tones with easy access to any of them. Expect to use your foot pedals if you want anything beyond that. This was designed to give you great amp tones, not imitations of other amps. The settings are very responsive to your guitars input volume so it is easy to clean up a distorted sound by just rolling down the guitar volume. Not so much a volume loss but more of a loss of gain. Since making this purchase I have put two of my other combo amps up for sale. They are good amps but do not compare with the sound that I am getting from the Roland GA212. Go play though one of these and you will see and hear the quality. Worth every penny. The foot controller is a must if you plan on using this to gig with.


QuoteGot this on Stupid Deal of the Day and this purchase was anything but stupid. About the only negative I can think of is that the foot controller does not come with this amp and its usefulness as an advertised stage amp is limited without said foot controller.

This amp is LOUD. It sounds alright at lower volumes but really screams when turned up. The variable gain and volume controls make it a snap to fine tune the tone by ear. There are 4 channels to store presets plus a manual channel, basically making 5 stores total. Also the boost, mid-boost, effects loops 1 and 2 and reverb can all be turned on/off via the foot switch. 2 expression pedals can be hooked up to the foot switch to independently control both gain and volume on the fly making for some VERY interesting effects.

With 2 effects loop channels, it is possible to hook up 2 entirely different external pedal boards which can both be set to run in series or parallel. The 4 cable method works great if you happen to have an RP1000 or similar. The amp sound is so versatile that I find myself not using other effects or pedals. Plug in direct and let er rip!

Built like a tank. Darn good thing it comes with casters as it is HEAVY. I doubt I'll ever have the chance but there is even a way to link 2 of these beasts and control both through the one foot switch. As if 200W isn't loud enough, 400W would be crazy. Looks pro with heavy gauge grill and otherwise Spartan look.

There is a 1/4" through port for a tuner, which is one thing that seems like it would have been easy to build in to this amp. The LED indicators on each dial are both functional and cool looking as they move when channels are changed.

Out of all the controls, the Voicing button seems to have the least effect. Seems to modify EQ just a tad, not very discernable to my ears. Reverb quality is very good, if not excellent. Both Presence and Reverb have a wide range of adjustment.

Think of this as a digital amp that is controlled more like an analog amp. No screens to cycle through, no complex button sequences to remember, etc. Personally I'm glad to see this trend back toward more analog feel.

I would purchase again. I might even purchase a GA-112 for smaller venues, practice or stereo chorus use. Really wonder what a pair of linked GA-112 would sound like vs. a GA-212? My lead guitar player rocks a Mesa Boogie which is held in very high esteem - I'd stack this Roland up against it any day.


QuoteTHIS AMP WILL LITERALLY CAUSE ME TO SELL A BUNCH OF MY OTHER AMPS. THE BACKLIT DIALS, THE PROGRESSIVE GAIN STAGES AND BOOST. THIS AMP HAS IT ALL, PLUS IT BUILT FOR THE GIGGING MUSICIAN. BUT IT EASILY DO STUDIO AND SESSION WORK TOO. THIS IS UNBELIEVEABLE AND TOTALLY WORTH MORE THAN THEY'RE ASKING, SERIOUSLY! I WOULD NOT HESITATE TO BUY ANOTHER ONE. AS A MATTER OF FACT, I WILL BUY A SCOND ONE JUST BECAUSE I AM SURE THE PRICE WILL GO UP DUE TO SALES WHEN PEOPLE CATCH ON.






Roland GA-212 Service Information
http://www.rolandforums.co.uk/forums/viewthread/6798/#8443

QuoteHi.

I've just bought a pre owned GA-212, which sounds amazing.

But, with master volume at zero there is bleed through to the right hand speaker (B channel).

There's enough bleed for it to go loud at master volume zero when cranking the progressive volume.

Turn the master volume past about 9 o'clock and both speakers are active and everything is normal.

There are no distortion or rattling issues - the sound is super clean at very high volume.

Assuming this isn't intentional behavior...
Is the master volume pot a simple analogue pot and is there a service manual available for me to work through (I'm competent enough to be able to do this...)?

Thanks.

PROFILE


copperblue
Posted: 12 March 2014 04:38 PM     [ Ignore ]   [ # 1 ] 
Newbie
Rank
Total Posts:  2
Joined  2014-03-01
I'll answer my own thread here - problem fixed. smile

To access the front control electronics module: unplug everything, lay the amp on it's back and remove the six Allen bolts holding on the orange trim, the five phillips screws at the grill periphery, the two phillips screws through the Roland badge, the two Allen bolts at the top of the module panel and one phillips screw at the bottom centre of the module panel.

The volume pot has 8 connections and is mounted on it's own pcb, which is connected to a harness by a push fit multiway connector. This connector wasn't seated properly, breaking and making the connection fixed the volume imbalance.

It's worth noting that the unit has a very high standard of engineering and construction, with bushings and rubber damping to ensure that things that are screwed together won't rattle at high volume even if the screws loosen over time. Impressed.






Elantric

#40
QuoteIt will be a week or two before it arrives - I figure I will not see it until Oct 14

So far I'm not very impressed with MusiciansFriend, They still have not shipped the GA-212  amp I purchased last Friday Oct 3, 2014  before 12:00 noon.
(despite the claim they ship all orders same day here:
http://www.musiciansfriend.com/pages/shipping-commitment

EDIT: Finally got word it shipped today

Roland GA-212 thread on the Kemper forum
http://www.kemper-amps.com/forum/index.php?page=Thread&threadID=12128


FWIW New Roland GA-212 amps are Still on sale for $349 here
http://www.musiciansfriend.com/amplifiers-effects/roland-ga-212-2x12-200w-guitar-combo-amplifier

Elantric

Dutch Review or Roland GA-212

GA-212 The creators of almost everything in the field of digital noise do with this 200W 2x12 "-COMBO a
shot at the ultimate guitar sound from a digital amplifier. In recent years, the principle of 'amplifier emulation'
become commonplace. We only hear it not reflected in numerous studio productions, but also on the stages is
Analog increasingly exchanged for zeros and ones. Roland's new GA-212 is in that area a hefty
into the pouch. But how much is it ultimately worth? Music Maker searched it for you.
There are many advantages to amp modeling. you
have relatively little money for a variety of amp sounds
fingertips, there are no pipes
once in a while need replacement
be and the software variants guitar recordings
never been so easy and flexible
been. Of course there is one major drawback
: it is imitation. And that is for many people anyway
becoming the bottleneck. Amp-modeling focuses
mainly digitally matching popular
and classic tube amps. Roland claims
with their new COSM amplifier
deliver a new "progressive"
approach. Composite Object Sound Modeling
analyzes the various factors of the
original sound, such as the electrical and
physical characteristics, and then creates a digital
the same model that can reproduce sound.
As in this case the individual components
be a tube amp emulated,
you are the boss of everything between 'crystal clean'
and "scolding terror. Thus, the GA-212 does not
best to sound like a different amp but
is a modeling amp with its own character.
APPEARANCE
The GA-212 looks modern and decent, though
make the plastic front panel buttons and ditto
not a huge firm impression. The grill is on the other hand
be of sturdy metal so that the speakers are properly
protected against bumps and other brash
times. 32 kilo clean on the hook
it convenient that, besides the handle on top,
a handle is on both sides and four
casters are included.

CONSTRUCTION
We are dealing with a super versatile
amplifier. For starters, you can punch in
a high gain (0dB) or low gain (10dB) input.
In addition to the usual low, mid and high EQ section
with a mid-boost button (during a solo
extra pop), from the mix master volume and presence,
, this new digital stallion parade
Roland's Progressive Amp technology. corresponding
with pregain area on a tube amp
makes the drive button you infinitely far
distortion and tonal character balancing. nice
extra is the large LED that meekleurt with
the degree of the set distortion. All Daai buttons
his way around with a
ring with LEDs. Convenient because you can quickly see (
For example,
on a dark stage) what settings
, even if you select another preset.
The comparison with a Roland Cube is tempting,
but the GA-212 has only reverb as built
effect and does not simulate other amplifiers.
Two 12 "Custom speakers provide a
maximum power of 200W and therefore he goes
Also thunderous. More than enough for the band rehearsal
and the stage. There has also been a 100W,
1x12 "version available.
The Smart Channel function automatically saves your
final adjustments, so you can switch quickly
between the four channels. The preamp section has
also a boost button, which, like the mid boost EQ,
is switchable from the optional footswitch.
So in total, you have four channels each
two variations. On the back we find but
preferably two effects loops that independently
can be. each other in series or in parallel
Even a slide per loop for rack effects
(+4 DB) or pedals (-10 dB) is not lacking. the lineout
finds its way directly to a mixer or recorder
while the main-in, for example like a multi effects unit
lust. Furthermore, you can voice pedal
the thru / tuner out jabbing and set beside the
footswitch input allows the real enthusiast with
the link-in connector, a second amplifier GA
Connecting to double power.

STIL
The specifications are smart and focused on the live musician,
but in the end it sound.
A Bo-El MC6 is used to look
how this versatile paper monster well actually
performs. First, notice that the amp incredibly
is silent. A typical advantage of digital
technique. Completely clean the sound is tight and bright.
There is depth in the sound and the overtones
are quite faithfully approached and
sound rich. The amp responds well to dynamics
and the reverb is a welcome addition.
Where are you on some brands still have the necessary digital
'ringing' hear this reverb sounds clear and not
destructive in the high.
PROGRESSIVE
Then just look at what those Progressive Amptechnologie
has in store. With a twist of the
drive-button and a predictable but friendly
and quite tasty crunch appeared. as
the drive knob is turned,
enter the mouth still some hanging down.
Especially in the hi-gain mode lacks the GA-212
just balls. It is clear what Roland here
mean, and does with its new COSM technology,
but the overdrive remains to my taste very
inside the lines. What inside the Roland
ROLAND GA-212
Power: 200W
Inputs: high gain (0dB) and low
gain (-10 dB)
Controls: drive, volume, three-band EQ
with mid-boost, presence,
reverb, master
Feat ures: 4 channels with
memory function,
Progressive Amp modeling
on the basis of COSMtechnologie,
Boost & voice
function footswitch
Connections: 2 effect loops, line out,
A / B main in link in / out,
tuner out
Speaker: 2x12 "Custom speakers
Accessories: swivel
Dimensions: 71.5 x 34 x 56 cm
Weight: 32 kg
Adviespri js: € 1229, -
Importe ur: R oland Central Europe N.V.
www.rolandce.com
Tijmen Rocking (29) plays fourteen
years of guitar. He is a guitarist in the metal band
Kudra Mata and also active as
media producer and music producer.
Tijmen describes himself as "an omnivorous interested
omnivore "
happens is controlled digitally 'broke' and especially
to "palm muted riffs miss the vibrancy and
The growl from his abdomen. This is mainly
because it is something too hard gecompresst sounds, which
your natural "grit" of a tube amp
fog.
At a higher volume, this is less, but
precisely the extent of a species 'analogue unpredictability'
makes the interaction between guitar and
amplifier interesting. A tube amp at full
gets his hell, sounds and feels real
so and you anticipate - consciously or not - constant
as a guitarist. As you approach the GA-212, the gain
full open runs, you miss the uniqueness of the amplifier.
OPINION
The herself more innovative amp modeling
is an interesting niches within the holes
hold. Roland does with the GA-212 is a good
attempt to find the balance between a simple
operation and advanced technology. it is
praising the GA-212 amplifier with
own character and not fall back on illustrious
predecessors, but it is not quite the
breakthrough that they want us to believe. Yet
do you have for a retail price of a thick e 1000, -
an incredibly versatile amp. Who same
playing feel like a tube amp is expected
tricked out, but you're mainly looking for
versatile platform tools, test the
Then GA-212 definitely out.

Elantric

#42
I should have a GA-212 this Thursday


Roland MNavi Blog (Japan)
http://mnavi.roland.jp/works/201205_01.html

Quote
Without making a change to the members at the end of last year also, to stop the walk, SHAKALABBITS that played a further build-up. Guitarists TAKE-C to decorate the band a unique sound, and at the same time listen to "Now the band" and were asked to previewing a live band eye the latest guitar amp GA-212 Roland original. In his eyes, how this guitar amp Did reflected. It'll let you said its leverage ideas and impressions.

     
Atmosphere and impression of the song changes in the sound depending on the guitar. Guitar my role to decorate the background of the song

? national tour which is the beginning of the nascent SHAKALABBITS was launched in March "SHAKALABBITS LIVE TOUR 2012" Condenser Baby "" also became a three performances in Nagoya, Tokyo, Okinawa a place to leave, but challenging at the moment How is ?
I have done a tour in a really good feeling: TAKE-C. In this tour, that was a member change after all is very large. It is the change in a very energy one of the four people is just change, and groove of the band, too, since has changed dramatically. Personally, partly because my brother called (YOSUKE / Bs) It was joined new, even in a lot of ways, it is a tour that new sensation is born with certainty. I because there was also the moment in which withdrawal of members, dissolution of the band crossed my head. From such a situation, the tour is also able to thus, yet all the fans across the country were waiting for us is handed down from the very audience, it is a word of "happy" anyway. And I can see themselves that each time you do a live band is improved. It is thought to be performed from this, Tokyo performance of the semi-final and Nagoya,, also in Okinawa Final, and want to show the Gatun a new SHAKALABBITS.

? Were there any parts in its nascent SHAKALABBITS sound, felt the role of the part called "guitar" again?
We thought why not a role that you create a "variation": TAKE-C. Sound depending on the guitar, or is not it change me terribly impression of the song. I think if the base of YOSUKE drums and MAH is to create a groove and rhythm which is the foundation of music, UKI (Vo) is make the world of song, my guitar that's serve to decorate the background. For example, the atmosphere of the song from changes and Garatsu whether to cutting guitar single coil, and also depending on whether the distorting humbuckers, while pursuing along with the members there, or choose the guitar body, you can create the sound it is if you were on.



? guitar TAKE-C's, is versatile indeed to both surfaces of the tone / phrase not only rock guitar that pushes on the entire surface so-called distortion, and or sprinkled throughout the phrase rock 'n' roll at crunch sound, but the guitar when did it, do you started in any opportunity?
I think I started the guitar, and was when much of junior high school sophomore: TAKE-C. I, I grew up in the countryside really. Classmate at about 10 people, elementary school, junior high and everyone is the same class all the way. So community of music Nante I was environment none. So teacher, I'm bought me equipment of the band in the music classroom. If it band, and just because divided to even 3-4 people at least. It was time that I was beginning to have an interest in guitar, just to say that ...... Caught classmates, I had only four people man, but the voice (laughs), I "!'m Trying to do" it is was over, it is How did you start a band. Because you do not have any people anyway, record their guitars to cassette MTR, in such a situation not to play and not while accordingly. From there, I might be became interested also in engineering and recording.

? The TAKE-C's, I had imagined and of course as a player, knowledge of engineering is also so rich, and what grew up in an environment where it Hairikomeru deeply into music from a young age.
TAKE-C: No, no, I'll is the child of nature Truly I (laughs). Since grew up in the mountains really, of us to the other party of music and only CD, tells us the music was also the CD. Location of about 30 minutes, there is a small music store's the only town in the car, I was a brother of heavy metal lovers out there. When you say "this guitar, but I do not sound Te" yeow "at all" What to the older brother, you can tell me, "it is because not using effector" I, small box of magic (stomp) it is not me pass (laughs). In that manner, it was full of it you do not know anymore, I did not have anybody to show me a sample, I had no choice but to study on their own. Still, I did not at all that you think you were always a start from "zero" completely, that that knowledge will increase on the contrary, fun, play the guitar is Toka become unpleasant, it's very. It was really fun.

? I started the band in earnest do you About what time?
And I had thought that I entered high school, I try to do the band in earnest: TAKE-C. So, if you go on to high school from the small junior high school, classmate I was chucking Bikkurishi a large school of about 800 people now (laughs), guy seat next door, has been the practice of the drum by hitting the desk by chance is a single. When you talk with it, and I told you not me? "Do not you put me, since play guitar" guy because he can be doing the band anymore, and I was missing guitar just. Then she is said, "because there are one guitar to the other members, and try to talk to guy" 's. In fact, the guitar, it was a MAH now, you are hitting the drum at SHAKALABBITS. So, I'm a relationship from high school with the MAH.

? and I knew that MAH-san play the guitar, but I originally it was a guitarist.
That's right: TAKE-C. At the time, was doing a twin-guitar two people (laughs). But, drum made ??me the opportunity to meet two people is, I have gone to quit the band. Then I MAH to say "Well, I'll do a drum" I, MAH I was started playing drums from there.

? it is, do you will become SHAKALABBITS as it is?
The TAKE-C: No, it was moved to Tokyo after graduating from high school, I was doing a band together with the MAH first there too, but say MAH is "that I want to do is some" I Nde, I teamed up the band separately . Band MAH did at that time, is what SHAKALABBITS. So, that when the guitar of previous quit, it was invited from MAH to me "Do not help me" is the opportunity, I entered as a support, it became a member as it is.

Surprise that rather than modeling something, GA-212 that's the original amp. Ish analog enough to think "digital? Really"

? When I heard the story, the guitar seems to have been self-taught completely, did you stomach guitarist, such as the target?
TAKE-C: Actually, in the case of me, I do not Tteyuu of guitar hero specific. How did you originally interested in the electric guitar is, I'm was Chuck Berry. The movie "Back to the Future", Michael · J · Fox of the protagonist, Is not there is a scene playing the "Johnny · B. Good" in the dance party? And I thought I! "Cool" to look at it. So I know Chuck Berry, and so listen to Japanese bands such as Unicorn and Blue Hearts from there. Addicted to hard rock and Western, I went to watch the Japan tour of Green Day when freshman year of high school, opening act is the Hi-Standard in high school. A series of such encounters, I have led to now.

? When you hear the backbone of TAKE-C's, also guitar playing SHAKALABBITS specific, you could really convinced. I'm have been absorbing the various music really.
Feeling that "I want to do a band with fellow" is I'm was strong anyway: TAKE-C. Moreover, because the country was, the player is small, I will come in handy while you play the guitar. You can told me "do it the guitar'll do the Blues Brothers" from the seniors, it is said to be like "Come to copy the Eagles" from the father of a local studio (laughs). I like It was hard rock and punk, but the Eagles also Blues Brothers also is not to be copied. Then when trying to copy, there are also many that where they learn. So I, sometimes referred to as "I hate to be an anti-", I do not almost as a player. Really, It is "omnivorous" musically (laughs).

? point in which you've been playing a lot of music that way, TAKE-C's have stuck most as a guitarist, that you are conscious, what?
TAKE-C: recently, I, such that you are thinking in particular, is that do not forget to Tteyuu "I'm fun guitar", and re-check every day. As I continue to play for a long period, "is what I would want to do on the guitar", and I "I wonder what kind of want to play in the wind", I have a When you lose sight of. Without listening to something "I, Listen to their guitars. Guitar you, has been playing much, you, when you were talking to Poro~tsu to the guitarist's large veteran previously, met by chance in the bar-san, that sort of thing is and I was told I. "you know all is what you like. At that time, I felt again I "Naa by fun I guitar" Recall Toka feelings when it encounters a guitar, things When I was longed I like I like guitar.

? is not limited to the guitar, the story is, it will be replaced in all instruments.
I think that is the case: TAKE-C. So Even if you're an amateur, once I want you to go to the music store's also, some people got away from the instrument, for example too busy working. Surely, mind I think flutter. What it, because it is the same thrill when I first began a musical instrument, I'm want to hand the instruments also, so good at the level of hobby. You thought that I do not you might want to play the instrument, nor I think as you remember the feeling of the time you began a musical instrument, music and fun than ever before.



? From here, please let talk about the latest guitar amp GA-212 that had you this time auditioning. First, How was your first impression?
TAKE-C: Because I heard a new digital amplifier Roland, I had imagined and whether the model modeling amplifier or contains a lot Tekkiri, effector is built. Then she that not the modeling of something, that's the original amp completely, I was surprised at first. Also controller basic, I think so! "? Only this? E" at first (laughs), and in actually using them, it is simple and straightforward really, and when I tried to play the guitar! "Hmmm" continuous. Sound also Yeah, and exactly the same as the amplifier guitarist is using daily, and I think about "digital? Really", feeling that touch is, it was Ppoka~tsu analog.

? the ultimate level is up to in terms of Roland COSM technology is that it models the particular amplifier. Was born in the idea by introducing its latest COSM technology, proprietary know-how gained in the past, and trying to make a guitar amp completely original is the GA-212 What.
TAKE-C: not so far, but it is a digital amplifier for the new type. I think that "selling" the greatest's "progressive amplifier", but I liked this really is. To super distortion from ultra-clean, of that is changing the amount of drive it is amazing. Moreover, the expression pedal that is connected to the (optional) Foot Controller GA-FC dedicated, and is of that is continuously changed the amount of drive, it is very interesting. Sound character of the amplifier will change obviously Toka I would sometimes be changed to crunch from clean, changing the amount of the Drive, I can make a lot of distortion in the songs if it is this.

? By changing the amount of drive, not just the distortion simply, Toka's sound condition of the cabinet, various elements also'm simultaneously varied by modeling techniques.
I see: TAKE-C. But I was such that. If I ever, Is not it was the only way to be sure that you create the sound on the basis of the guitar is distorted, you can either reduce the volume pedal from there, that or switch the distortion in the effector. When changing the distortion doing so, because they make a sound to match when it is distorted, the sound I would lean when it was lowered by all means. It is changing the drive in GA-212, feeling that "are messing with the drive of the amplifier body" will come out to the sound properly, it is very easy to use.

? You can use such as, for example, depressing the pedal when it is important to create the sound clean, you want to make a little boomy solo. When you use the expression pedal (sold separately) such as EV-5, and if you set the minimum value for the maximum value of the amount of drive, the pedal side knobs of the amplifier body, it can control the distortion in that range.
TAKE-C: That's perfect! This is really fun. I think it's simple, and it can cope with the music of various genres.

Fresh volume is not changed when you raise the amount of the Drive to super distortion from ultra-clean. Feel a good response that will come about when you play strongly

? we have to check carefully the sound surface, but the function surface How was it?
TAKE-C: LED indicator understand the position of the knob in a dark stage also handy, and per that can be programmed four I'm benefits of digital settings. And, when you move the knob to the package, that's us to automatically save its value, a very convenient to from the side you want to use, it is sensuous. Is that that's digital amplifier general, after yelling to make a sound, you can have changed the program without the save, setting in a little while ago that has disappeared, I because it is common.

? In the live stage, in the same setting, the sound is so will change more and more guitar amp by sound field, fine-tuning but it is absolutely necessary especially. I think when you come in handy "smart channel" in such situations.
Well: TAKE-C. ... (Continue playing the guitar much) Indeed, rather than "modeling of something", "the sound of this guy" It is what. And, I think lack of discomfort in playing the guitar, and really awesome.

? COSM technology, I'm a concept rather than imitate the model of something superficial simply, that the modeling used parts and internal circuit of the model. So modeling Since it is possible as far as "what kind of signal when you are entered in this amplifier, it becomes what kind of sound" and, nuance by the position which you play a chord and the strength of the picking also, I can be expressed by the sound leave you feel the guitarist.
TAKE-C: Well, to say sensuously, or I'm a feeling that are modeling Toka condenser, and a vacuum tube?

? Yes. So, even in the same setting, good people when you play, it is not Naraseru in very good sound.
I see: TAKE-C. There, do not feel the smell digital, I might be the reason why most big. I think it also means that you and I would feel the sound does not change no matter how you play, it's a sound that was Nopperi as "Naa's digital". The I, you have been or create effector myself, sound change (laughs), or parts, a signal is input thereto Toka Dorenishiyoukana, since doing Toka Let's change only op amp condenser in Akihabara is feeling, I understand well. I think it the latest digital technology of that can be expressed in the modeling up there, and its technical capabilities precisely because high, there is no discomfort at all you are playing the guitar, and I guess why you do not feel the whiff of digital.



? Thank you. Point point up there that can represented by a single amplifier, the same time, it is changed to seamlessly drive, these that it can be achieved because of modeling, it has also become a major feature of the GA-212.
TAKE-C: I think it's a really interesting idea, and to be honest, I want (laughs). What digital amplifier of this feeling, but it was not until now. What Digital Amplifier almost always begins with choosing an amplifier modeling first, but I think to make it easier to find the drive and sense of distortion, the sound character that I think people of this kind of amplifier, and feels good myself.

? the contrary, It might be easy to put out the personality of the player.
I think so: TAKE-C. To it that's the scene of live, that "volume also increases Increasing the drive" that is, or is not it was not the biggest problem. When it's GA-212, the volume does not change even go increasingly distortion, it is very welcome as a guitarist. If you're amplifier ordinary, since it can not respond to not turn the volume down if you raise the drive, it's that I do not do it it's very fresh, and it will be strange somehow sense. Around here I wonder why it benefits large digital.

Personally, the color of the sound indicator of progressive amplifier, is very like the sound of feeling in front of a little book which become red. What about distortion of this, Dodge I do not work. When you play a little weak'm clean, but I feel that distorted and play strong. At that time, amplifier or me care about the nuances of picking, do not come on, it is terribly important, is not it. If you do not you come with when you play with Gacchan, I have is no longer used to the amplifier too. It is, I think I "it rubbed like that" for example it's a plug-in to sound on the PC. But I'm would think "Naa's digital" when playing the air amplifier after all, as the sense of guitarist, and do not you come with. I think that point, this amplifier is feel the feedback that will come with properly, and I wonder is made very well. I think change the width of the drive is wide only this, effector of distortion is also I think we no longer need, but effector effector, Toka'm looking forward to choose, because there is also fun to operate in the foot, I would be perfect as a buddy.

? point there is no need of maintenance, and that can cope with harsh tour of professional musicians is also a big advantage of digital sound.
That's right: TAKE-C. ...... What to do express this feeling, in the words, is a little difficult, but anyone who play the guitar, I think I understand always if you experience once. There may be misleading, but I is "guitar amp" Nang (laughs). There is no impression that digital. Yet, It is impressive nice thing about digital that has been utilized very convenient.

? you will talk a little technical, but the DSP processor inside, be packed well as multi-effector function Technically I'm possible. But, without it dare, was to pursue the performance of the guitar amp using the full power of the DSP, I mean GA-212.
TAKE-C: The only because doing up there, It really is terrible this. When guitarist who amateur, people can not have an amplifier of their own because we would have a lot, rent an amp live house inevitably, to be in the live house is this, I think we very good. That's what, can also be used in the JC-120 basis, and because you can also use a stack amp sense, as in the commonplace JC-120 to Rihasuta live and House, and become available for granted is GA-212 in the future, I think as a guitarist, and very grateful.

Elantric

#43

Elantric

My  Roland GA-212  will arrive later  today

Elantric

#45
I got to play thru the GA-212 today at Lunch

I paid $223+tax+shipping for a used GA-212 at MusiciansFriend - and after playing the amp for 30 minutes   - I'm very happy I did not pay any more ;)

If I had paid $1200 ( or $500) Id send it back for a full refund - its a VERY COLD  / Brittle sounding amp all by itself.

Clearly someone at Roland Japan thought there was a market for the  GA-212, but my original thoughts remain.
I recall Gundy Keller asking me in 2012 what I thought of the GA-212  - and I told him:
"Roland must be extremely out of touch with the market to think they can sell a Guitar amp with no FX for $1200 street price."




This was before I realized the GA-212 was stereo, and Gundy never mentioned this feature to me.   

( But remember one guy's "Shrill icepick tone" may make another guy smile. )
http://www.thefretboard.co.uk/discussion/19705/boss-amps/p2
QuoteAre you talking about the Roland GA amps? I had the GA-212 and it was a deeply flawed amp. Overpriced, some very cheap elements, the cab was ridiculously heavy, and it was a big disappointment.

The left 12" speaker on my used GA-212 example has a slight rattle/distortion at low volume, which I know is  indicative of the prior tester/owner playing way too loud and warping a voice coil, which is now dragging/scrapping  in the gap in the speaker magnet. Might be repairable without need to buy a replacement speaker from Roland.
Quotevoice coil rub -any tricks to fixing them?
http://www.audiokarma.org/forums/archive/index.php/t-260240.html


MusiciansFriend is a bit useless on this - since it would cost me $80 to return ship the GA-212, and they do not reimburse shipping on used or overweight  items that weigh over 70 pounds.  And for $200, the GA-212 is worth keeping anyway as a Stereo Powered Cab for my other DSP Amp Modeling systems. (which was my original goal of owning the GA-212)



I tried all settings on GA-212 and could not get the amp to land in the same sonic  territory as my Cube 80 XL's COSM Amp Models  ( I still prefer two Cube 80'XLs over one GA-212!)




======
BUT - as an all in one powered 2x12" stereo cab amplification system for my Kemper Profiler,  the GA-212 works very well - (just avoid using GA-212 Preamp)

I used a TRS stereo Y cable from the KPA's Headphone output to the GA-212's rear 1/4" Main A, Main B Inputs  -  I used my re-issue '66 Epiphone Wilshire with mini Humbuckers and eureka , magnificent KPA stereo sound in stage ready guitar amp package.

I'll keep the GA-212  for the purpose of amplifying the Kemper or Boss GP-10 . But in hindsight rather sorry I ordered the GA-FC Footswitch for the GA-212 -(that arrives this Friday)

I'm thinking of making several mods, and use the GA-212 as the foundation of building a different Amp more geared to live use, adding a pair of  Fender Twin Tilt back legs, and perhaps a locking hold down system for my Kemper on top ( rather like this)
 


Fender Bar Side Clips


http://www.mojotone.com/Fender-Bar-Side-Clips-2#.VDg6k_nF_jt

whippinpost91850

#46
QuoteI'm thinking of making several mods, and use the GA-212 as the foundation of building a different Amp more geared to live use, adding a pair of  Fender Twin Tilt back legs, and perhaps a locking hold down system for my Kemper on top ( rather like this)

Elantric, thats a great Idea!!. I've been trying to figure a way to attach my KPA to my CLR, and that just might work

mbenigni

QuoteI'll keep the GA-212  for the purpose of amplifying the Kemper or Boss GP-10 . But in hindsight rather sorry I ordered the GA-FC Footswitch for the GA-212 -(that arrives this Friday)
Thanks for the review, Steve.  If the GA preamp is as sterile as you say, then it defeats much of the appeal of the amp, which lies in the ability to quickly/intuitively adjust channel settings while performing.  It does sound like a good stereo solution if you can find one at a reasonable price (I missed all of the blowouts you mentioned above), but then there are other options that are less bulky/heavy.  I guess you could argue in favor of the GA212 as having a built-in backup (albeit a compromised one) in case your preamp fails.

In any case, I guess I'll hold off until I've heard one in person - which may never happen.  I just wish some other manufacturers would take a cue from Roland where the smart-saving features are concerned, because they genuinely make a lot of sense.  I wonder if there are any patents pending there.

Graham G

My post is not about the GA series amps,but Elantrics comments about the pre-amp section,echo my thoughts on a NOS Cube 80XL,i have just acquired.
I don't know what Roland are listening to but the COSM section of the 80XL is vastly inferior to the COSM section of my Cube 60's,i've been using 2 Cube 60's for live pub gigs for about 6/7 years & like me,they're getting old & tired,but the 80XL cosm section is like a dead/lifeless noise compared to the 60's,i have also demo'd the 80GA & that in my humble opinion is even worse,what are Roland listening to???
Cheers,Graham.sorry for hijacking the thread.

Elantric

Depends on the player, click to hear the Cube80XL's capabilities