Roland GR-30 FAQ

Started by Elantric, January 20, 2013, 09:30:41 AM

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Elantric

Many of us still own and use the Roland GR-30, so I thought i would start a thread to act as a repository of knowledge.

The GR-30's sound set is similar to those found on Roland's JV-series synthesizers. It is known for its arpeggiator, which is lacking in newer Roland guitar synthesizers like the GR-33 and GR-55.

Specifications
Year Released: 1997

Polyphony: 28 notes

Preset Patches: 128

User Patches: 128

ROM: 8MB with 384 waveforms

GR-30 Owners Manual
https://static.roland.com/assets/media/pdf/GR-30_OM.pdf

http://soundprogramming.net/manuals/guitarsynth/Roland_GR-30_ServiceNotes.pdf


Other important sources of GR-30 info:

http://launch.dir.groups.yahoo.com/group/midiguitar/

http://launch.groups.yahoo.com/group/GR-30/

Demo




Be sure to get the GR-30 Editor

It needs Windows, and was written back in the Win98 era
(Download Link here)
https://www.vguitarforums.com/smf/index.php?action=downloads;cat=25



When I show most GR-30 users those Control Edit screens above, most never knew the the GR-30 was capable of such things. Its the GR-30 Arpeggiator (MIDI  Clock sync-able) and separate string MIDI assignments with a good amount of MIDI controls per string that keeps the GR-30 in use even today  - Robert Fripp still uses it.  The GR-55's Guitar to MIDI Implementation pales by comparison.

But Roland is famous for having buried easter egg features - that only become enabled once you read the manual , and do a magic handshake or "press this button while powering on the unit"

http://www.synfo.nl/servicemanuals/Roland/GR-30_SERVICE_NOTES.pdf







Elantric

#1
http://www.synthman.com/roland/support/supplementalnotes/SUPNOTES/GR30ARP.html
Roland GR-30 Tutorial

Roland GR-30 Tutorial

Creating an Arpeggio on the GR-30
The GR-30 Guitar Synthesizer is Roland's most powerful guitar synth to date. It includes 384 brand new Tones, 256 Patches, and spatial effects including reverb, chorus and delay. In addition, there are some unique features such as the world's first synth Harmonist and guitar synth Arpeggiator. The purpose of this document is to provide a "hands on" guide for programming the Arpeggiator. First, we will select the Tones (sounds) that will be used. Second, we will assign the Tones to specific strings using the Tone Mix and String Select procedures. Third, we will program the arpeggio parameters such as Arpeggio Tone, Arpeggio Rhythm, Arpeggio Value, and Arpeggio Tempo. Finally, we will create an arpeggio using Real Time and Step Write methods and store the arpeggio patterns into the GR-30?s internal memory. For the purpose of this document, we will create an arpeggio for a nylon-string guitar sound that is layered with a string pad sound on all strings. The arpeggio will not affect the string pad sound. The concepts and procedures that we will use to create this arpeggio can be applied when creating your own arpeggios.

I. Selecting Tones

Tones are the basic unit of sound in the GR-30. Tones can be combined with other parameters such as brightness and attack to create a Patch. The GR-30 allows you to combine up to two Tones per Patch. Use the following procedure to select Tones:

Use the
  • / [-] buttons to select Patch A52. This Patch uses two Tones - "NYLON GUITAR SW" and "SLOW STRING."
    Use the EDIT TARGET dial to select "1st TONE."
    Use the PARAMETER SELECT dial to select "[A]" (TONE #).
    Press EDIT/PLAY. The currently assigned Tone number will be displayed.
    Use the
  • / [-] buttons to select Tone #51 (if necessary).
    Use the EDIT TARGET dial to select "2nd TONE."
    Use the
  • / [-] buttons to select Tone #293 (if necessary).
    Use the PARAMETER SELECT dial to select "WRITE PATCH?" and press the
  • and [-] buttons simultaneously to store these settings into memory.
    II. Tone Mix and String Select
    Once you've selected your Tones, you can adjust the balance between the two Tones. When both Tones of a Patch are assigned to all six strings, the Patch is called a "Layered Patch." When the two Tones of a Patch are assigned to different strings, the Patch is called a "Split Patch." However, because each string can have one or both Tones assigned to it, Patches can be configured as a combination Split and Layered Patch. Use the following procedure to adjust the Tone mix and String Select for this Layered Patch:

    Use the EDIT TARGET dial to select "TONE MIX."
    Use the PARAMETER SELECT dial to select "[A]" (LAYER).
    Press EDIT/PLAY.
    Use the STRING SELECT dial to select "ALL."
    Use the
  • / [-] buttons to select "A-b" (if necessary). This assigns both Tones to all six strings.
    Use the PARAMETER SELECT dial to select "[D]" (1:2 BALANCE) and use the
  • / [-] buttons to select "25" (if necessary). This adjusts the BALANCE between the two Tones.
    Use the PARAMETER SELECT dial to select "WRITE PATCH?" and press the
  • and [-] buttons simultaneously to store these settings into memory.
    III. Programming Arpeggio Parameters
    Now that you have selected the Tones and adjusted the Tone Mix, you can select and program the Arpeggiator parameters. Each of these parameters has its own unique function and needs to be programmed before creating an arpeggio pattern.

    Arpeggio Tones
    The first step in setting up the arpeggio parameters is to decide which of the two Tones the arpeggio will be playing. You can assign an arpeggio to the first Tone [A-1], the second Tone [A-2], both Tones [A-b], an external sound module [A-E], an external sound module with the first Tone [A.1E], or an external sound module with the second Tone [A.2E]. Use the following procedure to assign the arpeggio:

    Use the EDIT TARGET dial to select "ARPEGGIO/harmony."
    Use the PARAMETER SELECT dial to select "[A]" (ARPEGGIO/harmony SEL).
    Press EDIT/PLAY.
    Use the
  • / [-] buttons to select "A-1." This will assign the arpeggio pattern to the first Tone only.
    NOTE: This setup allows you to have an arpeggio pattern on the first Tone (NYLON GUITAR SW), and no arpeggio on the second Tone (SLOW STRING).

    Arpeggio Rhythm
    Once you've completed the assignment of the arpeggio Tones, you can select the note divisions for the arpeggio pattern. Your options are quarter notes ("04._"), eighth notes ("08._"), eighth note shuffle light ("08.L") or heavy ("08.H"), eighth note triplets ("08.t"), sixteenth notes ("16._"), sixteenth note shuffle light ("16.L") or heavy ("16.H") and sixteenth note triplets ("16t"). Use the following procedure to select a note division of eighth notes:
    Use the PARAMETER SELECT dial to select "[ B ]" ( A-RHYTHM/h-style).
    Use the
  • / [-] buttons to select "08._." This configures the Arpeggiator for entering notes in eighth-note increments, similar to setting a sequencer "quantize" value to eighth notes.
    Arpeggio Duration
    This parameter defines how long the notes you enter will last. Duration is similar to a sequencer "gate time" parameter or compositional terms like legato or staccato. Your options range from 30% of the note duration ("30") to a duration that lasts until the next note is played ("Ful"). Use the following procedure to select "Ful" note duration:
    Use the PARAMETER SELECT dial to select "[C]" ( A-DURATION/h-key).
    Use the
  • / [-] buttons to select "FuL."
    Arpeggio Tempo
    Before you begin recording an arpeggio pattern, you should select a tempo. The available arpeggio tempos range from 50 to 250 BPM. Use the following procedure to select a tempo of 80 BPM:
    Use the PARAMETER SELECT dial to select "[D]" ( A-TEMPO/h-remote).
    Use the
  • / [-] buttons to select "80."
    Use the PARAMETER SELECT dial to select "WRITE PATCH?" and press the
  • and [-] buttons simultaneously to store these settings into memory.
    NOTE: This parameter can also be set to "Syn" for using an external MIDI Clock to control the tempo of the arpeggio.

    IV. Creating An Arpeggio -- Real Time
    There are two methods for creating arpeggio patterns -- Real Time or Step Write. The Real Time method involves playing the arpeggio "live" into the GR-30. Use the following procedure to record an arpeggio in Real Time:

    Select Patch A52 (if necessary).
    Use the EDIT/TARGET DIAL to select "ARPEGGIO/harmony."
    Use the PARAMETER SELECT dial to select "[D]" ( A-TEMPO/h-remote).
    Press EDIT/PLAY.
    Press PEDAL 1 and the metronome will start. Each beep represents an eighth-note location where events may be entered.
    Use the
  • / [-] buttons to select the number of event locations (up to 32) for the arpeggio pattern. For this example, select "G.08." This will give you eight eighth-note locations for events to be entered (the equivalent of one bar of 4/4 time). If "G.16" had been selected, there would be 16 eighth-note locations (two bars of 4/4 time).
    Press PEDAL 2 and a one measure count-in will begin. The display will indicate the count-in with negative numbers (-4, -3, -2, -1).
    After the count-in, begin playing the strings in time to the metronome (one or more strings per beep).
    When you've finished playing, press PEDAL 1 to stop the recording. Strum the guitar to check your arpeggio. You should now have a nylon-string guitar arpeggio, with a string pad beneath it.
    Use the PARAMETER SELECT dial to select "WRITE PATCH?" and press the
  • and [-] buttons simultaneously to store the arpeggio pattern into memory.
    NOTE: Unlike a traditional sequencer, the GR-30?s Arpeggiator will not record notes played between the beeps.

    NOTE: The Arpeggiator records the order in which the strings are played. Therefore, the order in which the strings are played is important but the actual note(s) played is not. The note(s) will be determined by the fretting of the guitar during playback. If the strings played (or not played) during the triggering of the arpeggio differ from those contained in the arpeggio pattern, the GR-30 will logically substitute strings based on its built-in internal algorithms.

    V. Creating An Arpeggio -- Step Time
    Step Time recording involves recording an arpeggio one event at a time. When recording in Step Time, the strings can be entered individually for the entire pattern. Use the following procedure to create an arpeggio using the Step Time method:

    Select Patch H83.
    Use the EDIT TARGET dial to select "ARPEGGIO/harmony."
    Press EDIT/PLAY.
    Use the PARAMETER SELECT dial to select "[D]" and use the
  • / [-] buttons to select a tempo of "140."
    Use the PARAMETER SELECT dial to select "[C]" and use the
  • / [-] buttons to select a duration of "30."
    Use the PARAMETER SELECT dial to select [A] or [ B ].
    Press PEDAL 1 so that "toP" is displayed.
    Pluck string 4 and stop immediately. "G.01" will be displayed indicating that the fourth string has been input as the first event.
    TIP:   In Step Time mode, each of the pedals has a different function that can be extremely useful for entering arpeggio patterns. The pedals can be used as follows:
    Pedal 1 [BEGIN/END]
    Used to start and stop the pattern.
    Pedal 2 [TIE(ENTER)]
    Used to create a tie.
    Pedal 3 [REST]
    Used to create a rest.
    Pedal 4 [TO TOP]
    Used to return to the beginning of the pattern.
    Patch Minus Button [-]
    Used to erase the latest operation and back up by one.
    Creating An Arpeggio - Step Time (Cont.)

    Press PEDAL 2 once to advance to the next event (G.02).
    Pluck string 4 twice and stop it immediately. The display should advance two events (G.04) indicating that we have tied the previous two events.
    Repeat steps 9 and 10 three more times to advance to "G.16."
    Press PEDAL 4 to return to the beginning of the pattern and repeat steps 8-11 for strings 5 and 6.
    Press PEDAL 3 twice so that "G.02" is displayed.
    Play strings 2 and 3 at the same time and stop them together so that "G.03" is displayed.
    Press PEDAL 3 twice so that "G.05" is displayed.
    Play strings 2 and 3 at the same time and then press PEDAL 2 so that "G.07" is displayed.
    Play strings 2 and 3 at the same time again so that "G.08" is displayed.
    Play string 1 once and press PEDAL 2 two times so that "G.11" is displayed.
    Play string 3 once and press PEDAL 2 two times so that "G.14" is displayed.
    Play string 2 once and press PEDAL 2 once to advance to "G.16" and end the input for strings 1, 2 and 3.
    Press PEDAL 1 to stop the recording and strum the guitar to check your arpeggio. You should now have a dance-type synth arpeggio.
    Use the PARAMETER SELECT dial to select "WRITE TO?" and use the
  • / [-] buttons to select a Patch location.
    Use the PARAMETER SELECT dial to select "WRITE PATCH?" and press the
  • and [-] buttons simultaneously to store the arpeggio pattern into memory.
    VI. Summary
    You should now be able to select Tones, assign Tones, and create an arpeggio using either the Real Time or Step Time methods. Keep in mind that both methods can be used to create incredible arpeggios. The method you use is simply a matter of personal preference. Once you've learned the basics, you can move on to creating more advanced patterns. We hope this document has helped you learn how to effectively create your own arpeggios with the GR-30 Guitar Synthesizer.


    Use GR-30 as MIDI Tone Module
    5 pin MIDI cable from Keyboard MIDI Out to GR-30 MIDI In

    on GR-30 - set to "Local off" / poly receive mode

    Press  "EDIT/PLAY" button prior to powering on - the  GR-30 will boot with in "local off poly receive mode".

    It expects than all data on the first systemchannel, as defined in midi/channel.
    (Please note that outgoing MIDI data still behaves according to 1p -> poly, one channel or 1-> 6 mono channels.)

    See page 78
    https://static.roland.com/assets/media/pdf/GR-30_OM.pdf

Elantric

#2
http://www.soundonsound.com/sos/1997_articles/feb97/rolandgr30.html?print=yes
Roland GR-30 by Paul White SOS 1997

QuoteRoland continue to champion the cause of the guitar synthesist, refining their respected line of guitar synths in search of the best combination of facilities, usability and price. PAUL WHITE finds out whether they've got the balance right with the new GR30.



The MIDI guitar has always been fraught with technical difficulties. One of the main problems that beset the designers of MIDI guitar systems is the restricted speed of MIDI, which can affect how quickly sounds are triggered. Roland's recent instruments have largely side-stepped that issue, by providing good on-board sounds that are addressed directly from the processor, not via MIDI. Of course, a MIDI output is also available for driving external sound modules, but the reality of the situation is that tracking is both faster and more precise when you're using the internal sounds.

In the new GR30, Roland have built upon the ideas and techniques that made the low-cost GR09 possible, and the result is a slightly cheaper unit that incorporates new sounds, new performance controls, automatic harmony generation and a really neat arpeggiator. Requiring either an optional Roland GK2A (or GK2) split pickup, or one of the few 'Roland-ready' guitars on the market, the GR30 occupies the same shape of box as the older GR09 but is black rather than blue, and the control knobs carry different functions.

As you can see from the photograph, the control system is very simple, with just four pedals, four knobs and three buttons. As on the GR09, the GR30's display is simply a three-character alphanumeric window, so you can't name your patches. This also means that you need the manual when programming new sounds, in order to find out what sound corresponds to each of the 384 Tones in the list. If you can memorise all these, you could probably clean up on The Generation Game, but believe me, the GR30 is far more fun than a cuddly toy and a fondue set!

Designed along the lines of a 'stomp box'-type floor unit, the GR30 is powered by one of those irritating external PSUs and connects to the GK2A system via the provided multicore cable. The guitar's normal output may also be routed along the multicore to cut down on cabling, and this also provides the option of switching to guitar, synth, or both, from the GK2A. The guitar output may then be taken separately out of the GR30 or mixed with the synth sound. In the latter case, the guitar output may be used as an effects send to an external guitar processor; a separate jack is provided to return the effected signal to the GR30. MIDI In and Out connectors are present for sequencer users, and provision is made to connect an optional Bank Select switch and an expression pedal. The pedal may be programmed to do a number of different jobs, including changing the synth volume, tone, interval and arpeggio rate. The output from the GR30 is in stereo, though either jack can be used to plug in a pair of stereo headphones.

GETTING STARTED

The first step is to attach the GK2A divided pickup to the guitar, as close to the bridge as possible, and spaced from the strings in accordance with the instructions. Several shims, bits of sticky-backed plastic and Velcro are provided, though for a permanent job, screws and springs are also included. Once the pickup is in place, you need to go through a routine to set up the sensitivity of each string in turn, so that they are roughly equal in sensitivity. The row of LEDs to the left of the display serves multiple functions, including showing the string sensitivity, acting as a display for the on-board tuner, and indicating the status of the Local Off, Effect Bypass, Arp/Harm, Gtr Env Follow and Edit modes.

CONTROLS

The volume control regulates only the main mix output -- the guitar output jack is unaffected. Certain functions (such as transpose and layering) can be programmed to operate on specific strings, and the String Select control allows independent selection of strings 1-6, strings 5 and 6 together, or all strings. A button immediately to the right of the display puts the GR30 into Edit mode, and once you're there, the parameter to be edited is selected using the two large dials, and the value incremented or decremented using the plus/minus buttons to the far right of the display. All the edit functions are clearly printed around the control knobs, so there's no need to keep referring to the manual.

In normal play mode, the four pedals may be used to switch patches or to access the Wah, Pitch Glide, Hold and Arp/Harm on/off functions. There are two modes in which the pedals may operate, indicated by screening on the panel, and the current mode depends on the setting of the S1 and S2 switches on the guitar pickup system: S2 accesses Performance pedal mode, while S1 is used mainly for patch selection. Patches may also be incremented or decremented using the S1 and S2 buttons exclusively, and bank switching can be accomplished via an external footswitch. However, if the GR30 is set to select patches directly via S1 and S2, the pedals remain in Performance mode.

In all, there are 256 patches, arranged as 128 user patches and 128 factory patches. As supplied, the user patches are copies of the factory sounds. Because of the limited display capability, patches are designated as a letter followed by two digits corresponding to Group, Bank and Number. There are four patches (corresponding to the four pedals) in a Bank, and eight Banks in a Group.

PEDAL FX

Pedal 1 serves as a Wah controller in Performance mode, but, since it is a switch rather than a pedal, the wah effect operates on an envelope rather than under direct user control. Several preset options are available, which include a rate setting so that the wah occurs over a short period of time rather than abruptly. It is also possible to set Pedal 1 to bring in vibrato modulation instead of wah and, again, there are several preset mod types to choose from. Each of these choices is saved as part of the patch data, along with a parameter for playing response, the idea being that you could program specific patches to be suitable for finger-picking, and others for plectrum work. Pedal 2 controls Pitch Glide, and the rate of glide is selectable. There are nine preset rise- and fall-time patterns to choose from.

Pedal 3 functions as a Hold pedal, so that any notes sounding will continue to do so until the pedal is released. This is great for long Floydian intros where you play and hold a Gm string pad, then doodle over it with the regular guitar sound for 10 minutes or so. There are several Hold options, allowing you to hold both tones, just one of the tones, only the lower two strings, and so on. If the arpeggiator is being used, the Hold function operates according to the way the arpeggiator patch has been set up -- for more on this, see the 'Take Note: GR30 Arpeggiator' box.

The fourth pedal switches the harmony or arpeggiator function on or off (if it is included in the current patch). It's also possible to call up the tuner function using a combination of pedal and pickup switch presses, providing the GR30 isn't in 'Patch Inc/Dec by S1/S2' mode.

The internal patch effects are based on chorus and reverb, though there are 18 different reverb types to chose from, and 25 chorus types with variations that stray into the realms of delay, flanging and special effects.

PATCHES

Each of the patches in the GR30 can be built up from either one or two Tones chosen from a list of 384; the degree of sound editing available is very limited. The two Tones can be adjusted independently for attack, release and brightness, arpeggiator or harmony functions can be set, and the pedal functions can be defined on a 'per-patch' basis. Effects can be added, though these comprise fairly conventional reverb and chorus-type treatments, and there's an option for a parameter of the sound to change with the guitar level envelope. The dynamic response of the guitar synth can be set to hard, soft, tapping, no dynamics, finger style or normal. Both volume and brightness can be made to follow the guitar envelope, if required.

Various 'Patch Common' parameters may also be set, including volume and an arpeggiator or harmony effect, and there's provision to specify the MIDI Send To and Receive From settings of an external device. Also part of the patch are independent transpose options for the two Tones, the balance between the two Tones, and the relative pan positions of the two Tones. Normally the synth sounds will follow string bending and hammering, but a Chromatic mode is available for emulating instruments that normally stay fixed in pitch, such as the piano or organ.

Edited patches may be saved to any desired user location; user patch locations may be exchanged, and patch data may be bulk-dumped via MIDI SysEx, for storage in a sequencer or MIDI data filer.

IN USE

Tracking is still the prime concern with MIDI synths and, when it's using its internal sounds, the GR30 is about as good as it gets. Unless your playing is excessively messy, tracking is both fast and accurate, though just occasionally you'll catch a string with the side of your thumb and be greeted by a ricochetting whine as the synth tracks the rogue harmonic instead of the note you thought you'd played! There is some delay on the lower strings, but not enough to put you off playing fast bass lines -- something that wasn't true just a few years back. In fact, unless you play very quickly, you probably won't notice the delay at all.

Strumming is followed with surprising accuracy, but only if you strum at a slow or moderate rate -- the 'Pinball Wizard' intro is a definite non-starter! Trilling also works up to a point, but as you approach 'Just One Cornetto' speed, the system starts to miss notes, due to its inability to discriminate between successive pick strokes. Also very impressive is the accurate way in which vibrato-arm gymnastics are tracked, though all of these wonderful attributes are compromised to some extent when the outside world of plodding old MIDI gets involved. If you're working with a sequencer, you really do have to play cleanly and moderately. A further tip is to sit well away from the computer monitor, because the divided pickup is affected by interference in exactly the same way as a regular guitar pickup. The difference is that you don't hear the interference -- you just experience its effects as the tracking accuracy takes a turn for the worse!

Chromatic mode works exceedingly well on organ or piano sounds, but as the system is designed to re-trigger whenever it sees a new pitch (from a hammer-on, for example), you have to be very careful how you lift your fingers off the strings, otherwise this is interpreted as a pull-off and the open string triggers. Perhaps a switchable option to ignore pull-offs to open strings would be useful for clumsy sods like me! Another feature I'd like to see is the ability to add vibrato to only the last note picked, rather than to all six strings. This is a trick I used to use with my old Roland GR500, which was linked to an external monosynth with a vib depth pedal fitted. However, the ability to follow the guitar envelope for volume or brightness is really most useful, and helps emulate some of the hybrid guitar/synth sounds possible from the old GR300.

The sounds for the basic Tones have been chosen largely to complement the electric guitar style of playing, with lots of piano, guitar, organ, bass and synth lead-type patches. There's also the usual set of brass, reed, strings and choir sounds, as well as many very effective pads, a few world sounds, and a few dance-orientated sounds. Sound effects are kept to a merciful minimum, and there's a good range of gentle, New-Agey washes, tinkly bells and ethereal voices. Though editing is limited, by layering these sounds, changing their envelope characteristics and adjusting their brightness, you can get a huge tonal range. The quality isn't bad either -- about on a par with a decently-specified GM module, but without the GM sound set.

The arpeggiator is most welcome, not only for electro-pop applications, but also for dance and ambient effects. It's very easy to use (unless you want to enter really fancy rhythmic stuff), and it sounds utterly convincing. The harmony generator is also a wonderful addition (see Harmony Angel: GR30 Harmonist' box) though, as always, you have to be careful to pick a harmony style that will work with what you're playing. You can also come unstuck if you wander too far from the main key or use oddball scales.

Both the Wah and the Glide are genuinely useful real-time functions, and I particularly like some of the softer, fatter Wah options that allow you to create very analogue-sounding filter sweeps, which work particularly well on rich pad sounds. Better still, some of the Wah options include an automatic triggered sweep, with which you can interact, using the footswitch. The Modulation option is part of the Wah menu, but I couldn't find any way to change the vibrato delay time, rate or depth, which is slightly limiting. Even so, the default values are generally useful. Compared with the GR09, the GR30 is far better suited to live performance.

SUMMARY

At around the same price as a half-decent effects unit or MIDI synth module, the GR30 is excellent value and works as well as any guitar synth I've heard, if you stick to the internal sounds. The arpeggiator, real-time controls and harmony functions work brilliantly, the operating system is so simple that anyone can knock up unique patches, and the tracking is both fast and positive. As mentioned earlier, tracking isn't quite so bullet-proof when you're dealing with external MIDI gear or sequencers, and for sequencing you need to have the option to be able to record on six different MIDI channels at the same time. Poly mode is very limiting (see 'MIDI' box).

The only real criticisms are in areas that could only be improved by increasing the price or the complexity of operation, or both. I'd like a better display with an edit grid, and the ability to name patches; a little more modulation flexibility, and a built-in expression pedal -- but then I'd also like to win the lottery, live forever and have to keep putting the phone down on Pamela Anderson! They say you get what you pay for, but in the case of the GR30 you get an awful lot for very little outlay, even when you add on the extra hundred quid or so for a GK2A pickup system.



TAKE NOTE: GR30 ARPEGGIATOR

Once the exclusive tool of the keyboard synthesist, the arpeggiator has finally made the transition to the guitar synth. The GR30's arpeggiator is a very impressive and powerful tool whose effect may be applied selectively to either or both tones, or to an external MIDI source. A different arpeggio setting may be saved for each patch. All the factory patches have arpeggio settings, even if the arpeggiator is not in use, or when the the harmony function is in use instead. The Hold pedal can be used to keep arpeggios going, even when the guitar strings have stopped vibrating, or you can use Hold to allow you to add new notes to an existing arpeggio. There's also a latching Hold option and a couple of other less obvious tricks to try out.

Arpeggio data is entered by picking the strings in the order in which you'd like the arpeggio to run. The arpeggio tempo may be either set manually (there's a tap tempo function available for this), or derived from an external source of MIDI clock (from a drum machine or sequencer). The duration of the arpeggiated notes may be adjusted, and there's also a kind of grid input mode, where very complicated arpeggios (including multiple strings being played on one step) can be entered to simulate traditional finger picking. This is a trifle tedious, as there's no visible grid and so everything is entered in a kind of blind step-time. It's not really reasonable to expect a fancy display on an instrument of this price, but I'd like to see a slightly more up-market model with a better display, so that this sort of function could be used more intuitively. It would also be very nice to be able to name patches, as you can on the more expensive GR1.

A real-time arpeggio entry mode is provided in addition to the step-time mode, and though it's quite often difficult to play a MIDI guitar arpeggio accurately in real time, you can prepare an arpeggio pattern in your sequencer, sync it to the GR30, then record the data in real time. This partly mitigates the lack of a grid display, though it's my guess that most users will stick to fairly straightforward synth-type arpeggios, which are a doddle to enter directly from the strings in step time.



MIDI

Like the vast majority of guitar synthesizers, the GR30 allocates a separate MIDI channel to each string (Mono mode) to allow independent string-bending; the MIDI bend range would normally be set to 12 semitones rather than the two or three usually adopted by keyboard players. This is necessary not only to accommodate bends, but also to provide sufficient range for hammers and slides.

MIDI data may be sent on any six consecutive MIDI channels. It's also possible to send all the data on a single MIDI channel (Poly mode), but this precludes the use of many guitar-specific playing techniques. Patch Change and Bank Change messages can be sent and received, and it's even possible to set different Program Change messages for each string.



HARMONY ANGEL: GR30 HARMONIST

The harmonist can work on either or both Tones, or on an external synth, just as the arpeggiator does. The user can select any major or minor key, and the GR30 will automatically work out and play a musically-correct harmony -- providing you don't stray out of key. If you want to do fancy key changes during a song, you can use a pedal to switch from major to minor, and external MIDI notes may be used to set a different key in real time. The way in which the harmony is constructed depends on the harmony style chosen, and there are 12 possible intervals from which to choose, as well as a diminished option.


pros & cons
ROLAND GR30 £649
pros
• Fast, positive tracking.
• Inexpensive for what it offers.
• Easy to use.
• Arpeggiator, harmony and real-time effects make this a performer's dream.

cons
• Rudimentary display with no patch naming.
• Limited modulation options.

summary
One of the most affordable and playable guitar synths yet.


Elantric

#3
Sweetwater GR-30 Knowledge base
http://www.sweetwater.com/sweetcare/articles/roland-gr-30-sending-midi-bank-select-messages-external/
---

Roland GR-30 Sending MIDI Bank Select Messages to an External Sound Module
Article #1706210 Added on Mar 20, 2012 at 3:11 PM
MIDI sound modules allow their sounds to be selected through MIDI utilizing
Program Change messages (1-128). However, the majority of recent MIDI Sound
Modules offer more than 128 sounds. In order to select sounds that are located
beyond number 128, these modules incorporate what are called Bank Select
messages. These Bank Select messages consist of a Controller 0 message of a
specific value, usually followed by a Controller 32 message of a specific
value. These messages allow access to a specific bank of sounds on your MIDI
sound module, and are usually followed by a Program Change message to select a
specific sound within that bank. Once you determine the Bank Select and Program
Change messages that correspond with the desired sound on your MIDI sound
module, you can use the GR-30 to send these messages to the sound module and
select this sound. This is very useful for remotely selecting patches on an
external sound module such as the Roland JV-2080, which has as many as 2900
different sounds available. As an example, use the following procedure to call
up Patch 014 "MKS-80 Brass" in Preset Bank C on the Roland JV-2080 from the
GR-30:

1) Connect a MIDI Cable from the MIDI OUT on the GR-30 to MIDI IN on the
Roland JV-2080.
2) Use the EDIT TARGET dial to select "MIDI."
3) Use the PARAMETER SELECT dial to select "A".
4) On the GR-30, press EDIT/PLAY button.
5) Press PEDAL 2. The display will briefly show "b.SL" (Bank Select) and then
show "off".
6) Press the
  • button to turn the Bank Select function on.
    7) Use the STRING SELECT knob to select "ALL".
    8  ) Press PEDAL 3. The display will briefly show "o. 0? (Control Change #0)
    and will then show the currently assigned value.
    9) Use the
  • or [-] buttons to select "81?.
    10) Press PEDAL 4. The display will briefly show "o.32? (Control Change #32)
    and will then show the currently assigned value.
    11) Use the
  • or [-] buttons to select "2? (CC0 value of 81 followed by CC32
    value of 2 are the Bank Select messages that correspond with the Preset Bank C
    on the JV-2080).
    12) Press PEDAL 1. The display will briefly show "PrG." (Program Change) and
    then show the currently assigned value.
    13) Use the [-] or
  • buttons to select "14? (Program Change value of 14
    selects Patch #014 within the Preset Bank C on the JV-2080).
    14) Use the PARAMETER SELECT dial to select 'WRITE TO' and use the [-] or

  • buttons to select a Patch location. (Remember that this procedure will
    overwrite the old Patch in this location).
    15) Use the PARAMETER SELECT dial to select 'WRITE PATCH' and press the [-] and
  • buttons simultaneously to WRITE the patch into memory.
    NOTE: This procedure can be used to select sounds on any MIDI sound module
    that uses Controller 0/32 messages to select banks.

Elantric

#4
http://www.sonicstate.com/synth/_inc/specs_only.cfm?synthid=32

GR-30 Specs

Type: Synth/ module/
Synthesis Type: Sample, with 8 MB of ROM
Polyphony:
Max: 28
Typical in use: 1-12
Multi-timbral (number of parts): 1-16
Oscillators per Voice :
Min : 1
Max : 2
Controllers : Many Exp pedal, Bank select...
Effects :
Number of FX units : 2
Number of different effects : ~28
Drum Section :
Number of Drum Kits : NA
Number of Drum sounds : some
Keyboard :
Number of Keys : NA
Can send on 6 simultaneous MIDI channels
Responds to : velocity,
Sounds can be split by : keyboard
Memory :
Patches : 128
Performances : NA
Inputs and Outputs :
Number of Audio Outs (excluding Phones) : 2
Number of Audio Ins : 1
Number of MIDI Outs (excluding Thru) : 1
Number of MIDI Ins : 1
Upgrade Options : None Avail.
Comments about the sounds :
Not Enough Sound Effects, Too Much brass sounds, alot of the analog sounds sound similar to each other, until ya tweak em ,which isnt real simple being a floor unit.

Sounds to check out :
GOD!, Anabass3...

Thanks to Mark Davies for the info.

Mark Davies (maddogg@mich.com) writes:
I have always wanted one of these thing and Im not sorry I got it. $1000 is a lot of dough for my "hobby" but this thing is awesome. First off Id like to say that the guys at roland who program these sounds need a vacation, along one.., as most sounds needed; reverb; brightness; volume up and down (the samples are varied in volume very greatly) granted Im sure depending on how the string sensitivity is et makes a difference but...
TRACKING is awesome.. this thing is sweet for getting that right emotion, heres to the jazz and blues players need is some brass pads to back up vocals or a sax lead... It never ends.

The appregiator is pretty cool too. although it doesnt operate a I would have expected. Being Monophonic mode makes it possible to bend individual notes, which is what makes a guitar synth unique, the appregio is only rhythmically echoing notes played, don't get me wrong it works great, Its actually more like a rhthm sequencer for each individual string. So Its capable of playing chords that are held or strummed or appregiated. Like the guitar in 'The House Of The Rising Sun'. Damned cool I tell ya. Theres a harmonist too, I do a lot of midi stuf and being able to control, from any midi note source the key in which the synth voices are harmonizing to my guitar sound makes for a very powerful combination. Too Bad you cant appregiat one voice while hamonizing with another. . All in all, This is better than the GR-1, I was waiting for this to come out before I paid $$$. I was this close to getting the GR-1 and Im glad I waited. Theres MORE sample ROM and The harmonist/appreggiator is alot better than that cheezie 4 track sequencer that was GOD awful to use. GET ONE NOW!

Comments About the Sounds:
Not Enough Sound Effects, Too Much brass sounds, alot of the analog sounds sound similar to each other, until ya tweak em ,which isnt real simple being a floor unit.

PD FX

#5
Local off / poly receivemode
startup with + pressed, and your gr30 will boot with in "localoff poly receivemode".

It expects than all data on the first systemchannel, as defined in midi/channel.
(PLease note that outgoing mididata still behaves according to 1p -> poly, one chanel or 1-> 6 monochannels.)

This mode is very,very clever, and as long as you want to play 1 sound on all strings, nearly ideal,
here's why:
+You can send #64 to it, and everything is sustained, 30 voice polyphony, so real piano sustain.
+You can actually send pitchbends to it! it switches automatically back to non pitchbend, if you're playing more notes at once..
+This "auto mono" feature is very cool, because it automatically keeps your chords in tune, but allows exrpession in single note phrases.
-multi string legato not supported, that's the drawback for using 1 channel...

So basically if your playing what the piano player should be playing, this mode is ideal: full sustain, and melodic legato.




PD FX

#6
Hey elantric,
"Responds to : velocity.."
Where's the aftertouch? CC18?
I'll look up the exact info: you know the aftertouch is übercool, but totally overlooked..
The filters can be mapped to this aftertouch, using play mode EFF2 if I'm correct.. Like said , I'll look up further info on it.








thebrushwithin

#7
I own an axon, a GR33, and yet the GR30 is my synth of choice for live use...great tracking, and great usable sounds! If mine went down, I would seek another. :) I am very curious about the Fishman though.

PD FX

#8
Quote from: thebrushwithin on January 25, 2013, 11:07:41 AM
I own an axon, a GR33, and yet the GR30 is my synth of choice for live use...great tracking, and great usable sounds! If mine went down, I would seek another. :) I am very curious about the Fishman though.
hee Makr,
I bought one a few months ago for 35 euro on ebay, perfect condition!
I wanted a spare, because my oldest GR-30 is my victim of modding.
Allthough the GR30 is really very good, there are 2 major errors in its design. I know why it does the "squeel thing", I'm currently in the process of fixing this. And the velocity circuit stinks. thats the 2nd error.

If the Triple really performs, hooking it up to gr-30 will the fastest livesynth every I guess (you'll have to take a detour through the computer first, using a midiloop, but later on a hardware midi out will be available from Fishman)



DF400

#9
Guys, I still have my GR-33 and have always liked the organ sounds. other than the interface, is there a significant difference between the GR-30 and GR-33?

thebrushwithin

#10
I love the sounds on the GR33, however, the 30 seems to track better, and on my gig, I don't need the more glamorous sounds from the 33. I find the smaller footprint more friendly. More tracking errors on the 33 for me.

DF400

Thanks. Never having owned a GR-30, I had no basis for comparison.

mapperboy

I know the 'debate' about tracking ability/accuracy has raged ever since various models of guitars synth hit the market back in the day.
I had both a GR-30 and GR-20 in the past (unfortunately, i don't have them now to compare side-by-side with the '55) but given both those units lack of some of the GK settings parameters now on the GR-55 I wonder if a properly setup '55 really has shabbier tracking ability than the '20 or '20 or '33.

gumtown, elantric, or other VGuitar gurus, has anyone really ever been able to construct a valid musical baseline of electronic signal parameters to use in comparing triggering accuracy achieved with various synth/pickup combos in rigs?

To my with limited experience at least on the GR-55, successfully tweaking the settings available under the System->GK Setting tabs and submenus can usually make or break the play-ability of a patch. Especially true for the Sting Sensitively settings.

I really felt the other night when I switched from Bass to Guitar mode and the GK settings defaulted to my instrument #n slot specified in the System setting (which it always if you save you patches with the setting Master->Other-GK Set = System) rather than defining each patch's GK Settings separately. Anyway the same patch I had been playing effectively earlier was at that moment unplayable and virtually all the touch, nuances, dynamic was gone so my stylistic approach had to instantaneously change.

I understand the GK-GR interface signal processing strategy to be based on converting a received pitch/tone initially to a square wave and then counting the ramp peaks to arrive at a frequency. It would seem then that the engineering design processing spec for achieving the 'accuracy' of a received tone would at least start with a complex square wave analysis to reject the unwanted rich harmonics typically found coming from a plucked string source.  Having dealt a bit in my work with the evolution of the need for speed and accuracy of in an ADSL Mod-De Mod (MODEM) signal synthetic signal matrixing and layering for processing and un-processing can get unbelievable complex and usually ends up embedded in the firmware, and not adjustable by the user.  Due to the sophistication of implementing waveform processing math into highspeed chips we went from 300 baud to 9600K baud matrixed on top of a 5k hz.  After abandoning the dependency on the 5K telephone carrier entirely and going to pure digtal signal over twisted pair copper the processing involved in the ADSL modem firmware to achieve this probably has many billions of $ of R&D behind it.
With these limited production limited development budget A-D synth instruments we are additionally adding more design constraint to allow the user adjust ability and customize the whole AD-DA signal stream from pickup to analog output.

The terribly subjective dilemma I believe for the dream team designers of all these AD conversion instruments as to how expensive and complex they need to be is that if one does 'learn' and masters the characteristics of these synth instrument then many of the 'defects' can be made to work for you.  I WANT to be able to trigger string harmonics and other odd mouse and cat squeals sometimes!  These tones can add analogish color to an otherwise sterile PCM tone.

I'd be curious to see some hard specs on the signal processing the Fishman Triple Play produces, especially in light of the raves and claims that it's has the most accurate string tone AD-DA conversion on the planet!

Just my 6 cents worth,
-m     
"No such thing as spare time.
No such thing as free time.
No such thing as down time.
All you got is life time. Go!"
- Henry Rollins

PD FX

@mapperboy:
Peak to peak measurement actually is quite simple, thats why its the method used in the old synths >=gr-33
the filtering you mentioned is just a 2nd order filter. nothing complex!
the old systems where buggy however! And it was not some evil god prohibiting guitarsynthesis, no sir, those are primairily programming errors of the roland team. I say it loud and vlear because I've studied it long enough now.
Peak to peak conversion is WAY BETTER than most people think! It is just that Roland didnt do it good enough.
The state machine design of the GR-30 has a severe fault in it and the velocity measurement is lame.
Let me explain:
Error 1) if there's NO sound, then the GR-30 will do NOTHING, it will not even stop a sound since it measures velocity only AFTER a square wave is counted! This is the reason for the infamous wailing with openstrings: a random frequency get's started and never shuts up. (random noise comes over treshhold, starts noise, signal drops, comparator doenst triugger, sound doesn't shut up, wail!)
Error 2) The velocity circuitry only looks in the bandfiltered frequencyspectrum with which the comparator is fed: this is not good!
When you hit a string, a percussive sound ( your pick sound ) has to be detected, but the frequency components of this picksound are filtered out beforehand: that means that the velocity circuit DOESNT HEAR your pick and makes your bassstring act lame!
therefore you have to play the GR-30 with your bare fingers for best performance: you stop the string, and start it again. that is what the gr-30 can understand!

TP is likely to use a lot of FFT-ing, like the Axons did, but now its on a DSP chip that is specially made for doing just that: making FFT's!
So it like a really optimized Axon. I'd better be, the Axon I have here it so glitchy you can skate on it. And its not glitchy because i have wrong playing technique! It's glitchy because the FFT's were way to unprecise. This should now be fixed, at least Andras Szalay claims it.
Elantric says it is acutally quite errorfree, but not so fast. Now that is no wunder, playing over a softsynth is slower that a fast hardware synth.

So that is the bottleneck now really, the TP is likely to be very,very good, but for live playing you need real low latency.
Take a look at my Admiral Midi project, I'm setting up a hardware guitarsynth sound module that is cheap,fast and hackable.
https://www.vguitarforums.com/smf/index.php?topic=7742.msg54398#msg54398



mapperboy

Thanks for correcting and educating me further on this type of processing.
I'll definitely tune into your Admiral project, sounds like you have a good strategy for future evolutions of an analog string tracking engine !
-m
"No such thing as spare time.
No such thing as free time.
No such thing as down time.
All you got is life time. Go!"
- Henry Rollins

PD FX

the  Admiral Midi project is just about the soundchip.
We'll make an editor for it, with fretsplit. And than I will "abandone" the project, I will focus on new target.. Code and documentation will be freely online available ofcourse.

The current setup will probably form the basis of a direct synth, that I dreamin on right now.
The direct synths from Roland are nice, but not versatile enough in my opinion.
It is not that hard to  track 1 inputsignal and feed a synthchip with the results, you dont need create valid midi out of it!
IF the tracking creates 2 errors, but they are nicely timed on the edges of the input signal, it 'll stay intune, even without knwogin what note is played... that is the principle of a direct synth, that will not hesitate but will perform.
Drawback is that you need 1 cpu+soundchip per string. Advantage is max speed.
Building a direct sytnh is the ideal start for a midi converter anyhow, so that's why I take that funny detour.

Greetings,
Paul

thebrushwithin



shawnb

Quote from: mapperboy on January 27, 2013, 11:49:58 AMI had both a GR-30 and GR-20 in the past (unfortunately, i don't have them now to compare side-by-side with the '55) but given both those units lack of some of the GK settings parameters now on the GR-55 I wonder if a properly setup '55 really has shabbier tracking ability than the '20 or '20 or '33.

I have performed some side-by-side comparisons, and I have looked at a LOT of the MIDI streams produced by both the GR-30 and the GR-55. 

In terms of latency, the GR-55 and GR-30 both bottom out at about 35ms in their worst measurements of the worst-case scenario, which is an open low-E string.  The GR-30 performs consistently better on the upper strings by a narrow margin of ~3ms on average.  Details here:
https://www.vguitarforums.com/smf/index.php?topic=870.msg44868#msg44868

The GR-55 generates some random spurious notes (with chromatic ON) or corresponding pitch wheel events (with chromatic OFF), usually when playing long sequences.  These are audible when playing voices with rapid bright attack, such as drums & piano. 

I agree the GR-55 has far better dynamics than the GR-30, which as guitarpoison points out, plays strangely flat.  The GR-55 attempts to give you far greater control over the dynamics (though with many confusing parameters...)   The GR-55 may be the only device that attempts to capture the "nuance" of playing softly (finger picking vs using a pick) and passing that info to the rendering engine & onto the MIDI bus as soft-pedal controller events. 

I also find the GR-30's tones much warmer and more natural out of the box, where the GR-55's tones are tinny to my ear, though this is easily remedied with EQ downstream. 

Net-net, the GR-55's additional featureset makes it my go-to synth these days.  And I admit, most of the criticisms above are nits, and are largely surmounted with proper playing technique. 
Address the process rather than the outcome.  Then, the outcome becomes more likely.   - Fripp

shawnb

#19
Reading my note above sounds a bit harsh on the GR-55's performance.  I'm thinking about this a bit further, trying to put into words the reason I prefer the GR-55's tracking over the GR-30's, even though the GR-30 has a bit of an edge in terms of pure latency... 

I think the GR-55 has a deep improvement in a different type of latency...  I think of it as "think time between notes...", and the ability to track different kinds of performance data.   Though no speed demon, I find the GR-55 can pick up complex sequences, chords, hammerons/offs & slurs quicker & as a result render more naturally & more fluidly than the GR-30.  No dropped notes or other performance data (though maybe an extraneous note or glitch).  Hope this makes sense. 

Net net is the GR-30 is more solid & steady & a touch quicker but lacks some dynamics.  Gr-55 excels in dynamics & 'fluidity', but requires a more practiced hand to completely eliminate glitches & squeals.

This is a more subjective description.   If I had an Al Dimeola robot laying around that could replicate performance characteristics I could possibly get some real data... 
Address the process rather than the outcome.  Then, the outcome becomes more likely.   - Fripp

PD FX

#20
I'm quite harsh about the gr-55, in fact. The only good thing is the combination

I used to play a elaborate setup with Variax,Gr-30 and some FX, rather large floorboard and my college said: "Hey, why dont you buy that new synth from Roland? then you'll have everythign in a small package!" I hadn't noticed that there was a new synth. So, okay, I just bought it. Enter GR-55.
Now I had heaps of sound in a small package. nice!
So it is the combination I liked at forehand, that is build into a small appatus,
I've allready stated that the olschool GR range (gr30,gr33 adn before) feature design errors, that make it sluggish.
the gr-55 doesnt feature the same errors, because it changed to a cheaper topology. completely digital.
But it introduced new errors!
As far as i can tell (I dont have any documentation on it!) , the gr-55 still uses peak to peak. That is what they kept from the old days. but the new topology uses in- and output buffers and sampled audiosignals. So to get the performs somewhat near to the oldschools, they had to use acceleration tricks, just to prevent somebody noticing that new converter is slower. These tricks probably lean on frequency muliplication: switch signal at zero AND at signal peak, then you've doubled the frequency, you need extra sharp filtering however, gr30 only used 2nd order. Now this trick is prone to glitchyness. Other tricks that might be used are simular in quirkiness (one could even phase deviation measurement in a RC setup..)
Like said: this is my 5 cents, I know that the glitchyness is there and its not my fault.
When i tap on a string, the gr30 wins from the gr55. Due to the different setup, the gr55 is not so allergic to pickplaying. That's the only thing where it is better, and for not having the mistakes of the GR30/33....
So if drjoness states the GI-20 is the best Roland: just believe him,he's right..
And I use a GR55 regularly, its just convenient! its not the best convertor, and it never has been.
it is just the only all-in package available.

I will try to fix the GR-30's velocitycircuit and share it with you guys, if Roland doesn't suport us, we have to support ourselves.










PD FX

#21
Quote from: shawnb on January 29, 2013, 07:27:06 AM
Net-net, the GR-55's additional featureset makes it my go-to synth these days.  And I admit, most of the criticisms above are nits, and are largely surmounted with proper playing technique.
What I love the most on a guitsynth is playing piano and using pedal! Now that is a definite no go on GR-55
The spurious notes are a pure disaster.
No other converter deliver that much spurious notes.  (I compared axon50,gr30,gr55 and Jam Origin's Midi Guitar)
The best for "piano playing with pedal" untill now are gr30 and Midi Guitar.
The first thing that I will do when testing the tripleplay, is to play piano with pedal.

The GR-55's spurious note ratio becomes better when playing single note lines, so playing lead synth is generally ok, but playing polyphonic on gr55 is quirky!

Perhaps i should make a video with me trying to play piano via gr-55 on Kontak's Steinway, just for laughs!
I've got all kinds of pickups (custom piezo, gk2a, gk3), the quirkiness is however from the GR55 within..

gravelaxe

Hi Elantric   (and gang) ,  your knowledge of this unit is truly impressive thanks for this thread . I have recently acquired a GR30 and everything seems fine allowing for the occasional midi glitch from my oh so less than perfect playing   but notice that  sometimes, just occasionally  the sound will not cut off when I stop playing even when I immediately damp the strings and i wonder what the problem is . Is it a known fault with this unit or just something that you have to live with as part of the whole guitar to midi hobby ? I have checked my set up and guitar etc and can't find anything wrong .  The only way to stop it (apart from rebooting) seems to be  to play another note or two and stop the guitar dead again with a heavy palm mute ie. turning the volume off on the guitar or the GK2a  or the GR30 just lowers the volume as normal and the note is still being played when it is turned back up .  ???
   weird huh?

PD FX

#23
Quote from: gravelaxe on February 25, 2013, 04:58:46 AM
Hi Elantric   (and gang) ,  your knowledge of this unit is truly impressive thanks for this thread . I have recently acquired a GR30 and everything seems fine allowing for the occasional midi glitch from my oh so less than perfect playing   but notice that  sometimes, just occasionally  the sound will not cut off when I stop playing even when I immediately damp the strings and i wonder what the problem is . Is it a known fault with this unit or just something that you have to live with as part of the whole guitar to midi hobby ? I have checked my set up and guitar etc and can't find anything wrong .  The only way to stop it (apart from rebooting) seems to be  to play another note or two and stop the guitar dead again with a heavy palm mute ie. turning the volume off on the guitar or the GK2a  or the GR30 just lowers the volume as normal and the note is still being played when it is turned back up .  ???
   weird huh?
Hi gravelaxe!
I know the bug exactly , you can minimize it by placing the pickups as near to the string as possible, that way the comparators that feed the peak to peak counter are triggered maximally. When your not using bends a lot, you can mount the pickup furhter away from the bridge, this will increase output considerably also.
The gain settings on gr30/33/9/1 only influence the velocity and trigger sensitivity, but when the comparator doesnt trigger, the note doesnt get updated, that means it wont stop... It's just a silly bug that never got fixed
So try to get the max output out of your hex pickup, that'll help quite a bit.
Actually when your system will feature some "hum", this hum will also trigger the comparator, and the notes are reset, because the comparators will start to flip at 50-60 Hz. The note is only updated when the comparator has flipped.
So just make a groundloop in your system or skip grounding all together, and the gr-30 will perform much better, its ironic but true.

I mentioned a bugfix for this, but I'm building my own guitarsynth now, so perhaps somebody else can fix the problem, as I havent got the time to do it.
The fix is, to mix a very small signal (a few millivolts @ 300 hz will do the trick I guess) to the non-inverting comparator inputs on the GR30 mainboard. The inverting inputs are connected to the inputfilter opamps.
The worst case scenario is, that our signal has to fed to the non-inverting input to, to get it working. That would take some tweaking.
When no sound is coming from the guitar hex pickup, these small signals will trigger the comparator and the tone will be reset automatically, thats what it is all about.

I think the bugfix is best achieved with a small AVR, preferably a atmega32u4, you can program the frequency easily on it, and you can use it as a midi to usb interface too, with extra midi controllers in one go!
Using teensy with  teensyduino or the LUFA library with any atmega32u4 board will do the trick.

I'm willing to help in text and resources.


For technicians who want to fix it:
The attachement shows the circuitry comparator of the first string inside the GR30, the non-inverting inputs are tied to ground via 220k R's R206 and R209. This is done so to bias the opamps inputstage properly with the inverting inputs, that also have 220k resistors. (these opamps have normal bipolartransistor inputs that feature a small DC current!)
So if we take the bypasscapacitors C205 and C207 with one foot from the ground, and connect a small ac source to it, it will act as a default trigger. As soon as guitartone is input, it will overrule our very small default trigger.

gravelaxe

Thank you Guitarpolson ! That clears that up at least I know there is not a fault on my unit . 
Iwas thinking about buying the Midiquest software for use with the GR 30 has anyone ever tried it ?
BTW Guitarpolson agree about the GR55 it does churn out a lot of spurious notes on midi it is very pricey too, am not a fan .