For Roland GR-100, GR-300, GR-700, GM-70, G-202, G-303, G-505, G-707, G-808, VG-88, VG-99, GI-10, GI-20, GR-30, GR-33, GR-50 and More!
The Link Between Vintage, Modern and Future Guitar Synthesizer Technology
Combines Roland US-2, US-20 and BC-13 Technology in One Rack-Mount Unit, with Internal Hex Fuzz, CV Pedal Inputs plus more!
These are photos of the new SBC+ Version 2.0.
The Link Between Vintage, Modern and Future Guitar Synthesizer Technology:
The SBC+ V2.0 includes complete Vintage GR Control Voltage Circuitry (with Control Voltage Pedal Inputs) and Hex Fuzz Generator with integrated Roland US-2, BC-13, and US-20 technology.
Guitar Synthesizers of the Past: In 1980 Roland introduced the GR-300. Simply put, there is nothing at all like the Roland GR-300. It is an all analog guitar synthesizer, that uses the actual vibration of the guitar string to create a unique kind of sawtooth waveform only generated by the GR-300. And because the waveform is generated from the vibrating strings, the subtle variations in guitar string pitch, amplitude, and tonal qualities are reflected in the output of the GR-300. It is a living and breathing analog synthesizer. No wonder 27 years after Pat Metheny first introduced the GR-300 to the jazz world, he still uses the GR-300 as his key featured solo sound. Roland later released the polyphonic distortion and sustain sound of the GR-100 and the powerful programmable analog synthesizer GR-700. The outstanding feature of this first generation of guitar synthesizers was their lush, rich analog sound.
Guitar Synthesizers of the Present: In 1990 Roland released a new 13-pin guitar synthesizer standard. Now the most widely used format for guitar synthesizer technology, the 13-pin technology has produced such hits as the GR-20, VG-88 and the newly announced Roland VG-99. While very popular, these newer, versatile 13-pin instruments have not replaced the vintage analog technology in the same way modern digital synths have not supplanted analog synth technology. The goal of the original SBC+ was to make a processor that allowed a vintage guitar synth controller like the G-808 or G-303 to play both 13 and 24 pins synths without any sacrifices to power or control. The new SBC+ V2.0 improves on the design of the original series with a sturdier case, internal power supply, consolidated footswitch, but it also goes one step further, leaving room for future guitar synth technologies yet undiscovered.
Guitar Synthesizers of the Future: In the same way that synthesizers, once hardware only devices, are now integrated as internal software in today’s computers, the next generation of guitar synthesizers will also be computer based. A major paper by Lilit Yoo and Ichiro Fujinaga of the Peabody Institute and Johns Hopkins University showed that a basic 400MHz Apple G3 running pitch recognition software could work as quickly and as accurately as the acclaimed Axon pitch-to-MIDI converter. The current version of Reaktor 5.0 includes all the component level tools to reproduce GR-300 type pitch recognition. Like the newly released (and very expensive) Gibson Digital Les Paul, the SBC+ V2.0 includes six individual outputs on the real panel for each string, in addition to the standard hex fuzz output found on earlier versions. Using an eight input audio interface, like the PreSonus Firepod, each string on a vintage Roland controller could be processed separately for pitch-to-MIDI recognition or instrument modeling. The Muse Receptor is an existing product that could easily be using for this kind of processing today. The Receptor has enough processing power to handle each string individually, the unit ships with envelope modifying plug-ins, distortions, effects, etc., and the unit is rack mount.
Features of the SBC+ Version 2.0
Use ONE Vintage Roland Guitar Controller to play Three Guitar Synths: a 24-Pin Vintage Roland Guitar Synth and two 13-Pin Modern Guitar Synthesizers
Special GK-1 Mode for GK-1 Users
Built-In Hex Fuzz adds G-202 Style Hex Fuzz to ANY Vintage Roland or
Ibanez Guitar Synth Controller
Dedicated Switches for 13-Pin Systems
Interface Vintage Roland Gear with OTHER Analog Synthesizers and Control Voltage Devices.
Footswitch Control over 24-Pin Output, 13-Pin Output, and Direct Guitar Output or Auxiliary 13-Pin Output
Additional SW1/SW2 Latching Footswitch Assignable to Primary or Auxiliary 13-Pin Synth
4 Electronically Buffered Rear Panel Inputs for Control Voltage Pedals
6 Front Panel Control Knobs for 24-Pin String Output Levels - No Need to Adjust Tiny Trimpots for Level Control!
4 Front Panel Control Knobs Selectable as Control Voltage or Volume Level
2 Front Panel Switches for Volume and Mute Assign
6 Rear Panel Individual Outputs for Each String
Individual Output for Hex Fuzz Sound
Selectable Internal or External Hex Fuzz sound
13 Front Panel Function Switches
10 Front Panel LEDs Show Mode Status of all Control Knobs and Power Supply
High Quality Internal Power Supply
Rack mountable or Desktop Operation
Elegant Design
Rear Panel Connections:
13 and 24 pin synth outputs, individual outputs for each string, and hex fuzz.
CV pedal inputs, S1/S2 and footswitch jacks
Power Switch and AC Connection
New to Version 2.0 are individual outputs for each guitar string. The output level is controlled by the six output control knobs on the front panel. The output of the hex fuzz is fixed. In addition to the four CV pedal inputs, Version 2.0 has a new 7-pin Mute jack. The new 7-pin jack contains both the Mute functions and S1/S2 functions. However, the 7-pin connector is backwards compatible with the Version 1.0 and 1.1 5-pin footswitches. And the S1/S2 input jack allows use of the Version 1.1 S1/S2 auxiliary footswitch that used momentary footswitches instead of the latching footswitches found on the new consolidated footswitch.
Finally, one detail note: the input on Version 2.0 has been moved to the front panel. Also, the front panel input does not include a locking ring, but an additional locking ring is included with the unit. I simply found it faster and more convenient to skip the locking ring connection on the front. The primary outputs are still on the back, but the auxiliary output is on the front.
Essential Extras!
Consolidated footswitch for GR and GK functions.
7-Pin input for control cable.
7 pin 24’ Control Signal Cable for Consolidated footswitch
Power cable.
Construction Details:
Tidy, hand-wired vintage type point-to-point wiring, with internal power supply. Note the professionally routed and etched control panel.
The SBC+ V2.0 is a meticulously hand-wired with premium quality components to eliminate the need for any service. A look inside the SBC+ V2.0 shows a unit wired much more like a vintage amplifier or tube preamp than an "everything on one board" contemporary factory built unit. The SBC+ V2.0 is a three-space rack unit built like a tank, with power and flexibility for studio use, and durability for road use.
I started on the SBC+ V2.0 following the creation of the first RC-1324. Like the original RC-1324, the SBC+ V2.0 uses front and rear panels etched and routed by Lazer Image of Culver City, California, based on precision CAD files. The control panel lettering will not rub off like silk-screen panels, since the lettering is cut into the surface of the metal. Simply put, the SBC+ V2.0 is built to last forever.
New (with Version 2.0) Consolidated footswitch:
Original SBC+ V1.0 Mute Footswitch
SBC+ V1.1 S1/S2 auxiliary footswitch
SBC+ V2.0 consolidated footswitch. This footswitch combines the two earlier pedals together, uses latching footswitches for S1/S2, and includes status LEDS for all five switches.
The original SBC+ V1.0 had one footswitch for muting the vintage synth (24-pin output), modern synth (13-pin output) and the direct guitar signal (guitar output).
The SBC+ V1.1 used two footswitches: one for muting plus a second pedal for the GK S1/S2 function.
The SBC+ V2.0 combines these controls into one foot pedal, with latching footswitches for the S1 and S2 GK function. In addition, the new pedal also has LEDs for the latching footswitches. A latching footswitch is a conventional switch that turns on when you depress the pedal, then turns off when you press the pedal again. The original S1/S2 switches were momentary switches, so they were only on when the switch was pressed, and turned off as soon as your foot was removed.
Improvements over the Roland BC-13
Until now, the only way to convert older, 24-pin guitar synths to the newer 13-pin format was with the Roland BC-13. While the BC-13 gets the job done, the SBC+ improves on the performance and design of the original BC-13 in many ways:
One control for each function
The BC-13 uses CV#1, or Filter Cutoff, to control the volume of the 13-pin device. CV#2, or resonance, is used like a three position switch, to select between guitar, guitar and synth, and synth only. This works fine if you are only controlling one synth. But if you are controlling a 13-pin device, like a VG-88, and a 24-pin device, like a GR-300, there are problems. As you brighten the filter on the GR-300, by turning up CV#1, you will also be making the VG-88 louder! The SBC+ avoids conflicts like this by splitting the 13 and 24 pin controls. Each knob or switch controls only one, dedicated function, making operation a breeze.
Dedicated switches for 13-pin systems
The 13-pin systems use a momentary switch, while the older guitars have a toggle switch on the guitar. The BC-13 tries to adapt the older switch, but this requires toggling the switch twice, on and off, to get the same response as a momentary switch. The SBC+ improves on the BC-13 with two front panel switches, labeled "SW#1" and "SW#2" for the 13-pin system. This leaves the guitar toggle switch for controlling older, 24-pin equipment, and saves wear and tear on the switch. In addition, Version 2.0 adds an alternative to the momentary front panel switches: latching footswitches on the new consolidated footswitch. The front panel toggle switch next to the S1/S2 pushbuttons on the front panels selects which kind of pedal will be used.
Single cable connection
If you use a BC-13 with a G-202, G-303, G-505, G-707, G-808 or Ibanez IMG2010, and you want full control over the clean guitar signal along with the synth guitar signal, you need to use TWO cables. The 24-pin cable, plus a separate, additional standard guitar cable from the 1/4” out on the guitar to the 1/4” input on the BC-13. Because the SBC+ has its own VCA, there is no need for two cables.
10 Front Panel LEDs Show mode status of all Control Knobs and Power Supply
Dedicated switches for 13-pin systems.
Assign controls for Mute and Volume
Special Features for the GK-1 User
If you are a GK-1 user, you loose many of the features that make the GR system so cool: no mode switch, no hex fuzz, no LFO modulation and more. The SBC+ allows every GK-1 user to have the exact same capabilities as any GR user.
GK-1 Mode Switch
GK-1 users really miss out by not having a Mode switch. GK-1 hardware is fixed in "Mode II," so there is no way to switch to "Mode I" or "Mode III." If a GK-1 user plays a GR-700, they have to play the guitar in "Mode II," which has a low sensitivity setting. "Mode III" on the GR-700 is the high sensitivity setting, which makes the GR-700 more responsive. If a GK-1 user plays a GR-300, there is no way to access "Mode III" which enables the GR-300 String Select Function. If a GK-1 user plays a GR-100, they can not access the sustained distortion of "Mode III". With a GM-70, you miss using the switch to change octaves, (or for assignable MIDI controls). You get the idea. When the GK-1 switch is in the "up" position, the Mode switch on the SBC+ now selects the mode. It functions just like the Mode switch on a G-X0X guitar: down is "Mode I," the middle position is "Mode II", and the up position is "Mode III."
Built-In Hex Fuzz
Both GK-1 users, and players with the G-707 and Ibanez IMG2010 systems, do not have hex fuzz. Hex fuzz is a very, very cool, orchestral distortion where fuzz is added to each string individually. Elaborate chord voicings can be used without intermodulation. With its built-in hex fuzz, the SBC+ can take the input of any guitar synth and create hex fuzz. Not only does the hex fuzz sound cool by itself, but its square wave output adds a very rich synth texture when added to the sawtooth waveforms of the GR-300. Incidentally, the front panel Power toggle switch, shown next to the hex fuzz switch, does not work, having been replaced by the larger, direct rear panel Power switch.
LFO Modulation
Also missing from the GK-1 is any way to access LFO Modulation. The SBC+ gives GK-1 users a choice of using a front panel knob or a foot pedal to control modulation depth. The two controls actually work together, with the front panel knob setting the maximum range of modulation. For example, if you set the front panel knob to 100%, then cranking the foot pedal to maximum results in 100% modulation. If you set the front panel knob to 50%, then cranking the foot pedal to maximum results in 50% modulation. This is actually very practical, since slight modulation (or vibrato) often results in more a musical sound.
Additional Synth Pickup Power
Because the GK-1 driver is a "one size fits all" pickup, it is very slim and narrow compared to the other synth pickups. It also appears underpowered, since perhaps there is not enough room for the same size pickup coils that are in the other guitar synths. My GK-1 has always seemed weak compared to my other guitars. The SBC+ solves this problem with six front panels knobs that can add tons of gain to each string. Now any GK-1 user can the same pickup power as a G-X0X user. This also means no fiddling with those tiny pots and special screwdrivers to adjust string levels!
All Three "Craig Anderton" GR-300 Modifications Built-In
In the mid-eighties acclaimed author/musician/electronic arts wizard Craig Anderton developed three modifications for the GR-300. Unfortunately, these modifications involve making physical changes to the GR-300 or GR Controller. The SBC+ actually incorporates all these modifications, without having to alter your precious, vintage GR-300 Guitar Synthesizer or Controller in any way!
Improving Hex Fuzz High-Frequency Response
Craig’s first modification involved opening up the Guitar Controller, a G-303 or G-505, and cutting a capacitor to add high-frequency response to the hex fuzz circuit. I designed the SBC+ with the increased high frequency response built in. Check out the samples to hear the difference! The internal SBC+ hex fuzz is much brighter and more defined.
Photo of square wave generated by the internal hex fuzz.
Separate Hex Fuzz Out
Next Craig designed a separate hex fuzz output. However, this modification also involved working inside the GR-300, and disabling either an existing jack, or drilling holes for additional output jacks. The SBC+ has the hex fuzz output built-in, so no drilling or modification is necessary. Plus, the SBC+ gives you a choice of up to 2 kinds of hex fuzz.
The SBC+ has a rear panel hex fuzz output.
Vibrato Pedal
The final Anderton modification is the addition of a vibrato, or LFO pedal. Craig disliked using the touch plates on the GR guitars, and felt a pedal worked better. Using the pedal provided with the SBC+ you can have foot pedal control over vibrato. And again, this requires no drilling or modifications in any way to your vintage Roland synth.
Plugging the CV pedal into CV #4 (modulation) creates a vibrato pedal!
No Need To Adjust Tiny Trimpots
The weakest parts of the vintage Roland guitar synth are the tiny, internal trim pots used to adjust the output of each string. These are the parts most likely break over time. Proper string level adjustment is critical for GR-700, GM-70 and MC1 users. The slightest change can cause one string to suddenly be louder, or can cause strings to track poorly. The SBC+ controls eliminate the need to adjust these trimpots, and actually have plenty of gain to boost string output. And the SBC+ lets you do something you could never do before: adjust the output levels while you are playing!
The tiny internal trim pots are fragile and difficult use.
The front panel knobs make level adjustment easy.
Proper string level is critical for the GM-70 and GR-700.
Video and Audio Samples of the SBC+
Below are some examples of using the SBC+ with various combinations of gear. The only outboard effects used were delay and reverb.
Blending the GR-300 and VG-88
A GR-300 is used with the SBC+ and a VG-88. This clip shows using the guitar controls to blend the outputs from the GR-300 and VG-88. The GR-300 is processed through external reverb and delay. The acoustic and distorted guitars come directly from the VG-88.
Click on the above photo to download a 1.7 MB QuickTime Movie file.
Virtual Whammy Bar with GM-70 and VG-88
The stock "V-Guitar" patch on the VG-88 has been modified to respond to whammy bar MIDI messages from the GM-70. At the end of the clip, front panel controls are switched on for pitch and modulation.
Click on the above photo to download a 1.2 MB QuickTime Movie file.
Virtual Whammy Bar Solo
A brief excerpt from a guitar solo recorded with the Virtual Whammy Guitar. Recorded and mixed in Digital Performer. The track "Glory" was written by Ricky Green.
Click on the above photo to download a 408K MP3 file.
VG-88 and GR-300 "Pat Metheny" Lead Tones
First you will hear the GR-300 on the left, then the VG-88 on the right, then both together. Both the VG-88 and the GR-300 were recorded at the same time through a Yamaha 01V console, with reverb and delay added by the 01V.
Click on the above photo to download a 283K MP3 file.
Extreme GR-300 Modulation!
An external analog synthesizer LFO is used to modulate the filter and modulation depth on the GR-300. In addition, a foot pedal is used to modulate resonance. Not the classic GR-300 "Pat Metheny" sound!
Click on the above photo to download a 804K MP3 file.
GR-300 Direct Hex Fuzz Output
Direct output of standard, GR-300 hex fuzz, recorded from the SBC+ rear panel separate hex fuzz output. Please note the darker, murkier tone from the standard hex fuzz found on the G-303/G-505/G-808.
Click on the above photo to download a 240K MP3 file.
SBC+ Internal Hex Fuzz
Direct output of the SBC+ G-202 style hex fuzz. This brighter, edgier tone provides an alternative to the standard hex fuzz, and its square wave output blends well the GR-300 sawtooth waveform.
Click on the above photo to download a 240K MP3 file.
Front Panel CV Knobs
There are 4 front panel CV knobs for controlling either 24 or 13 pin functions. When a switch is down (RED LED), the CV knob is controlling a 13-pin function. When a switch is up (BLUE LED), then the CV knob controls a 24-pin function. The knobs are labeled for their 24-pin functions. An easy way to remember things is this: with the switches down, GR signals pass through the SBC+ unaffected.
Here is a chart to sum up how these switches work:
Switch Position
Front Panel CV#1
Front Panel CV#2
Front Panel CV#3
Front Panel CV#4
Up (BLUE) 24-pin synth
Filter
Resonance
Pitch Bend
Modulation Depth
Down (RED) 13-pin synth
Synth Volume
Guitar Volume
OFF
OFF
Front panel knobs CV#1 and CV#2 are "swap" knobs. For example, when the front panel CV#1 is in the "up" position, then the CV#1 knob on the GR-X0X guitar, which is normally Filter, becomes the Synth Volume knob. Likewise, when the front panel CV#2 is in the "up" position, then the CV#2 knob on the GR-X0X guitar, normally Resonance, becomes the Guitar Volume knob. This is actually how I use this rig the most, with switch CV#1 and CV#2 up. I find that I "dial-in" the sound I like with the Filter and Resonance on the front panel of the SBC+, and then I use CV#1 and CV#2 knobs on the guitar controller to mix levels. The QuickTime movie Blending the GR-300 and VG-88 demonstrates this mixing of levels with the guitar controls.
Interface with Analog Synthesizers
The SBC+ opens with world of any vintage Roland synthesizer, the GR-100, GR-300, GR-700, GM-70 or even the Ibanez MC1 to the possibility of interfacing with other analog synthesizer modules. Roland supports four control voltages, CV#1-CV#4. For example, on the GR-300, CV#1 is dedicated to filter, CV#2 is resonance, CV#3 is not used, and CV#4 is modulation. The GM-70 and Ibanez MC1 add CV#3, which is generated by the whammy bar on the Ibanez IMG2010, and usually assigned to Pitch Bend.
Analog Control Voltage Inputs
On the back of the SBC+ are four Control Voltage pedal inputs. These can also be used to input Control Voltage signals from other analog synthesizers. The SBC+ follows the Roland GR standard of 0 -15 volt control range. This means you can take the output of an analog LFO module, and use it to modulate the filter on the GR-300! Or you can use an analog Envelope Generator to control the modulation depth on a GR-100! Note: typical analog gear uses a 0 -10 volt scale, so control of the Roland GR gear is usually about 70 to 80% of full range.
Analog Control Voltage Outputs
The CV Pedal inputs also output their control voltages through the "tip" connection. This means that the front panel knobs can be used to control of devices that respond to control voltages, like the Moog Ring Modulator or other analog synth gear. As before, please note that the Roland GR gear uses 0-15 volts, while most standard analog synths work in a range of 0-10 volts. This simply means you will reach maximum control at about 70% of the knob’s range.
Use the SBC+ To Create the Ultimate Whammy Bar
How would you describe the ULTIMATE whammy bar? Well, first it would have to NEVER go out of tune, no matter how far down or how far back you pulled the whammy bar. And it would be great if using the whammy bar did not extoll wear and tear on your guitar strings. And it would be great if you can judge ahead of time exactly what pitch you are bending to. With the SBC+, it is possible to create the ULTIMATE whammy bar.
Use the VG-88 to create the exact guitar tone you want, and use the GM-70 to transmit MIDI control messages to the VG-88.
Finally, use the Ibanez IMG2010 as your controller. The whammy bar on the Ibanez IMG2010 is connected to a control potentiometer, not to the strings on the guitar. You can move it as much as you want without effecting the pitch or mechanics of the guitar!
NO! None of my processors add any delay at all. Like the GR-300 and GR-100, they are purely analog processors that do not suffer from the inevitable latency introduced by digital systems. Many players notice that their guitar synths actually play better, since the gain stages have been especially designed to deliver the best possible signal to the guitar synthesizer.
Will the SBC+ work with ANY Vintage Roland Guitar Controller or Guitar Synth?
YES! I have tested this with the Roland G-303, G-505, G-707 and the Ibanez IMG2010 as controllers, and the GR-100, GR-300, GR-700 and GM-70 as synths. The other members of these families, the GK-1, the Ibanez MC1 should work as well, but I do not have one of these on hand to test it out. Also, I have only tested this with the Roland VG-88. If someone wants to lend me their gear to test something out, send me an email!
If I use the internal hex fuzz, do I loose the hex fuzz on my Roland guitar?
NO! The yellow switch lets you select which fuzz you use. And both are available at the same time! With the switch in the "down" position, everything works as usual: you will hear the standard hex fuzz generated by the guitar through your GR-100 or GR-300 synth. The special, internal G-202-type hex fuzz is available at the separate HEX output on the back of the SBC+. With the hex fuzz switch in the "up" position, then the special, internal G-202-type hex fuzz is output through your GR synth, and the standard hex fuzz generated by the guitar is now available at the HEX output on the back of the SBC+. If you have a GK-1, G-707 or Ibanez IMG2010, leave the yellow mode switch in the "up" position, and you will have hex fuzz available on the GR-100 or GR-300 just like G-202/303/505/808 players.
Why build a G-202 hex fuzz circuit? Is it different from the G-303/G-505/G-808 hex fuzz?
YES! The G-202 hex fuzz is a different circuit with a different sound. Check out the examples. Since there are far more G-303/505/808 users, I wanted to offer a different kind of hex fuzz. I made certain my hex fuzz circuit was brighter than the standard hex fuzz, so that people could get the advantages of doing the Craig Anderton modifications without having to change the wiring in their guitar. And yes, you could have stereo hex fuzz with a GR-100 or GR-300!
Do the rear panel CV pedals work with the 13-pin or 24-pin devices?
BOTH! The CV pedals follow the front panel controls in the circuit. The CV pedal does whatever the respective front panel CV knob does. For example, if CV#1 (filter) is in the "down" position, red LED on, then the front panel CV#1 is transmitting volume control for the 13-pin device, like a VG-88. Thus, moving a foot pedal plugged into the CV-1 jack would effect the volume of the 13-pin device. With CV#1 (Filter) in the "up" position, blue LED on, then CV#1 is transmitting filter (CV#1) for the 24-pin device, like a GR-100. Likewise, if you have a footpedal plugged into the CV-1 jack, it would sweep the filter.
What is the range of the CV pedals?
The CV pedals control up to 100% of the value of the respective front panel CV knob. So, if the front panel CV#4 (Modulation) knob is set to 40%, then plugging in a pedal to CV#4 and turning it all the way up will result in a modulation depth of 40%. Actually, this works GREAT for things like modulation, where you may only want a little to flavor the sound. Set the front panel knob to the desired maximum output, then use the pedal to gradually ease to effect in and out.
What kind of pedal does the SBC+ V2.0 use?
This unit was built with the Yamaha/Korg circuit in mind. Any pedal that is compatible will work, though plugging the wrong kind of pedal in could damage your gear! A standard volume pedal will definitely NOT work.
I noticed the remote uses a MIDI type connector, but with 7 pins. Can I use any MIDI cable for the remote? Is it actually MIDI?
First, the remote is NOT MIDI. It only works with the SBC+ remote pedal. If you use a MIDI cable, it needs to have FIVE conductors. Some MIDI cables only have THREE. So far, all the HOSA cables I have worked with have five conductors. I decided to use the MIDI connector since it is so common, and so lost or broken cables would be easy to replace.
I have never heard of CV#3, Pitch Bend. Is that on my Roland Guitar somewhere?
It should be! Clearly, Roland had special plans for CV#3, but it was only Ibanez who built a controller that used CV#3. The GM-70 works with CV#3, and CV#3 is noted as "pitch bend" in the GR-700 service manual. Even if you do not have an Ibanez IMG2010, the SBC+ lets you still use CV#3 with the GM-70 or Ibanez MC1. You can use either the front panel knob, or plug a foot pedal in and use your feet to generate CV#3 messages. Since you are using CV#3 with a GM-70 or MC1, it can be any kind of MIDI message, Pitch Bend, reverb level, etc.
Where do you get the connectors? I thought they were discontinued by Roland a long time ago.
YES! Roland discontinued the connectors from active production about fifteen years ago. So the 24 pin connectors are virtually impossible to find. I bought as many of these connectors as I could from Roland a while back. So all my vintage GR processors had a very limited production run.
Are you smart or WHAT??!?
NO! In fact, I have done some serious damage with my soldering iron! People much smarter than me explained how to put this together. This would not be possible without the help of my friends Marty, Mike Bacich, or Mark Smart.
In august of 2004, when I finished the original SBC+, I did eleven video demos to show how to use the features of the SBC+. These videos are below, and include useful information including programming tips for the GM-70 and VG-88.
SBC+ System Setup Tutorial
From the original SBC+ tutorial CD-ROM created in August 2004.
SBC+ Front Panel Gain Tutorial
From the original SBC+ tutorial CD-ROM created in August 2004.
SBC+ GR-70 Control Assignment Tutorial
From the original SBC+ tutorial CD-ROM created in August 2004.
SBC+ MIDI Control Tutorial
From the original SBC+ tutorial CD-ROM created in August 2004.
SBC+ Front Panel Control Tutorial
From the original SBC+ tutorial CD-ROM created in August 2004.
SBC+ Foot Pedal Control Tutorial
From the original SBC+ tutorial CD-ROM created in August 2004.
SBC+ Volume and Footswitch Tutorial
From the original SBC+ tutorial CD-ROM created in August 2004.
SBC+ External Modulation Tutorial
From the original SBC+ tutorial CD-ROM created in August 2004.
SBC+ Hex Fuzz Tutorial
From the original SBC+ tutorial CD-ROM created in August 2004.
SBC+ GK-1 Tutorial
From the original SBC+ tutorial CD-ROM created in August 2004.
SBC+ Virtual Whammy Bar Tutorial
From the original SBC+ tutorial CD-ROM created in August 2004.
