GR-50 - FAQ

Started by dporto, February 10, 2014, 06:51:41 PM

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dporto

There's a gr-50 on Craigslist locally for $100... Is this worthwhile to check out? Has anyone used one? Any decent sounds? Tracking etc... The lack of any info here has me a little skeptical

Kenmac

#1
Yes, I used to have a GR-50 back in 1988. It was my first guitar synth and I found most of the sounds ranged from so-so to pretty good although I do have to say the tracking wasn't very good at all. I ended up selling it after a couple of years and later bought the GR-1 which, in comparison, had superior tracking. If you're interested in the GR-50 I'd recommend contacting the seller and testing it out first if you can.
"Let them brush your rock and roll hair."

Elantric

#2
GR-50 OM
http://cdn.roland.com/assets/media/pdf/GR-50_OM.pdf


Its important know that the Roland GR-50 was introduced in 1988,
so its a bit like asking: 1988 Chevrolet Caprice, Any Good?

Reviews
http://www.sonicstate.com/synth/roland_gr-50/

Type: Synth/ module/
Synthesis Type: Digital Accoustic simulation
Polyphony:
Max: 16
Typical in use: 8
Multi-timbral (number of parts): 9
Oscillators per Voice :
Min : 1
Max : 4
Controllers : GK-1 or GK-2 Hex Guitar Pickups
Effects :
Number of FX units : 2
Number of different effects : 1
Drum Section :
Number of Drum Kits :
Number of Drum sounds : 128
Keyboard :
Number of Keys : None
Can send on 6 simultaneous MIDI channels
Responds to : velocity,
Sounds can be split by : velocity, keyboard
Memory :
Patches : 128
Performances : 128
Inputs and Outputs :
Number of Audio Outs (excluding Phones) : 2
Number of Audio Ins : 0
Number of MIDI Outs (excluding Thru) : 1
Number of MIDI Ins : 1
Comments about the sounds :
This is the best endorsement I can give: I recently completed a CD on which the ONLY synth units were the GR-50 and a Korg Poly-800. (While the GR-50 is technically a guitar synth, I use it primarily as a sound module for incoming MIDI. It tracks fast enough playing guitar if you're not a shredder, but I'm more comfortable on the keyboard). I played the completed CD for a friend who is a professional keyboardist, with over $25K invested in his synth rig. He demanded to know what made the sounds he heard, and said he had little in his arsenal that would be able to duplicate them! His jaw dropped when I told him it was the GR-50. The stock sounds are okay, but when tweaked, 'verbed, and panned, they take on a new meaning. The pads rule!



Roland GR-50 Technical Specifications
Article #1705908 Added on Mar 20, 2012 at 3:11 PM
GR-50 GUITAR SYNTHESIZER SOUND MODULE

SOUND SOURCE:
LA System
Maximum Voices: 32 Voices

MEMORY:
Patch Chains: 5
Patches: 64
Timbres: 128
Preset Tones: 128
User-Programmed Tones: 64
Preset Rhythm Tones: 64 ( r 64 is OFF)
Rhythm Setups: 85 keys (C1 to C8)
Part Setting: Part 1 and 2, Rhythm Part
System Setup: 1 set

MEMORY CARD [M-256D, M-256E]:
Patch Chains: 5
Patches: 64
Timbres: 128
User – Programmed Tones: 64
Rhythm Setups: 85 keys (C1 to C8)
Part Setting: Part 1 and 2, Rhythm Part

FRONT PANEL:
Power Switch
Memory Card Slot
GK-2 Connector (13 pin type)
Volume Control Knob
Headphones Socket
2 Lines, 16 Letters LCD (Backlit)
PLAY TUNE Button
PATCH CHAIN Button
PART STRING Button
GROUP PARAM A Button
BANK PARAM B Button
NUMBER VALUE Button
INT Button
EXT Button
COM Button
SYSTEM Button
– PAGE Button
+ PAGE Button
WRITE / COPY Button
ENTER Button

REAR PANEL:
Guitar Output Socket
Mix Output Sockets x 2
MIDI / RRC Selector Switch
MIDI Sockets (IN / OUT / THRU)
RRC IN Connector

DIMENSIONS:
482 (W) x 340 (D) x 44 (H) mm
19′ x 13 – 3 / 8′ x 1 – 3 / 4′ inches

WEIGHT:
4.0kg / 8lb 13oz

CONSUMPTION:
14W

ACCESSORIES:
Owner’s Manual
Tone Chart
Patch Chart
ROM Play Manual
Guide Book For MIDI
GK-2 Connecting Cable C-13A x 1
Connecting Cable PJ-1 x 1

OPTIONS:
Synthesizer Driver GK-2
Bus Converter BC-13
Foot Controller FC-100
Expression Pedal EV-5, EV-10
Memory Card (RAM) M-256D, M-256E
Programmer PG-10
Stereo Headphones RH-100

alexmcginness

I concur. I have one and I also have an Axon AX 100 MKII. I always gravitate towards the GR. Its far less glitchy than the Axon. Id never sell mine.
VG-88V2, GR-50, GR-55, 4 X VG-99s,2 X FC-300,  2 X GP-10 AXON AX 100 MKII, FISHMAN TRIPLE PLAY,MIDX-10, MIDX-20, AVID 11 RACK, BEHRINGER FCB 1010, LIVID GUITAR WING, ROLAND US-20, 3 X GUYATONE TO-2. MARSHALL BLUESBREAKER, SERBIAN ELIMINATOR AMP. GR-33.

Cam Grant

the GR-50 is a Roland D110 in a rackspace, only with GR inputs, etc... i used one for 13 years in a Floyd tribute, playing the bass parts on it...when the song required a 2nd guitar part, i would switch my guitar to play (with mag pickups), and our sequencer would take over the GR50, and voila!.. its got a few decent pads, etc... but there are many sound sources out there that may suit what you're playing better.
GT1000-CORE, VG-99, VG-88 , Custom GK loaded Strats, & Teles. Taylor Acoustic, Rickenbacker 330, Rickenbacker 620,VOX AC15, AC10.

GraemeJ

I've got two!!

Bought one when they first came out, but later sold it.  Bought another one about eight years ago and was surprised how good it was, considering its vintage.  So good, in fact, that I bought another one as a spare (although I've never needed it).

Stock sounds range from quite good to unusable in any real performance situation.  It can be re-programmed, but it's a it of a steep learning curve and many would find it a nightmare. Tracking not bad at all, as long as you're not a zillion notes a minute player.

Machh_2

I still have my GR-50, I think the better tracking than the GR55. Some sounds are better too, as some flutes and strings, like violins, cellos, basses ... (this is my opinion).
Besides all the features that Elantric mentioned, you can still play 2 different instruments on each string, the GR-50 also makes synthesis, and has a bank of 256 sounds in PCM. (as noted in the manual) ... very good equipment. Love it!

[]´s

Machh

dporto

Ok, thanks for the responses. It sounds like it might be a possibility - certainly useable.

Ingesecition

Yeah you can check it out. every1 has their own different method of "owning" guitars some dont like to fix and change them and sh** and others...like myuself......like the maintenance,

Tony Raven

#9
Last week, I spotted "Roland GR-50 w/manual" for <$100 delivered. On a whim, I claimed it. Then I went shopping for companion FC-100, but became discouraged when I could only seem to find v.1 (usually overpriced) & a dearth of RRC-1 cables, so I set that thought aside for another time.

Today, I came home to a box, & staggered a bit when I bent to hoist it. The thought literally flashed through my head: "Wow -- that seems kinda heavy for a 1U!"

Opening it up, there's the GR-50... & an FC-100 mk II... & a long white RRC cable.

Huh. ::)

And from the RAM card slot, I'd merely guessed that the GR-50 might be of an era with the D-20. Color me shocked when I find its one of the LA Synthesis family.

My first synth was a beat-up D-5. I've got a PG-10 & four RAM cards (the three Voice Crystal + a Roland), all of which fetch far more than I paid but I've been too slothful to actually sell them off.

That manual? Predictably scuffed-up, but containing the "ROM Play" one-sheet & the laminated Patch Setting Chart & Tones Chart.

I am indeed fortunate.


For some reason, Roland gave up on supporting the GR-50 user/reference manual, but after some digging I found this cached copy:
http://www.synthmanuals.com/manuals/roland/gr-50/owners_manual/
It's rather huge for a b/w .pdf, but it'll do until I maybe scan my copy & offer it up.


Tony Raven

Digging into the GR-50 manual, I was pleasantly surprised at how much I remembered from my experiences with the D-5 & D-20.

But it also reminded me of how overwhelmed I originally was by the depth of the "LA" structure. Firstly, it's an odd (if potentially great) synthesis method, using PCM for the attack transient + the subtractive body (hence "linear arithmetic"), then waveform mods to make a "partial." I felt that I had a good grip on things at that point.

Then again, trying to remember WHY a patch is two tones & a tone is two partials caused me to draw a blank. Those years ago, I stuck to twiddling extant patches rather that attempting to build anything original.

There used to be an aftermarket D-20 guide from 1989 that's supposed to give greater (non-engineerese) insight into the device, but I've never actually managed to find one "in the wild."
http://www.amazon.com/Roland-D-20-Sequencing-recording-handbook/dp/B0006EZE7Y

Calming down a little, I remembered that it wasn't a major feat to "lap" two sounds, either up the scale (so left-hand voice was potentially quite different from right-hand, with any amount of overlap in the center) or by keyboard velocity (e.g., pianissimo for lush orchestrals, forte for solo/accent notes, from a single patch). Still couldn't remember the WHEN or the WHY, though, & at the time felt I was leaving much potential behind.

If anyone knows of a website or (available) guidebook for LA synthesis, I'd enjoy hearing of it.

Elantric

#11
QuoteStill couldn't remember the WHEN or the WHY, though, & at the time felt I was leaving much potential behind.

If anyone knows of a website or (available) guidebook for LA synthesis, I'd enjoy hearing of it.

http://www.sonicstate.com/news/2013/10/09/blog-wavetable-and-vector-synthesis-primer/2/



GraemeJ

Elantric:

I have two GR50's - now both retired - and neither of them has anything like that amount of latency, they would unusable if they did.

Where does that 45mS come from?  I see no mention of a GR50 on the link you gave.


Tony Raven

Well, dunno about 45 ms, but (to echo a review elsewhere), I'm no "demon fiddler" at my most caffeinated times. ;D I liken it to the times I've played using a thick "hall" reverb -- done right, I make back in richness what I give up in attack precision.

Mostly, I wanted a guitar synthesizer to add some lushness onstage. This began from an all-comers "jam" night we used to have every Sunday, & I was made rebellious against the Fenderish preponderance, but there's very little space to set down my D-5.

...of course, that's before I discovered the VG-8's "VIO" voices. :o But, now I'm committed, time to make aproper effort.




Okay, today's experiment: momentarily stop having so much FUN with the GR-50 & actually plug in the overlooked FC-100-2.

That's when I rediscovered what a PITA Roland manuals can be.

There's a little slider-switch on the back of the GR-50. It's marked MIDI/RRC. Unusually, figuring this one out was easy, but poorly documented -- the manual never explicitly SAYS to slide the switch toward the RRC socket for RRC-control mode, & toward the MIDI socket for MIDI-control mode. (I mean, how much Roland gear is reliably intuitive?)

But, to complicate things, there's also a little slider-switch on the back of the FC, because when not used to run guitarish gear (GR-50, GP-8/-16, GM-70), it could be plugged into an awkward breakout box, the RMC-1, to become a general-purpose MIDI controller.

The switch is unhelpfully marked MODE, with the choice being I or II. The FC's manual isn't easy to find, but turned up:
cdn.roland.com/assets/media/pdf/FC-100MKII_OM.pdf
Therein, the Panel Descriptions diagramme tells you "This selects how the Control Pedal will function." No joy there.

Moving along, the next section says
QuoteThe FC100mk II features two Foot Pedal Modes; the RRC Foot Pedal and MIDI Foot Pedal modes. Select the one that suits your purpose.
A page on, the next section says
QuoteSelect mode for connecting the FC-100mk II to devices equipped with an RRC IN Socket.
Nowhere does it even mention the I/II thingie. I'm left to guess that RRC = I.

Over the years, I've lucked onto figuring out Rolandese -- like operating an S-10 with nothing but a two-page article in the Roland Users Group magazine -- but here the manual tells me something I'd have never guessed or even stumbled over. Namely, to hold down the "G" pedal while powering up the GR-50 the first time 'round, to latch something to RRC mode.

As it happens, the point is moot. My FC is dead, not a single light to be seen. (FWIW, the connector on the FC is turned 180 degrees to that on the GR.)

Well, I build heavy-duty tech-laden transit buses; when an $8,000 multichannel DVR refuses to function, I don't begin by assuming the DVR is faulty.

Harness, though, is guilty until exonerated.

The RRC cable I got strongly resembles a stolen clothesline with connectors, being white plastic & about 4 mm & easily 20 feet long. It does not inspire confidence.

A quick continuity check is inconclusive, as I wrestle two probes & two plugs. It's easier when I pull the shells -- sure enough, I can't get the needle to even twitch on one conductor.

And that's for another day: simple enough to make a functioning wire of practical length.

Tony Raven

#14
Quote from:  Elantric on August 23, 2015, 01:10:23 PM
http://www.sonicstate.com/news/2013/10/09/blog-wavetable-and-vector-synthesis-primer/2/
Yah, huge Sound On Sound fan here -- great archived reviews of offbeat old gear, AND they sell Bill Nelson's CDs. 8) While I'm (still) hoping for something more manual-like, you've handed me a great comment:
QuoteAlong the same lines, Yamaha's SY77/TG77 and SY99 allowed for the playback of PCM-based "attack transient" waveforms alongside FM synthesized sounds. They called this "Realtime Convolution and Modulation Synthesis", but it essentially boiled down to the Yamaha/FM equivalent of Roland's LAS.
Take THAT, Yamaha!!

edited to add: Once you mentioned SOS, memories started sneaking back. Here is a MUCH better overview of LA Synthesis, possibly the best on all the Interwebs --

http://www.soundonsound.com/sos/1997_articles/jul97/rolandd50.html




Oh, yah: the 45 ms thing. Going through WSJ's detailed charts, the only device with latency >40 ms is the GM-70, the ancient 24-pin pitch-to-MIDI converter. No entry apparent for the GR-50.

(Wow -- the GI-10 was certainly an improvement over the GM-70!! And I'm surprised to see a 7.34 with the VG-88 for signal processing alone.)

At a mere guess, I'd expect the GR-50's latency to be at least approaching the ~20 ms of the GR-55.

Tony Raven

Quote from: Tony Raven on August 04, 2015, 10:20:15 PM... an FC-100 mk II...

I am indeed fortunate.
Holy hatrack -- didn't know the HALF of it.

Last month, two of these sold on eBay, respectively $149 & $192. :-[ Who knew?

Elantric

#16
QuoteThere's a little slider-switch on the back of the GR-50. It's marked MIDI/RRC. Unusually, figuring this one out was easy, but poorly documented -- the manual never explicitly SAYS to slide the switch toward the RRC socket for RRC-control mode, & toward the MIDI socket for MIDI-control mode. (I mean, how much Roland gear is reliably intuitive?)

But, to complicate things, there's also a little slider-switch on the back of the FC, because when not used to run guitarish gear (GR-50, GP-8/-16, GM-70), it could be plugged into an awkward breakout box, the RMC-1, to become a general-purpose MIDI controller.

The switch is unhelpfully marked MODE, with the choice being I or II. The FC's manual isn't easy to find, but turned up:

The two operating Modes for the FC-100 MKII are explained here:



Mode I = RRC (Roland Remote Control) Connection mode when using with other Roland gear that employs the Roland RRC control port connection ( GM-70, GR-50, GP-8, W-30, Studio-M, etc)
http://www.soundonsound.com/sos/jan05/articles/roland.htm

Mode II = RMC-1 (MIDI) Connection mode when using with Roland RMC-1 Adapter for MIDI control of other MIDI Gear
http://www.joness.com/gr300/RMC-1.htm

QuoteThe obscure RMC-1 is something of an "accessory to an accessory." The RMC-1 was primarily paired with the Roland FC-100 MKII foot controller. By connecting the RMC-1 to the FC-100 MKII, the FC-100 MKII was able to be used as a generic MIDI foot controller.

Without the RMC-1, the FC-100/FC-100 MKII was limited to use as a controller for Roland devices equipped with the RRC-1 protocol. These devices include the Roland GM-70, FC-100, FC-100 MKII, GP-8 and GP-16.

A look at the RMC-1 schematics shows that the RMC-1 is more of a breakout box than an active processor. The +9v power supply is converted to +5 volts using a 78L05 linear voltage regulator. The +5 volt supply is used to power the PC910 optical isolator needed for the MIDI input, to power the 74LS05 hex invertors used for buffering, and finally to power the MIDI output.

http://www.joness.com/gr300/service/RMC-1_SERVICE_NOTES.pdf


Glad to hear you are happy with the GR-50's
http://www.sonicstate.com/synth/roland_gr-50/

QuoteTeejay Riedl (phaedrus@scientist.com) writes:
I bought this unit, intrigued by it's ability to let me play synth sounds from my guitar. As a guitar synth it's passable, as long as your technique is rock-solid, your guitar is set up well, and you're not into blistering streams of 1/32nd notes. But it's as a sound module that it really shines. Sure, as a module it's multitimbrality is reduced to a mere 2 parts and you can't access the Performances... but so what?! The tones themselves are good, if a bit bland by themselves. instead, pump some MIDI into the port, and begin experimenting with new combinations of tones. (I have maybe 4 factory patches left in mine; the rest are homebrew). Like any Roland product, it's hell to program, but hey- we're used to that: that's why we're synth players! Would I buy one (used) today? Based on my experience with it, hell yes!
Comments About the Sounds:
This is the best endorsement I can give: I recently completed a CD on which the ONLY synth units were the GR-50 and a Korg Poly-800. (While the GR-50 is technically a guitar synth, I use it primarily as a sound module for incoming MIDI. It tracks fast enough playing guitar if you're not a shredder, but I'm more comfortable on the keyboard). I played the completed CD for a friend who is a professional keyboardist, with over $25K invested in his synth rig. He demanded to know what made the sounds he heard, and said he had little in his arsenal that would be able to duplicate them! His jaw dropped when I told him it was the GR-50. The stock sounds are okay, but when tweaked, 'verbed, and panned, they take on a new meaning. The pads rule!

MIDI Guitar info link
http://jpsongs.com/troubadortech/mgtr.htm

QuoteOh, yah: the 45 ms thing. Going through WSJ's detailed charts, the only device with latency >40 ms is the GM-70, the ancient 24-pin pitch-to-MIDI converter. No entry apparent for the GR-50.

Learn to measure the latency in all your gear
Measuring Guitar FX Audio / MIDI / iPad Latency - How?
https://www.vguitarforums.com/smf/index.php?topic=8929.0

Remember the Roland GR-50 dates from 1989, and latency was comparable to most other 1989 era Guitar to MIDI Systems.

Most here believe the first groundbreaking Roland Guitar to MIDI system with relatively low latency  was the 1997 era Roland GR-30 - which is actually faster than the current GR-55

But Its true ALL the Roland systems above have lowest latency when triggering specific internal sounds ( not all trigger with same latency) , while the MIDI Note On/Off transmission to the MIDi Out jack always suffers longer latency


But all above Roland systems were left in the dust in the early 1990's when Andras Szalay designed the Blue Chip Micro / (Terratech) Axon AX100



http://www.sonicstate.com/amped/2006/02/02/namm06-axon-guitar-to-midi-controller-updated/

http://edinburghhacklab.com/2015/03/axon-ax-100-repair-pt1/

http://www.guitarmasterclass.net/wiki/index.php/Axon_AX-100_mk_II


http://home.epix.net/~joelc/axon.html

Tony Raven

#17
QuoteMode I = RRC (Roland Remote Control) Connection mode when using with other Roland gear that employs the Roland RRC control port connection

Mode II = RMC-1 (MIDI) Connection mode when using with Roland RMC-1 Adapter for MIDI control of other MIDI Gear
Thanks for confirming my guess. :) If only Roland had simply somewhere SAID as much, eh?

And I certainly wouldn't mind chasing an AX-100 'round the block!! But my first thought is that such precision would be mostly lost on the likes of me; a sprightly piccolo solo might be too much to expect from this old tuba player. ;)

Given that, measuring my actual latency is only slightly more important than knowing how to check the cylinder pressure on my 2003 Jeep: nowadays, I take it to someone with better tools.

(I actually stayed in highschool only because of the vo-tech auto-repair program! The straight-A marks buoyed the other classes which bored me endlessly.)

Elantric

#18
QuoteGiven that, measuring my actual latency is only slightly more important than knowing how to check the cylinder pressure on my 2003 Jeep: nowadays, I take it to someone with better tools.

http://troubleshootmyvehicle.com/jeep/4.0L/how-to-test-engine-compression-1

chrish

#19
I stopped playing music for awhile after my goals had been met, ie i found my life time girl. :-). I got back into music after i stopped into a music store and was introduced to the gr-50. My next performing rig was two gr-50s and two gk-2 mounted on an ovation style acoustic guitar. I like the fact that it is rackmountable, has two midi branchs that can transmit either in mono or poly mode, can transmit 5ths, 7ths, octaves etc, can transmit on any or all strings and has a few usable factory sounds. It is a bit hard to work with the synth engine from the front panel and it's a little 'thin'. I read that Adrian Belew took the time to  get some unique sounds from the thing for his work with King Crimson. As far as latency is concerned, some synth modules respond to it better than others. For example, i have a roland mks-50 that takes into account that it will be used with a guitar synth like the gr-50 and works just fine. However, the moog slim phatty has a slower responce time when used with the gr-50.

Tony Raven

Even before I realised it's an LAS device, my initial thought on firing up the GR-50 is "oh, god, it's like tweaking the D-5!!" >:( I mean, Roland certainly packs a LOT of potential depth into that front-end... but all you've got is the teensy little display to navigate down four or five layers by poking rubbery buttons. I am a devoted follower of the α-Dial. 8)

The next adventure will involve speaking to the GR-50 via the PG-10.

Per Sweetwater, it "sends SYSEX messages in real time through its MIDI OUT jack to the MIDI IN jack (or to a dedicated input) of the keyboard or sound module."

And I should also try my Behringer B-Control Nano.

It's supposed to be able to merge data with other units, but I've not tried that yet.

While the PG-10 is clearly "horses for courses" purpose-built, they seem to sell $150 +/-50. If the Behringer device works for most intents, they can be found <$100 -- mine cost me like $40 on sale -- it has the advantage of a much wider market for resale.

Either way, seems like you've got a serious performance rig; if either (both?) of these boxes works well, I'll let ya know. ;)

chrish

One other feature that the gr-50 has is a very fast tuner for hex pickup guitars. I wonder if anyone coded a windows editor for the thing?

Elantric

#22
http://www.squest.com/Products/MidiQuest11/Instruments/RolandGR-50/index.html


Roland GR-50 Editor and Librarian

for Windows and Macintosh

Sound Quest's Midi Quest multi-instrument editor/librarian gives you the tools to get the most from your Roland GR-50. Midi Quest includes all of the standard features you would expect to find in a GR-50 Editor and Librarian along with unique capabilities found nowhere else.

MIDI Quest Pro, Midi Quest and Midi Quest Essentials allow you to manage the following SysEx data from the GR-50: Patch Bank, Patch Bank(Alt), Patch, Patch (alt1), Patch (alt2), Part Setting, Timbre Bank, Timbre Part 1, Timbre Part 2, Tone Bank, Tone, Tone Bank, Tone (alt), Tone Bank (alt1), Tone Bank (alt2), Chain Bank, Chain, Rhythm Perm Setup, Rhythm Perm Setup (Alt), Rhythm Temp Setup, Rhythm Temp Setup (Alt) and System.

Integrate the GR-50 with your DAW and use it the same way as a soft-synth or run the editor as a separate application connected to your GR-50. You can display, edit, tweak, organize, audition, archive and manage your GR-50 from the focal point of your studio. Midi Quest offers the widest selection of editor/librarian plug-in
technologies: VST, AU, MFX, and Studio Connections.




Just as a VST or AU plug-in is loaded by a host, the Roland GR-50 Editor and Librarian is designed as a module. This module runs in all three versions of Midi Quest: Midi Quest Essentials, Midi Quest, and Midi Quest Pro. Every version of Midi Quest includes complete Editor and Librarian support for the GR-50. The more advanced versions of Midi Quest include additional features such as plug-in capabilities, patch generators, and advanced tools to manage larger MIDI systems and patch collections.



http://www.marksmart.net/sounddesign/bysynth/gr50/gr50.html

https://groups.yahoo.com/neo/groups/GR-50/info

http://jonathanbowerman.com/wp-content/uploads/2012/12/GR-50-tutorial.rtf

http://web.archive.org/web/20160704152859/http://jonathanbowerman.com/wp-content/uploads/2012/12/GR-50-tutorial.rtf

Tony Raven

The BEST general-purpose soft controller interface was Emagic's SoundDiver. Then Apple (a.k.a. Global Domination Enterprises) bought Emagic to absorb the powerful Logic sequencer into its OS much as would a slime mold; naturally, support of legacy Logic software for any non-Apple OS was terminated, with SoundDiver somehow hanging on through 2005.

That left the field almost entirely to SoundQuest. Used to be you could buy their controller specialized to only one device for like $40, & for $200 or so the full-on package with interface subsets for like 98% of all MIDI gear ever made. The current price is $149/$249, with gear count 700+.
http://www.squest.com/Products/MidiQuest11/Compare.html

FWIW, this is the official list -- most of the names are "hot" & many lead to specific stats/images.
http://www.squest.com/Products/MidiQuest11/Instruments.html
There's lack of (explicit) support for the VG group or GR-55, or for some bits like S-760, but for anyone with more than a handful of legacy hardware units, it'd make life MUCH simpler.

alexmcginness

Midiquest is a dog with fleas.
VG-88V2, GR-50, GR-55, 4 X VG-99s,2 X FC-300,  2 X GP-10 AXON AX 100 MKII, FISHMAN TRIPLE PLAY,MIDX-10, MIDX-20, AVID 11 RACK, BEHRINGER FCB 1010, LIVID GUITAR WING, ROLAND US-20, 3 X GUYATONE TO-2. MARSHALL BLUESBREAKER, SERBIAN ELIMINATOR AMP. GR-33.